The Allman Brothers Band Vinyl Records

The quality, dynamic performance and ambience encompassed herein all at once make for a quite staggering sonic experience, one that fans of this legendary act in its original line-up will relish alongside the groups other essential releases.

That good fortune and success can be short lived and transitory has been rarely illustrated better than by the awful circumstances that befell the Allman Brother Band in 1971 and 1972. The group's debut and sophomore albums, released in 1969 and 1970 respectively, had achieved relatively low sales outside of the southern states, but reviews were generally positive and American critics, particularly those writing for the by then almost biblical Rolling Stone, had come out in favour of the Allmans. But it was to be the marvellous live set recorded at New York's Fillmore East in March of 71 that would provide for the commercial breakthrough that turned the group from local curios into national treasures. The album, simply titled At Fillmore East, went on general release in July and both the critical reception and the sales were phenomenal. The road was where the Allmans had paid their dues and built up their core audience, and it was this same platform upon which the band and their managers knew they must now promote both band and record in the wake of their new found celebrity. So, back in New York a month after the release of Fillmore East, The Allman Brothers Band pulled up outside the city's A & R Studio on August 26th, to perform a show but one not just for the enjoyment of those fortunate enough to secure a ticket, but also for those within earshot of NYC's legendary radio station WPLJ FM, who were lined up to transmit proceedings live across the airwaves. The resultant broadcast is presented on this LP, available legitimately for the first time. A favourite of many tape and rarities collectors, the quality, dynamic performance and ambience encompassed herein all at once make for a quite staggering sonic experience, one that fans of this legendary act in its original line-up will relish alongside the group s other essential releases. Two months after this remarkable show went out, Brother Duane Allman, one of the world's finest ever rock and blues guitarists, was tragically killed in a motorcycle accident. Little more than another year on, in November of 1973, ABB bassist Berry Oakley sustained a similar fate in a separate crash, just three blocks from Duane's fatal accident spot. This release showcases one of the final appearances of the original Allmans line up and remains not just a delightful listening experience but additionally serves as a fitting tribute and historical document to the legacy of this iconic American rock group.

Features:

• Available for the first time on LP
• One of the last shows to feature Duane Allman
• 2LP Import

LP2
7. Stormy Monday
8. You Dont Love Me
9. Soul Serenade
10. You Dont Love Me
11. Soul Serenade (In Memory Of King Curtis)
12. Hot Lanta

Chart-Topping Album Includes Smash “Ramblin’ Man” and Favorites “Jessica” and “Southbound”

Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity’s 180 gram LP of Brothers and Sisters joins the unparalleled reissue imprint’s other Allman titles in presenting the superlative ensemble’s work in the most lifelike, uncompromised fidelity possible. Whether it’s the feather-light harmonic layering of the collective’s background vocals, echoing cavity of Leavell’s gospel-tinted piano, skin-against-skin smack of Jaimoe’s congas, or sweet dobro lines laid down by Betts, this version betters all previous pressings by bringing you, the listener, as close to the studio as any record feasibly can.

Having stayed at the top of the Billboard charts for five consecutive weeks, Brothers and Sisters constitutes the Allman Brothers Band’s biggest commercial triumph. Given the circumstances surrounding its creation, such an accomplishment hardly seemed possible. Fresh from licking their wounds over Duane’s tragic motorcycle accident, the group experienced déjà vu when Oakley met the same fate just blocks away from where his mate was killed. Rather than collapse, the Allman Brothers Band tightened up and mellowed out, inviting Leavell to join instead of recruiting another guitarist.

What the sextet gets in return for its troubles is music that marks the concrete beginnings of a form that soon become known as Southern rock. Leavell and Betts exchange notes as if the pair has been trading ideas since they were children. Slide guitars still tread over greasy grooves, yet the Allman Brothers Band digs deeper into country dirt, parlaying a twang anchored by Betts’ picking and abetted by Gregg’s organic, shot-of-blues vocals. The laidback vibe manifests on the signature “Ramblin’ Man,” a hit evocative of the record’s breezy melodies and friendly interplay.

The cover art further reveals the Allman Brothers Band’s mindset. Golden, tranquil, idyllic, Southern, loving: It’s a paradise-longing view that would soon come crashing down in the group’s lives but one that, for the duration and existence of Brothers and Sisters, remains gloriously undisturbed.

