Allman Brothers Band - One Way Out: Live At The Beacon Theater - 2004 - Sanctuary
A brilliant, and important live album from the great Allman Brothers Band It's universally recognized that this band has always been one of the greatest rock bands ever. This band have undergone unbearable misery and tragedy, and are still rockin'.The line up on this album is arguably the best since the death of the great Duane Allman. Warren Haynes, and Derek Trucks are masters of the guitar, and contribute immensely to this album. You may have heard most of these tracks before, but the line up here put a new twist on everything, and revitalise the legendary band. This is one of the best modern day live rockin' albums you will ever hear, and is VHR by A.O.O.F.C. If you haven't already heard the Allman Brothers' classic "Eat A Peach", and "At Fillmore East"albums, try and listen to them when you have some spare time. Great rock like this will never die.
TRACKS / COMPOSERS
DISC 1
"Statesboro Blues" (McTell) - 5:22
"Don't Keep Me Wonderin'" (Allman) - 4:12
"Midnight Rider" (Allman, Payne) - 3:16
"Rockin' Horse" (Allman, Haynes, Pearson, Woody) - 10:12
"Desdemona" (Allman, Haynes) - 13:27
"Trouble No More" (Waters) - 3:45
"Wasted Words" (Allman) - 7:51
"Good Morning Little Schoolgirl" (Williamson) - 9:01
"Instrumental Illness" (Burbridge, Haynes) - 16:42
DISC 2
"Ain't Wastin' Time No More" (Allman) - 6:29
"Come and Go Blues" (Allman) - 6:03
"Woman Across the River" (Crutcher, Jones) - 6:38
"Old Before My Time" (Allman, Haynes) - 5:37
"Every Hungry Woman" (Allman) - 5:21
"High Cost of Low Living" (Allman, Anders, Burgin, Haynes) - 8:42
"Worried Down with the Blues" - 7:58
"Dreams" (Allman) - 12:49
"Whipping Post" (Allman) - 15:31
BAND
Gregg Allman - Hammond B-3 organ, piano, acoustic guitar, lead vocals
Jaimoe - drums (left side)
Butch Trucks - drums (right side)
Warren Haynes - lead and slide guitars (right side), lead and background vocals
Marc Quinones - congas, percussion, background vocals
Oteil Burbridge - bass
Derek Trucks - lead and slide guitars (left side)
REVIEWS
To be perfectly honest, I didn't pick up the new live album One Way Out because I'm a huge fan of the Allman Brothers. I picked it up for much the same reason I got last year's studio album, Hittin' The Note - the presence of slide-guitar monster Derek Trucks and equally monstrous bassist Oteil Burbridge. The Allmans are one of those bands whose music has infiltrated the musical landscape - classic rock stations play their old hits on a pretty regular basis. It was pretty easy to ignore it when I was younger - it was just southern rock, and all I could see was a bunch of drugged out hippies sittin' round jamming on the front porch complete with that big guy in the overalls hunched over and blowin' into a jug. Of course, the generalization is wildly inaccurate - on the surface the Allman Bros. may invoke jaded images like that, but upon closer inspection this is music more closely related to the blues and even jazz at times than rock. How many times have you heard "Midnight Rider"? I know I heard it so often I thought I'd never want to hear it again. And yet somehow the version on One Way Out is so invigorating it's like a new song. Truck's slide work howls from your left speakers and more often than not I found myself transfixed by his playing. Burbridge's bass work rarely takes center stage, instead burbling insistently in the background and providing a thick, meaty foundation. While the older material may not be the most challenging for such a tremendously talented bassist, every note and lick oozes with evidence of his proficiency. The tendency for bands like this - bands that are known for their jamming - is to just rely on jamming, period. This has always been my problem, I find that most of the bands who jam simply lack the chops and taste to maintain my interest for long as they fall back on repetition and simple variations of riffs. The Allman Bros. perfected the art of jamming long ago, and One Way Out doesn't lack for it. Numerous tracks venture past the 10 minute mark, but don't drag on so long that you forget what song you're even listening to. Along with the Brothers' hallmark jam, "Whipping Post," the band stretches out on newer tracks like Hittin' The Note's "Instrumental Illness" (16 minutes of it!) and "Desdemona," but it's the jazzy change-ups of "Woman Across The River" that fascinates me no end. I can't get enough of the band slipping from up-tempo to down-tempo blues during the chorus, and then turning it right back around with a catchy little motif that's repeated throughout the tune - I could have listened to a