The Allman Brothers Band Recording Company, Buy CD, Bonus Track Live At The Warehouse New Orleans, LA 3/13/70, Matrix / Runout (Dsc One): 821229000042 www.furnacemfg.com 3211-CD-1392 19-143-23-2, Matrix / Runout (Disc Two): 821229000042 www.furnacemfg.com 3211-CD-1393 19-144-00-2, Matrix / Runout (Disc Three): 821229000042 www.furnacemfg.com 3211-CD-1394 19-144-00-2, Matrix / Runout (Disc Four): 821229000042 www.furnacemfg.com 3211-CD-1395 19-144-00-2. Don’t Keep Me Wonderin’ Interestingly in 1971, however, Kirk was a 20-year-old counterculture entrepreneur who found himself at the Fillmore West during the last four days of January. The band–Duane Allman, Gregg Allman, Dickey Betts, Jaimoe, Berry Oakley and Butch Trucks–were loose and talkative and you can hear them really dialing their sound in at what would be a final tune-up for the seminal At Fillmore East album, recorded less than two months later. In Memory Of Elizabeth Reed Label: The Allman Brothers Band Recording Company - ABBR-00017 • Format: 2x, Vinyl LP, Limited Edition • Country: USA & Europe • Genre: Rock, Blues • Style: Blues Rock Whipping Post, Disc 2, 1/30/1971 Statesboro Blues Kirk West–who served as the “Tour Mystic” and official archivist for the Allman Brothers Band for over 20 years–played a pivotal role in re-acquiring the original live performance two-track, reel-to-reel tapes used for this release from legendary band crew members Twiggs Lyndon, Joe Dan Petty and Mike Callahan, who were the original care takers of these recordings. 1. A superior “Whipping Post” concludes the Fillmore West material, but Disc Four goes on to include a wonderful bonus track: a March, 1970 version of “Mountain Jam” from the Warehouse in New Orleans which-at 45 minutes long!-showcases a band that loved to improvise and let the music take on a life of its own. Label: Allman Brothers Band Recording Company - 821229000042 • Format: 4x, CD Album • Country: US • Genre: Rock, Blues • Style: Blues Rock, Southern Rock Please check carefully to make sure you are buying the desired album. Compiled from reel-to-reel soundboard masters, the January 29 show that kicks off this collection reads like an Allman Brothers Band greatest hits, from opener “Statesboro Blues” through the set-wrapping “Whipping Post.” On the next night, the standard sequence of “Statesboro Blues,” Trouble No More,” “Don’t Keep Me Wonderin’” and “Elizabeth Reed” was typically riveting, and then the blues-soaked “Stormy Monday” was worked in, replacing “Midnight Rider.” Gregg’s vocals were visceral and honest, while Duane and Dickey added down and dirty licks. The muddy state of the aged original tapes shows on "Midnight Rider," though the performance is solid. The Grammy-winning, Rock & Roll Hall of Fame band (formed in March 1969) were in great form on this weekend, where they were the middle act playing between headliners Hot Tuna and the 24-piece opener Trinidad Tripoli Street Band. The quality here, while very good throughout, is muddy in some spots (mostly on disc two). Six weeks before the Allman Brothers Band played the shows immortalized on At Fillmore East, they played three gigs at Bill Graham's left coast venue, the Fillmore West, in San Francisco in January of 1971. Hoochie Coochie Man Disc one, from January 29, starts with three relatively short tunes as standard openers: "Statesboro Blues," "Trouble No More," and a funky "Don’t Keep Me Wonderin'." They are wooly and intensely exploratory. They were slotted between openers the Trinidad Tripoli Steel Band and Hot Tuna.These three shows are presented in their entirety in a four-disc set. You Don’t Love Me This will be the debut release of these recordings. “I was living in Palo Alto with a bunch of hippie kids who, by and large, were Dead Heads. A revelation of these recordings is what they say about the Allmans' development and how much more polished they were just six weeks later, which doesn't diminish the earlier dates one iota: These performances are absolutely electrifying. Dreams As part of the ongoing celebration of their 50th anniversary, on September 6 the ALLMAN BROTHERS BAND Recording Company–caretakers of the original band’s unreleased catalog–in conjunction with distributor The Orchard will release a four-CD set titled Fillmore West ’71, culled from an epic weekend of live music recorded at the legendary San Francisco venue. I had moved to California from Chicago, and I already was a big Allman Brothers fan,” recalls West. All are showcases for Gregg Allman's peak vocal performances. The tapes had been stored in closets and attics for many years, necessitating careful transfers and several successive attempts at restoration, as technology continued to improve. Rolling Stone exclusively debuted the band’s “rollicking rendition” of the Muddy Waters classic “Trouble No More;” listen now here. 1 month free, then $14.99/ month. Whipping Post, Bonus Track: In Memory Of Elizabeth Reed Three long jams that showcase the Allmans spiraling improv and gritty approach to blues follow with a breezy, labyrinthine "Dreams," a spiky "You Don’t Love Me" (with killer organ), and of course, the nearly 19-minute jam orgy "Whipping Post." They were then acquired by archivist Kirk West, who set the painstaking restoration process in motion. View credits, reviews, tracks and shop for the 2020 Vinyl release of Fillmore West 1-31-71 on Discogs. The modal jazz-rock of Dickey Betts' "In Memory of Elizabeth Reed" is fourth; the band's raw approach is evident in the fast and furious interplay between Duane Allman and Betts. After hammering tightly through the reliable first four, the ABB placed “Midnight Rider” back into the rotation, and then Berry Oakley stepped up to the mic for a wicked and nasty take on “Hoochie Coochie Man,” with Jaimoe and Butch churning full-bore behind him. “I was insisting that everyone in the house go up to the Fillmore that weekend – ‘Let’s go, let’s go – the Brothers are in town, playing with Hot effin’ Tuna.”, Disc 1, 1/29/1971 "Midnight Rider" gets dropped from the second evening and replaced with a slow-burning, nine-minute "Stormy Monday," where Duane's explosive slide solo ratchets up the tension before Betts' answers with a stinging, jagged attack of his own.

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