Track Listing:
1. Wasted Words
2. Ramblin’ Man
3. Come and Go Blues
4. Jelly, Jelly
5. Southbound
6. Jessica
7. Pony Boy

Dickey Betts Leads Group Through Mellower Country Rock, Pairs With Pianist Chuck Leavell

Chart-Topping Album Includes Smash “Ramblin’ Man” and Favorites “Jessica” and “Southbound”

Having stayed at the top of the Billboard charts for five consecutive weeks, Brothers and Sisters constitutes the Allman Brothers Band’s biggest commercial triumph. Given the circumstances surrounding its creation, such an accomplishment hardly seemed possible. Fresh from licking their wounds over Duane’s tragic motorcycle accident, the group experienced déjà vu when Oakley met the same fate just blocks away from where his mate was killed. Rather than collapse, the Allman Brothers Band tightened up and mellowed out, inviting Leavell to join instead of recruiting another guitarist.

What the sextet gets in return for its troubles is music that marks the concrete beginnings of a form that soon become known as Southern rock. Leavell and Betts exchange notes as if the pair has been trading ideas since they were children. Slide guitars still tread over greasy grooves, yet the Allman Brothers Band digs deeper into country dirt, parlaying a twang anchored by Betts’ picking and abetted by Gregg’s organic, shot-of-blues vocals. The laidback vibe manifests on the signature “Ramblin’ Man,” a hit evocative of the record’s breezy melodies and friendly interplay.

The cover art further reveals the Allman Brothers Band’s mindset. Golden, tranquil, idyllic, Southern, loving: It’s a paradise-longing view that would soon come crashing down in the group’s lives but one that, for the duration and existence of Brothers and Sisters, remains gloriously undisturbed.

Track Listing:
1. Wasted Words
2. Ramblin’ Man
3. Come and Go Blues
4. Jelly, Jelly
5. Southbound
6. Jessica
7. Pony Boy

During the recording of this album, band leader Duane Allman was tragically killed in a motorcycle accident. Still reeling from their loss, the band nonetheless managed to complete this classic album with Dickey Betts on guitar. In tribute to Duane, however, they chose to bring the album to a close with a 34-minute jam taken from the Fillmore East sessions, which showcased what an amazing guitar player and force to be reckoned with Duane really was. Includes 3 bonus tracks and a replica of the original insert." The 4th Allman Brothers album, originally released in 1972. 180 gram virgin vinyl, deluxe gatefold sleeve.

Track Listing:
1. Ain't Wastin' Time No More
2. Les Brers In A Minor
3. Melissa
4. Mountain Jam
5. One Way Out
6. Trouble No More
7. Stand Back
8. Blue Sky
9. Little Martha

Features Complete, Accurate Reproduction of Gatefold Artwork

Tributes to fallen icons don’t come any more poignant or illustrative than Eat a Peach. Released in early 1972, slightly more than three months after guitarist Duane Allman died in a motorcycle accident, the double album honors the musician via sides he recorded in the studio as well as several live performances that didn’t fit on the mammoth At Fillmore East. The Allman Brothers Band, determined to press on, also contributes a trio of songs completed after their soulmate’s passing. Its execution is near perfect, its concept timeless.

Mastered from the original master tapes and pressed on dead-quiet vinyl RTI, Mobile Fidelity’s 180 gram 2LP of Eat a Peach joins the unparalleled reissue imprint’s other Allman titles in presenting the superlative ensemble’s work in the most lifelike, uncompromising fidelity possible. Not only is the punch of the concert fare transmitted with full-range dynamics and realistic spaciousness, but the studio cuts—in particular, the acoustically framed “Melissa” and “Little Martha”—come through with astounding clarity and body, replete with textural richness that affords listeners images of fingers on frets and sticks hitting drum skins.

In all probability, the Allman Brothers Band would’ve leapt to the fore of music’s commercial and critical elite had it not been for Duane’s fateful motorcycle accident that altered history and the trajectory of the group’s course. A statement of purpose and homage, Eat a Peach extends the guitarist’s legacy in the form of three heart-racing live tunes recorded at Fillmore East, none more important than the nearly 34-minute harmonic showcase “Mountain Jam.” Begun at the end of “Whipping Post” during the final show of the group’s four-gig stand, the tour de force improvisation finds the band at the peak of its telepathic aural and communicative capacities.

Not that the three studio originals with Duane are by any means forgettable. “Blue Sky” epitomizes the gorgeously elegant colors with which the late virtuoso could paint while the heart-stopping sentimental feel of “Little Martha” finds just he and Dickey Betts engaged in spiritual communion. To this extent, the band continues a mellower vibe on the hit “Melissa,” a country-rock ballad that taps into a melancholy feel largely courtesy of Gregg Allman’s weary vulnerability and Betts’ lyrical, slap-back-echoing guitar lines.