lot more of this than the just under seven minutes provided on One Way Out. I've always been intrigued by the two-drummer system employed by the Allmans - "why is this necessary?" I often wondered. On a cursory examination, the drumwork appears to be pretty straight-ahead - and maybe that's simply an unfortunate side-effect of listening to radio hits - but live the rhythm section is dense and complex, with each drummer filling in around the other. Heck, there's even room for a separate percussionist. You'd think all this drumming would overload the mix, but it doesn't - Butch Trucks (Derek's cousin) occupies the right half of the auditory field and Jaimoe fills out the left with percussion bits peeking out in between the two. What could be an aural mess is just the opposite. The mix on One Way Out is fantastic - so clear that everyone's parts are exquisitely defined, each being given plenty of room and space and yet it never sounds weak. One Way Out is just plain fun to listen to. An incredible concert and the beautiful presentation assure this will rank as one of my favorite releases of the year. © Tom Johnson, May 04, 2004, http://blogcritics.org/music/
Do we really need another live double CD by the Allman Brothers Band? Oh yeah. In fact, when they play this well, we need them in droves. This collection marks the second time the Allman Brothers have issued music from their storied shows at the Beacon Theater in New York. The first, Peakin' at the Beacon, was issued in 2000 with Dickey Betts and Derek Trucks in the lineup. Betts had not yet been fired and Warren Haynes was yet to return to the fold. While Betts is a singular voice and is one of the pillars of the ABB's sound, this new version of the band with Trucks and Haynes manning the guitars has gelled into a formidable unit; in fact, they are something spectacular. Add to the fact that Gregg Allman is singing and playing better than at any time in his life (and Haynes is no slouch either), and you have the best live band in the world, bar none. A major plus on this outing is that with the exception of a handful of tracks — "Statesboro Blues," "Wasted Words," "Ain't Wastin Time No More," "Dreams," and "Whipping Post" (which closes the set) — the other 13 cuts are not usually found on the Brothers' live sets. The versions of the classics are as tough and reverent as can be expected; there is no burden placed on these tracks by virtue of their weight and status in the band's canon — which speaks plenty for the power and acumen of these versions. And on the other tunes, including classics like "Midnight Rider" and "Trouble No More," Gregg's powerful country ballad "Old Before My Time," the funky, burning read of "Good Morning Little Schoolgirl," "Woman Across the River," and "Worried Down With the Blues," the band is completely unified. Jaimoe and Butch Trucks weave in and through one another to provide an edgy, rollicking ballast to the separate-channel guitars of Derek Trucks and Haynes, who don't duel so much as propel one another to flights of six-string soulfulness and dizzying high-wire pyrotechnics — Derek's slide playing is otherworldly; it's full of Indian modal and jazz scales, and Haynes, is, well, Warren Haynes. The other notable thing about One Way Out is its sound. Never has a live mix come across with such immediacy and dynamic tension. This is the sound of a band in the room with you. You are hearing the music as it was made from the stage; the listener is in the mix, not in front of it. Pair this with Hittin' the Note, the studio album from 2003, and you have the sound of a band that has no peers. One Way Out is essential for anyone interested in rock & roll. Period. © Thom Jurek, allmusic.com
Freakin' at the Beacon... It has evolved into more than just a series of gigs; it has become a tradition. Gregg Allman and company roll the tour bus into New York City every spring and settle in for a two-week stand at the Beacon Theatre. What group commands that kind of respect or fan support? Only the Allman Brothers Band, that’s who. And with the new double live CD recorded from consecutive evenings in March 2003, all doubts are dispelled as to who the finest live jammers are. Forget the Dead and Phish, they’re not even close, as the Allmans and the Beacon have become synonymous with extended play brilliance. Into his fourth decade assembling the musicians, Gregg Allman has done a remarkable job of juggling personnel and keeping his charges functioning as a cohesive unit. Warren Haynes is completely at ease dueling with wunderkind Derek Trucks, as the pair strum and slide their way through two and a half hours of blues