If you’re going to listen to the Allman Brothers, make sure you have the first four records. The band made The Allman Brothers Band, Idlewild South, At Fillmore East, and three-fourths of Eat a Peach with its original lineup, before Duane Allman’s fatal motorcycle accident in 1971. The Tom Dowd-produced Idlewild South, their second album, comes off with a little less ferocity than their debut — which is perhaps the result of reaching for new sounds the second time around. “Revival,” the album’s opener, introduces Dickey Betts as a composer.
Blending rock, blues, country, and jazz, the godfathers of Southern rock in all its wild, woolly glory. Collection includes: 'The Allman Brothers Band' (1969); 'Idlewild South' (1970); 'At Fillmore East' (1971); 'Eat A Peach' (1972); 'Brothers And Sisters' (1973).
The 3CD, Super Deluxe adds 12 tracks not included on the original release. Bonus tracks are a combination of live tracks, studio cuts and outtakes. The entire album is also available in 5.1 Surround Sound on the Blu-Ray plus additional tracks. The Allman Brothers' second album, is a mixture of chunky grooves and sophisticated textures. It showcases both Gregg Allman's and Dickey Betts' skills as songwriters…
The final evening of their 2003 summer tour found the Allman Brothers planning a special night on the friendly turf of Raleigh, NC, wrapping up yet another road trip with invitations to Susan Tedeschi, Karl Denson, and truly serious jazzbo Branford Marsalis to join the group on-stage. It was all captured by the state-of-the-digital-arts folks at Instant Live, who burn CDs of the shows and make them available to concertgoers who still have a few extra green ones in their pockets by evening's end. On the sprawling three-CD set documenting these particular proceedings, there is indeed some fine music, although in his Allmans premiere appearance Marsalis doesn't fare as well as jam band-friendly Denson…
SOUTHERN BLOOD serves as a remarkable final testament from an artist whose contributions have truly shaped rock & roll throughout the past four decades. This is Allman's first all-new recording since 2011's GRAMMY® Award-nominated solo landmark, LOW COUNTRY BLUES. Produced by Don Was and recorded in Muscle Shoals where Duane Allman and the earliest seeds of the Allman Brothers Band were sown, Southern Blood is among the most uniquely personal of the Rock & Roll Hall of Famer's career. This emotionally expansive collection of songs written by friends and favorite artists including Jackson Browne, Willie Dixon, Jerry Garcia & Robert Hunter, Lowell George and Spooner Oldham & Dan Penn serves as a salutary farewell to his legion of devoted fans and admirers. Deluxe package comes with two live bonus tracks, as well as Back to the Swamp: The Making of Southern Blood DVD.
Hittin' the Note is the twelfth and final studio album by the American Southern rock group the Allman Brothers Band. Released through Sanctuary Records, it was their first studio album to include lead slide guitar player Derek Trucks and bass player Oteil Burbridge and marked the full-time return of guitar player Warren Haynes to the band. It was also their first (and only) studio album not to include original guitarist Dickey Betts. The CD was recorded live in the studio in New Jersey in December 2001 with lead vocal and minor overdubs recorded in early 2002. It was the first Allman recording co-produced by bandmember Haynes and Michael Barbiero.
The Allman Brothers Band's comeback album, and their best blues-based outing since Idlewild South that restored a lot of their reputation. With Tom Dowd running the session, and the group free to make the music they wanted to, they ended up producing this bold, rock-hard album, made up mostly of songs by Dickey Betts (with contributions by new keyboardman Johnny Neel and lead guitarist Warren Haynes), almost every one of them a winner. Apart from the rippling opening number, "Good Clean Fun," which he co-authored, Gregg Allman's contribution is limited to singing and the organ, but the band seem more confident than ever, ripping through numbers like "Low Down Dirty Mean," "Shine It On," and "Let Me Ride" like they were inventing blues-rock here, and the Ornette Coleman-inspired "True Gravity" is their best instrumental since "Jessica".