Yet nothing here eclipses the direct meaning and steadfast intent of the record-opening “Ain’t Wastin’ Time No More,” a defiant showing of unity and understated anthem with which the band seemed to embrace as a motto. No one knew, however, that fate would again subvert the group’s plans even if it could never take away the magic held within Eat a Peach, sonic and lyrical sorcery that extends to the legendary gatefold-artwork mural.

Track Listing:
1. Ain’t Wastin’ Time No More
2. Les Brers in A Minor
3. Melissa
4. Mountain Jam
5. One Way Out
6. Trouble No More
7. Stand Back
8. Blue Sky
9. Little Martha

Track Listing:
1. Revival
2. Don't Keep Me Wonderin'
3. Midnight Rider
4. In Memory Of Elizabeth Reed
5. Hoochie Coochie Man
6. Please Call Home
7. Leave My Blues At Home

Considered by many to be one of the greatest live albums of all time, this classic album by the Allman Brothers, recorded at the pinnacle of their success, was a huge hit for the band. In 1971, the Allman Brothers were already one of the most popular groups in America, but by the time this album hit the streets their brand of Southern rock had become a national obsession. Live At Fillmore East was also the band's last with guitar hero Duane Allman who was killed in a motorcycle accident later that year. Includes 2 Bonus Tracks!

Track Listing:
Side One:
1. Statesboro Blues
2. Done Somebody Wrong
3. Stormy Monday

Side Two:
1. You Don't Love Me

Side Three:
1. Hot 'lanta
2. In Memory Of Elizabeth Reed

Side Four:
1. Whipping Post

Double LP set, 200-gram vinyl pressing by Quality Record Pressings!

Mastered at Sterling Sound

Gatefold jacket

The breakthrough success by the Allman Brothers Band, At Fillmore East was originally released in July 1971. It is the top-selling albums in the band's catalogue.

The Allman Brothers are the band that defines the genre known as southern rock, which is best heard on this seminal double live album. Whereas most great live rock albums are about energy, At Fillmore East is like a great live jazz session, where the pleasure comes from the musicians' interaction and playing. The great thing about that is, the original album that brought the Allmans so much acclaim is as notable for its clever studio editing as it is for its performances. Producer Tom Dowd skillfully trimmed some of the performances down to relatively concise running times, at times condensing several performances into one track. Far from being a sacrilege, this tactic helps present the Allmans in their best light, since even if the music isn't necessarily concise (three tracks run over ten minutes, with two in the 20-minute range), it does showcase the group's terrific instrumental interplay, letting each member (but particularly guitarist Duane and keyboardist/vocalist Gregg) shine.

This title is not eligible for discount.

Track Listing:
LP1
1. Statesboro Blues
2. Done Somebody Wrong
3. Stormy Monday
4. You Don't Love Me

LP2
1. Hot 'Lanta
2. In Memory Of Elizabeth Reed
3. Whipping Post

Band Features Dr. John, Jay Bellerose, Doyle Bramhall II

Legendary Singer Interprets Classic Blues Songs by Likes of Muddy Waters and Magic Sam

As a founding member of the one and only Allman Brothers Band and in his own storied solo career, Gregg Allman has long been a gifted natural interpreter of the blues, his soulful and distinctive voice one of the defining sounds in the history of American music. Low Country Blues marks the legendary Rock & Roll Hall of Famer's seventh solo recording and first in more than 13 years. Produced by T Bone Burnett, the album finds Allman putting his own stamp on songs by some of the blues giants whose work has long informed his own, from Muddy Waters and BB King to Buddy Guy and Magic Sam. Named for the coastal Georgia region Allman calls home, Low Country Blues stands as a high water mark in an already remarkable body of work, rich with passion, verve, and the unerring confidence of a true survivor.

Though Allman has been a constant presence on the road over the past decade, with the Allman Brothers Band as well as with his own crack combo, he has spent precious little time in the studio since the 2002 death of producer Tom Dowd - the man behind the glass for much of his recorded career. So when his manager suggested he veer off from a 2009 tour for a Memphis meeting with the multiple Grammy Award-winning Burnett, Allman admits to being not entirely enthused.

"I said, 'Oh man, I don't wanna start meeting a string of dudes, all of 'em trying to outdo the other one," he recalls. "But we stopped in Memphis and here comes T Bone. The first sentence out of his mouth was something like, 'Tommy Dowd was The Man, wasn't he? I've patterned a lot of my stuff after that gentleman.' I thought, 'Right, what've we got here?'"

The two musicians quickly bonded, chatting about favorite records, mutual friends, and reminiscences of Nashville's renowned clear channel station, WLAC, which introduced rhythm & blues music to a generation of late night listeners from New York to Miami. "He told me some guy gave him a hard drive, it has 10,000 obscure blues songs," Allman says. "He says, 'I'm gonna pick out twenty of 'em and send 'em to ya and you tell me what you think.' He said, 'They're old, like Billie Holliday old, and when you listen to 'em, I want you to think about us gettin' in there and about bringin' 'em up to today.'"