drenched classics. Jaimoe, Butch Trucks, and Mark Quinones effortlessly trade percussion licks, while bassist Oteil Burbridge follows, having found his niche replacing the late Allen Woody. And of course there’s Allman himself, whose flowing keyboard work and ragged vocals sound as good as ever. For everyone’s listening pleasure, the twin discs offer up 18 tracks of set list standards and surprises, short takes and full blown explorations. From disc one’s opening of “Statesboro Blues”, the band is in prime form, slowly burning up the 13-plus-minute “Desdemona” to a rollicking jaunt through “Trouble No More”. Even the staple “Midnight Rider” shines with new luster. The set is flawless in all respects, and is punctuated by the phenomenal Haynes led closer, “Instrumental Illness”. Could it get any better? Obviously it can, as disc two is even more impressive than its counterpart. The band delves into the deepest recesses of its blues sensibilities, contrasting the somber “Old Before My Time” with the smoldering “Worried Down with the Blues”. As with any Allmans’ concert however, the absolute best is left for last. Two tracks, a 28-minute finale, enough said. OK, just a few more words… “Dreams” and “Whipping Post”. As strong a performance as these discs provide, there is one small gripe that aficionados may voice. Although the overall sound is crisp through out, particularly for a live recording, Burbridge’s bass is frustratingly quiet. A shame really, as he contributes some fine low-end rumble that would be fully appreciated if miked up a bit more. That minor issue aside, the most amazing aspect of One Way Out is how it compares to the Allmans’ classic live albums, Atlanta International Pop Festival and Live at Fillmore East. While the talents of Duane Allman and Berry Oakely can never be truly equaled, the band has stood the test of time. Even the departure of Dickey Betts has not hampered the band’s trademark sound and penchant for playing live. A good thing for the Allman faithful, as the summer tour season is now upon us. And if the band doesn’t equal its level of excellence on any stage other than the Beacon, so be it, Spring 2005 isn’t that far off. But if One Way Out is the Allman’s new millennium sign of things to come, then kick back and relax, ‘cause Gregg and the boys still got it… © Adam Williams, 14 June 2004, © 1999-2008 PopMatters.com. All rights reserved
BIO
The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and a new redemption. Over nearly 30 years, they've gone from being America's single most influential band to a has-been group trading on past glories, to reach the 21st century as one of the most respected rock acts of their era. For the first half of the 1970s, the Allman Brothers Band was the most influential rock group in America, redefining rock music and its boundaries. The band's mix of blues, country, jazz, and even classical influences, and their powerful, extended on-stage jamming altered the standards of concert performance — other groups were known for their on-stage jamming, but when the Allman Brothers stretched a song out for 30 or 40 minutes, at their best they were exciting, never self-indulgent. They gave it all a distinctly Southern voice and, in the process, opened the way for a wave of '70s rock acts from south of the Mason-Dixon Line, including the Marshall Tucker Band, Lynyrd Skynyrd, and Blackfoot, whose music, at least initially, celebrated their roots. And for a time, almost single-handedly, they also made Capricorn Records into a major independent label. The group was founded in 1969 by Duane Allman (b. Nov. 20, 1946-d. Oct. 29, 1971) on guitar; Gregg Allman (b. Dec. 8, 1947) on vocals and organ; Forrest Richard ("Dickey") Betts (b. Dec. 12, 1943) on guitar; Berry Oakley (b. Apr. 4, 1948-d. Nov. 12, 1972) on bass; and Claude Hudson ("Butch") Trucks (b. May 11, 1947) and Jaimoe (Johnny Lee Johnson) Johanson (b. July 8, 1944) on drums. Duane and Gregg Allman loved soul and R&B, although they listened to their share of rock & roll, especially as it sounded coming out of England in the mid-'60s. Their first group was a local Daytona Beach garage band called the Escorts, who sounded a lot like the early Beatles and Rolling Stones; they later became the Allman Joys and plunged into Cream-style British blues, and then the Hour Glass, a more soul-oriented outfit. The group landed a contract with Liberty Records with help from the Nitty Gritty Dirt Band, but the company wasted the opportunity on a pair of over-produced albums that failed to capture the Hour Glass' sound. The group split up after Liberty rejected a proposed third LP steeped