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At Fillmore East (Deluxe Edition)

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Editors’ Notes

It's easy to hear why Fillmore East comes up in every "best live album of all time" conversation. All of the Southern blues-rockers' many assets are on full display on this 1971 juggernaut: Gregg Allman's gritty vocals and grooving organ work, the dynamic twin lead guitars of Duane Allman and Dickey Betts, the two-drummer attack of Jaimoe and Butch Trucks. The set roars out of the gate with four blues covers before culminating with two original instrumentals and an epic, frenzied, 23-minute version of their signature "Whipping Post." The band's combination of strength and subtlety and their mastery of ebb and flow are nothing short of remarkable. Jazzy tinges distinguish T-Bone Walker's "Stormy Monday." while other tracks pulsate with ferocity and intensity: "In Memory of Elizabeth Reed" puts the whole package together in one incredible statement.

Customer Reviews

The Best Live Album ever just got better

This is the best live album ever recorded plus more. The original recording consisting of “Statesboro Blues,” “Done Somebody Wrong,” “Stormy Monday,” “You Don’t Love Me,” “Hot ‘Lanta,” “In Memory of Elizabeth Reed,” and “Whipping Post,” has been augmented now in the CD age to recreate the entire concert. Most of the extras come from EAT A PEACH, the studio/live hybrid album, along with some tracks from the DUANE ALLMAN ANTHOLOGY. The Allman Brothers at this point were at their peak. The interplay between the brothers Duane Allman on guitar and Gregg Allman’s powerful singing and organ playing is ethereal. And the interplay between Duane and the other lead guitarist, Dickey Betts, was absolutely incendiary. The rhythm section containing Berry Oakley on bass, Butch Trucks and Jaimoe on drums drives the band farther than they ever could have gone. It is tragic to think that just a few months after this album was released, Duane Allman met his maker in a tragic motorcycle crash, along with Berry Oakley eerily following his footsteps on year later in a motorcycle crash not a block from where Duane was killed. But this album presents the band at their peak and should forever be known as the greatest live album ever. “Statesboro Blues” exists as one of Duane Allman’s finest moments on his open E bottleneck guitar playing. Duane takes his solo to new levels of playing ability. Gregg’s vocals are also incredible as is Dickey Betts’ fine solo. Same goes for the Muddy Waters’ cover “Trouble No More,” a song from the first album. From the second album, they perform Gregg Allman’s original composition “Don’t Keep Me Wondering,” Thom Ducette joins them on harmonica and does a fine job. Gregg sings great, but note the fantastic solo by Duane Allman at the end where he goes clear off the fretboard. It is mind-blowing. The cover of Elmore James’ “Done Somebody Wrong” showcases Gregg’s fine singing, and three fabulous solos from Ducette, Dickey Betts, and Duane Allman. There have been many versions of “Stormy Monday,” but the Allmans’ version is the best. Gregg is at his best here singing the blues. His vocals are just so strong, and Duane, Gregg, and Dickey all individually showcase their instruments in fine style. “One Way Out” is one of the Allmans’ most famous blues covers and one of the most famous live songs of all time. Gregg sings awesome and Dickey Betts’ solo is especially incendiary as is the interplay between him and Duane before Duane’s solo. And let’s all own up about Gregg’s riffing at the end. “In Memory of Elizabeth Reed” is Dickey Betts’ composition and one of their finest moments on the stage. Dickey’s beginning volume swell is beautiful as is the ever-changing arrangement of the song. All solos are fantastic (especially Duane Allman’s epic solo, it’s like he’s telling a story with his guitar). “You Don’t Love Me” is an epic blues jam, which goes past 20 minutes. The beginning is well played, as everybody is able to connect with each other musically. After the main part of the song, Duane goes off on his own showcasing the brilliance of his playing. Dickey also shows the crowd that he is no second rate guitar player as he dives into a jazzy jam with the two drummers having their own drum-off contest. Then as the band comes back together, Duane and Dickey do what they do best, harmonize! The dueling guitar work during this section is what they are known for. Duane closes the song with a burning rendition of “Joy the World,” and the song is over. The first CD closes with the rendition of Gregg Allman’s famous “Midnight Rider” from the second album. This is not from the same show and is probably the weakest track here by the band themselves, but a fine track none-the-less. “Hot Lanta” is, dare I say it, the best song the Allmans’ ever did. It is one of the few songs they all wrote together. Gregg leads the charge with his organ line followed by Duane and Dickey playing together like a horn section. The three of them offer fine solos with Berry Oakley supporting their improvisations with his own brilliant 6/8 improvisational bass. Jaimoe and Butch also take s dueling drum solo. The ending is eerie, yet it counterpoints well to the rest of the song. As soon as they hit the last note, the audience erupts in applause. If you already know the studio version of Gregg Allman’s “Whipping Post,” forget about it, because this 23-minute version here is just too unbelievable for words. It’s hard to explain how great this song is, but it’s even harder to explain how incredible the instrumental “Mountain Jam” is. A 33-minute opus, “Mountain Jam” exists as one of the most epic songs of all time. The song really showcases the genius of Duane Allman’s playing. Everybody in the band gets a solo here and plays their best on the whole album (included is the greatest drums solo of all time shared by Jaimoe and Butch Trucks and the greatest bass solo of all time by Berry Oakley). There’s no other way to explain how great his track is, you just have to buy to the album to realize its brilliance. “Drunken Hearted Boy” is simply a jam with Elvin Bishop, the weakest track here. And so this is not only the Allmans at their peak, but live rock ‘n roll at its peak. A must have for all rock ‘n roll blues fans. This deluxe edition is fantastic as well, but for some, the original is the best.

Arguably the Best Live Album Ever

This is one of the two or three greatest live albums of all time (in fact, many would consider it the greatest, along with The Who's Live at Leeds.) The guitar work on here is unparalled, with Duane Allman and Dickey Betts going back and forth. For those who like extended jams, it doesn't get much better than "Whipping Post" and "Mountain Jam". If you have never really gotten into ABB before, buy this album! I had never really listended to them before I bought this, and after hearing it, ABB has become one of my favorite bands. This is one of the very best cds availiable on Itunes.

Buy "Midnight Rider" from here, and then buy the "Fillmore Concerts" album.

This Deluxe edition restores the same chops and edits that Tom Dowd put on the original tracks (ie. the removal of Thom Douchette's entire harp solo from "Stormy Monday", and the a few guitar and harp solos on "You Don't Love Me"). This deluxe edition is given the "Europe '72" treatment. Instead of crossfading tracks to give it the feel of one concert, the songs are edited seperately, which is what the Dead did with "Skull and Roses" and "Europe '72". The Fillmore Concerts restores those cut out solos and presents these tracks like it was the best night the Allman Brothers ever gave.


Formed: 1969 in Macon, GA

Genre: Rock

Years Active: '60s, '70s, '80s, '90s, '00s, '10s

The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and more redemption. Since their beginning in the late '60s, they went from being America's single most influential band to a shell of their former self trading on past glories, to reach the 21st century resurrected as one of the most respected rock acts of their era. For the first half of the '70s, the Allman Brothers Band was the most influential rock group in America, redefining rock music and its boundaries....
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