Allman found the idea irresistible and in January 2010, a stunning combo was assembled at Los Angeles' The Village Recorder, comprising Burnett and Doyle Bramhall II on guitars, backed by the brilliant rhythm section of upright bassist Dennis Crouch and drummer Jay Bellerose. What's more, the lineup included a brass section arranged and conducted by trumpeter Darrell Leonard, whose illustrious resume extends back to his work with Delaney Bonnie & Friends (featuring Gregg's late, great brother Duane). As if that weren't enough, sitting in on piano was a dear old friend, the Night Tripper himself, Mac "Dr. John" Rebennack, with whom Allman co-wrote "Let This Be A Lesson To Ya'" on the Gregg Allman Band's 1977 classic, Playin' Up A Storm.

This powerhouse band - which of course also features Gregg's own acoustic guitar expertise and trademark Hammond B-3 organ - cooks up an earthy and atmospheric musical stew infused with gritty R&B muscle, spooky Southern psychedelia, and greasy deep soul grooves.

Like any genuine bluesman, Allman's own life has been colored by myriad triumphs and too many tragedies. Low Country Blues was initially slated for a mid-2010 release, but that plan changed when Gregg, who had long battled chronic Hepatitis C, was notified that he was a candidate for a liver transplant. In June 2010, he entered the Mayo Clinic in Jacksonville, Florida where he successfully underwent the difficult surgery. Knowing that he had only just made one of the defining albums of his recorded career proved to be the best medicine, giving Allman the inner strength he needed to fully heal.

Track Listing:
1. Floating Bridge
2. Little By Little
3. Devil Got My Woman
4. I Can't Be Satisfied
5. Blind Man
6. Just Another Rider
7. Please Accept My Love
8. I Believe I'll Go Back Home
9. Tears Tears Tears
10. My Love is Your Love
11. Checking On My Baby
12. Rolling Stone

Includes Original Version of "Whipping Post," Cover of Muddy Waters' "Trouble No More"

They hailed from Macon, Georgia. They looked liked any number of young, hopeful bands straddling the violent fade of the 1960s with the advent of the 1970s. They missed the British Invasion-triggered blues revival by several years. Yet they sounded like no other group, their youthfulness belied by virtuosic abilities and interlocking interplay Miles Davis would've envied. It all starts here, on a smoldering self-titled debut that has few peers.

Mastered from the original master tapes, Mobile Fidelity's 180 gram LP of The Allman Brothers Band joins the unparalleled reissue imprint’s other Allman titles in presenting the inimitable group's music in the most lifelike, uncompromising fidelity anyone has ever heard. Opening up the dynamic contrasts, clearing direct paths for the frequency ranges, and ensuring optimal balances and neutrality, this edition takes listeners to the producer’s chair at New York’s Atlantic Studios as the sessions went down. The Allman Brothers Band has never sounded so crisp, clear, or defined.

Having already cut its collective teeth via live shows throughout the South, the Allman Brothers Band was properly vetted for its initial major-label foray. In particular, Gregg and Duane Allman had done stints in several other collectives that recorded a handful of long-forgotten records. Duane, too, established himself as a go-to whiz-kid slide and lead guitarist, becoming a session instrumentalist for Muscle Shoals’ FAME Studios and playing with the likes of Aretha Franklin, Percy Sledge, Wilson Pickett, and others.

He and organist/vocalist Gregg’s deft touch and innate knack for soulful tonalities help define his namesake group’s eponymous debut, notched with raw-boned R&B and purifying gospel motifs that seeped into the duo’s consciousness while growing up in Jacksonville. Complemented by likeminded lead guitarist Dickey Betts and a trio of similarly minded masters, the siblings quickly changed history on this 1969 set famous for stunningly resonant blues, spirit-moving soul, and polyrhythmic rock.

Entering with a memorable one-two punch in which fluid jazz lines mutate into an anguished 12-bar blues exchange between Gregg and Duane, continuing with an edgy and worthy take of Muddy Waters’ “Trouble No More,” and closing with the landscape-shifting workout "Whipping Post," a preview of things to come, The Allman Brothers Band contains no flaws. Then there’s the aching of "Dreams," a melodic 12/8-time piece showcasing slide-guitar voodoo and psychedelic aftertastes. Don’t miss this stellar work.

Track Listing:
1. Don’t Want You No More
2. It's Not My Cross to Bear
3. Black Hearted Woman
4. Trouble No More
5. Every Hungry Woman
6. Dreams
7. Whipping Post