in blues and R&B. Duane Allman began working as a session guitarist at Fame Studios in Muscle Shoals, AL, and it was there, appearing on records by Wilson Pickett, Aretha Franklin, John Hammond, and King Curtis, among others, that he made his reputation. In 1969, at the coaxing of ex-Otis Redding manager Phil Walden, Allman gave up session work and began putting together a new band — Jaimoe came aboard, and then Allman's longtime friend Butch Trucks and another Allman friend, Berry Oakley, joined, along with Dickey Betts, with whom Oakley was playing in a group called Second Coming. A marathon jam session ensued, at the end of which Allman had his band, except for a singer — that came later, when his brother Gregg agreed to join. They were duly signed to Walden's new Capricorn label. The band didn't record their first album until after they'd worked their sound out on the road, playing heavily around Florida and Georgia. The self-titled debut album was a solid blues-rock album and one of the better showcases for guitar pyrotechnics in a year with more than its share, amid albums by Cream, Blind Faith, the Jeff Beck Group, and Led Zeppelin. It didn't sell 50,000 copies on its initial release, but The Allman Brothers Band impressed everyone who heard it and nearly everyone who reviewed it. Coming out at the end of the 1960s, it could have passed for a follow-up to the kind of blues-rock coming out of England from acts like Cream, except that it had a sharper edge — the Allmans were American and Southern, and their understanding of blues (not to mention elements of jazz, mostly courtesy of Jaimoe) was as natural as breathing. The album also introduced one of the band's most popular concert numbers, "Whipping Post." Their debut album attracted good reviews and a cult following with its mix of assured dual lead guitars by Duane Allman and Dickey Betts, soulful singing by Gregg Allman, and a rhythm section that was nearly as busy as the lead instruments, between Oakley's rock-hard bass and the dual drumming of Trucks and Johanson. Their second album, 1970's Idlewild South, recorded at Capricorn's studios in Macon, GA, was produced by Tom Dowd, who had previously recorded Cream. This was a magical combination — Dowd was completely attuned to the group's sound and goals, and Idlewild South broadened that sound, adding a softer acoustic texture to their music and introducing Betts as a composer (including the original studio version of "In Memory of Elizabeth Reed," an instrumental tribute to Miles Davis that would become a highlight of their shows, in many different forms, for the next 30 years). It also had a Gregg Allman number, "Midnight Rider," which became one of the band's more widely covered originals and the composer's signature tune. By this time, the band's concerts were becoming legendary for the extraordinarily complex yet coherent interplay between the two guitarists and Gregg Allman's keyboards, sometimes in jams of 40 minutes or more to a single song without wasting a note. And unlike the art rock bands of the era, they weren't interested in impressing anyone with how they played scales, how many different tunings they knew, or which classical riffs they could quote. Rather, the Allmans incorporated the techniques and structures of jazz and classical into their playing. In March of 1971, the band played a series of shows at the Fillmore East that were recorded for posterity and subsequently transformed into their third album, At Fillmore East. This double LP, issued in July of 1971, became an instant classic, rivaling the previous blues-rock touchstone cut at the Fillmore, Cream's Wheels of Fire. Duane Allman and his band were suddenly the new heroes to millions of mostly older teenage fans. Although it never cracked the Top Ten, At Fillmore East was certified as a gold record on October 15, 1971. Duane Allman was killed in a motorcycle accident 14 days later. The band had been midway through work on its next album, Eat a Peach, which they completed as a five-piece, with Dickey Betts playing all of the lead and slide guitar parts. Their second double album in a row became another instant classic, and their first album to reach the Top Ten, peaking at number five. Despite having completed Eat a Peach, the group was intact in name only. Rather than try to replace Duane Allman as a guitarist, they contrived to add a second solo instrument in the form of a piano, played by Chuck Leavell. The group had already begun work on a long-delayed follow-up to Eat a Peach, when Oakley was killed in a motorcycle accident only a few blocks from Allman's accident site. Lamar Williams (b. Jan. 15, 1949-d. Jan. 25, 1983) was recruited on bass, and the new lineup continued the group's concert activities, as well as eventually finishing the band's next album, Brothers and Sisters. which was released on August 1, 1973. During the extended gap in releases following Eat a Peach, Atco reissued The Allman Brothers Band and Idlewild South together as the double LP Beginnings, which charted higher than either individual release. Brothers and Sisters marked the beginning of a new era. The album had a more easygoing and freewheeling sound, less bluesy and more country-ish. This was partly a result of Capricorn losing the services of Tom Dowd, who had produced their three previous albums. Additionally, Dickey Betts' full emergence as a songwriter and singer as well as the group's only guitarist, playing all of the lead and slide parts, altered the balance of the group's sound, pushing forth his distinct interest in country-rock. Betts also became the reluctant de facto leader of the band during this period, not from a desire for control as much as because he was the only one with the comparative stability and creative input to take on the responsibility. The record occupied the number one spot for six weeks, spurred by the number two single "Ramblin' Man," and became their most well-known album. It was an odd reversal of the usual order of success for a rock band — usually, it was the release of an album that drew the crowds to concerts, but in this case, the months of touring the band had done paved the way for the album. The fact that it kept getting pushed back only heightened the fans' interest. Ironically, Brothers and Sisters was a less challenging record than the group's earlier releases, with a relatively laid-back sound, relaxed compared to the groundbreaking work on the group's previous four albums. But all of this hardly mattered; based on the reputation they'd established with their first four albums, and the crowd-pleasing nature of "Ramblin' Man" and the Dickey Betts-composed instrumental "Jessica," the group was playing larger halls and bigger crowds than ever. An entire range of Southern rock acts had started to make serious inroads into the charts in the wake of the Allman Brothers. Labels such as MCA and even Island Records began looking for this same audience, signing acts like Lynyrd Skynyrd and Blackfoot, respectively, among others. For the first time since the mid-'50s, the heyday of the rockabilly era, a major part of the country was listening to rock & roll with a distinctly Southern twang. The band began showing cracks in 1974, as Gregg Allman and Dickey Betts both began solo careers, recording albums separately from the group. Allman married Cher (twice), an event that set him up in a Hollywood-based lifestyle that created a schism with the rest of the band. They might have survived all of this, but for the increasing strain of the members' other personal habits — drugs and alcohol had always been a significant part of the lives of each of the members, except perhaps for Jaimoe, but as the strain and exhaustion of touring continued, coupled with the need to produce new music, these indulgences began to get out of control, and Betts' leadership of the group created a further strain for him. The band's difficulties were showcased by their next album, the highly uneven Win, Lose or Draw, which lacked the intensity and sharpness of their prior work. The whole band wasn't present for some of the album, and Gregg Allman's involvement with Cher, coupled with his serious drug problems, prevented him from participating with the rest of the group — his vocals were added separately, on the other side of the country. The band finally came apart in 1976 when Allman found himself in the midst of a federal drug case against a supplier and agreed to testify against a friend and band employee. Leavell, Johanson, and Williams split to form Sea Level, which became a moderately successful band, cutting four albums for Capricorn over the next four years, while Betts pursued a solo career. All of them vowed never to work with Gregg Allman again. Amid this split, Capricorn Records, reaching ever deeper into its vaults for anything that could generate income, issued two collections, a double-LP live collection called Wipe the Windows, Check the Oil, Dollar Gas, showcasing the Brothers and Sisters-era band at various concerts, and a double-LP best-of package, And the Road Goes On Forever. Wipe the Windows was a modest seller, appearing as it did when the group's sales had already fallen off, and it was compared unfavorably with the legendary work on At Fillmore East. The studio compilation passed with barely a ripple, however, because most fans already had the stuff on the original albums. They were all back together by 1978, however, and over the next four years the group issued a somewhat uneven series of albums. Enlightened Rogues (1979) somewhat redeemed their reputations — produced by Tom Dowd, who had always managed to get the very best work out of the group, it had more energy than any record they'd issued in at least six years. It also restored the two-guitar lineup, courtesy of Dan Toler (from Dickey Betts' solo band), who was brought in when Chuck Leavell (along with Lamar Williams) refused to return to the Allmans. By that time, however, the Allmans were fighting against time and musical trends. Disco, punk, and power pop had pretty much stolen a march on the arena acts epitomized by the Allmans; whatever interest they attracted was a matter of nostalgia for their earlier releases. The group was in danger of becoming arena rock's third big oldies act (after the Moody Blues and Paul McCartney's Wings). Additionally, their business affairs were in a shambles, owing to the bankruptcy of Capricorn Records in late 1979. When the fallout from the Capricorn collapse settled, PolyGram Records, the company's biggest creditor, took over the label's library, and the Allman Brothers were cut loose from their contract. Their signing to Arista enabled the group to resume recording. What they released, however, was safe, unambitious, routinely commercial pop/rock, closer in spirit to the Doobie Brothers than their own classic work, and a shadow of that work, without any of the invention and daring upon which they'd built their reputations. The group's fortunes hit a further downturn when Jaimoe was fired, breaking up one of the best rhythm sections in rock. For most of the 1980s, the group was on hiatus, while the individual members sorted out their personal and professional situations. During those years, only Dickey Betts seemed to be in a position to do much with his music, and most of that wasn't selling. In 1989, the band was reactivated again, partly owing to PolyGram's decision to issue the four-CD box set retrospective Dreams. That set, coupled with the reissue of their entire Capricorn catalog on compact disc in the years leading up to the box's release, reminded millions of older listeners of the band's greatness, and introduced the group to millions of people too young to have been around for Watkins Glen, much less the Fillmore shows. They reunited and also restored the band's original double-lead-guitar configuration, adding Warren Haynes on lead guitar alongside Dickey Betts, with Allen Woody playing bass; Chuck Leavell was gone, however, having agreed to join the Rolling Stones on tour as their resident keyboard player, and Lamar Williams had succumbed to cancer in 1983. The new lineup reinvigorated the band, which signed with Epic Records and surprised everyone with their first release, Seven Turns. Issued in 1990, it got some of the best reviews and healthiest sales they'd had in more than a decade. Their subsequent studio albums failed to attract as much enthusiasm, and their two live albums, An Evening With the Allman Brothers Band and 2nd Set, released in 1992 and 1995, respectively, were steady but not massive sellers. Much of this isn't the fault of the material so much as a natural result of the passage of time, which has left the Allmans competing with two decades' worth of successors and rivals. The group has stayed together since 1989, overcoming continuing health and drug problems, which have occasionally battered their efforts at new music. They remain a top concert attraction 25-plus years after their last historically important album, easily drawing more than 20,000 fans at a time to outdoor venues, or booking 2,000-seat theaters for three weeks at a time. Their back catalog, especially the first five albums, remain consistent sellers on compact disc and recently returned to the reconstituted Capricorn label (still a home for Southern rockers, including the latter-day Lynyrd Skynyrd, as well as reissues of Elmore James and other classic bluesmen), under a 1997 licensing agreement that has resulted in their third round of digital remastering. Apart from their Arista releases, the Allman Brothers Band has remained remarkably consistent, altering their music only gradually over 30 years. They sound more country than they did in their early days, and they're a bit more varied in the vocal department, but they have still been soaring at their concerts and on most of their records over the last ten-plus years. © Bruce Eder, allmusic.com
