The Allman Brothers Band
Biography
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, All Music Guide
Selected Discography

One Way Out: Live At The Beacon Theater
2004

Martin Scorsese Presents The Blues: The Allman Brothers Band
2003

Live At The Atlanta International Pop Festival July 3 & 5, 1970
2003

Hittin' The Note
2003

American University, 12/13/70
2002
BEST southern band ever. I was fortunate to party a lot with the brothers in Macon.I saw the origianal band many times around Georgia and when they were playing for free @Piedmont Park in AtlantaDuane is #1 on slide guitar Can you imagine the stuff he would be doing now?
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In the early 1970's I used to work at a music store in Decatur,Geor g i a where the Allman Brothers Band had their instruments repaired. I remember coversations with Berry, leaning on his new orange 240 Datsun Z; having lunch ever once in a while with the road crew; and Red Dog and myself going behind the store to partake. What wonderful memories of my youth when I listen to this great timeless music. Other stories I could relate, but I don't have the space to share them.
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If you grew up in the 60's - you will recall this sound with some emotion - it was part of the sound of the times - great highs and great lows - one hell of a time to grow up -
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For the younger fans of the ABB, I was on stage back in 1976, New Year's Eve show, Lakeland, FL, unbelievable show, when the brothers took a break after 2+ hours of blowing the paint off the walls, the roadies came on stage. They were referred to as "The Almost Brothers" Tremendous talent, played for about an hour, and back on stage the Allmans came and rocked it for another 2 hours.
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I saw Dikey Betts in May. i wasnt old enough to get in, so i waited with my dad and brother outside by his tour bus and on his way in we introducd ourselves and told him that we couldnt see the show beacuse we werned old enough. he takes a look at us then leteratly pulld us in and gets us all access passes. when one guy tries to stop us he says "dont give them any s**t. there my cousins"
that was the best day of my life. the show was amazing too. |
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I saw them with Wet Willie in GA back in the day. Kick a** southern blues, what a time. With Duane and then Butch dueling the quitars, man that was the best. Every one forgets about Butch but the man was 50% of the jams. Wet Willie was another great southern group. Jimmie Hall on lead vocals went on to be lead singer for a number of groups. Good southern rock.
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Don't go to see them live expecting a flash and dash show, but definitely go to see them live. It's a whole different experience than listening to their CDs. Watching Warren Haynes and Derek Trucks play is mesmerizing.
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It does not say Allman Brothers, southern rock isn't in webster's dictionary.
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When you look up "Southern Rock" in webster's dictionary it says "Allman Brothers"
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WHERE IS ALL BEGINS SHOULD BE ON THE DISCOGRAPHY. THAT ALBUM IS THE ONE WHERE THEY WENT FROM RESTING ON PAST SUCCESSES TO CREATING NEW CLASSICS.
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Well I actually prefer The Doobie Brothers, but I guess with their talent many people can say they are the best band ever.
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the review should mention derek trucks- argueably the best young guitarist in rock- and the fact that wayne and derek are probably the two greatest virtuosoes to play guitar together on a regular basis in all of rock. or am i missing someone (actually 2 someones)? btw- saw them with ec two nights ago at the beacon- AWESOME little wing :)
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One of the best southern rock bands ever nick, how bout the greatest band ever, try that on for size.
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I'm 23 and just getting into the Allman Bros. My pops is a big fan and I'm a pretty big blues fan. I more or less have given up on my generations ability to make decent music so I must revert to the past. Great music though. I play it when I'm working at the winery and I'm pretty sure it's made my wine better. And charlie I'm sorry but the south is not going to rise again
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The Allmans Bros is the reason that southern rock lives on. Doesn`t get any better then Eat A Peach for a collection of Sothern Soul. THE SOUTH WILL RISE AGAIN!!!!!!!
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I've seen them live 7 times, the most recent was at N.O. jazz fest, and it was the best performance I've ever seen. Derek Trucks is unbelievable ! They all are. Long live the ABB!
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their last 2 albums, Where it All begins, and Hittin the Note, are their very best. Warren Haynes really added some verve to their band.
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I grew up listening to this great southern rock band. I remember as a little girl (14) watching them play at a little park called Flat rock Park, wow little did we know what great artists they would become one day. The best part then was they played for free.
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Thank you, Pandora. You are starting to mix the music on keyWestRoXra d i o ! Great rock ANY time!!!
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I'm a true GRIT! For you yanks' that's a Girl Raised In The South. Southern rock is a staple of everyone's diet. TAB is the entree for many of us:-)
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In the dictionary under "Southern Rock", you see a picture of these guys!!!
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I was at watkins glen ya it was great I was 17 my first big trip what a trip ya the acid was nice it was a rainy weekend too the dead was great and the bros even better I didnt wana go home I WISH WE COULD FIND SOME FOOTAGE MABE we could see ourselfs that be great
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1973 - Watkins Glen Summer Jam (NY)...Allma n Brothers, The Band, and The Dead....perf e c t i o n - as was the acid. Anyone else there? Remember Smitty the Jumper burning in? Camped with my kid and our dog, my sister, her old man, and their 4 kids. Allmans and The Band rock eternal.
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Tasty, tasty stuff, indeed. Wish I could see them in concert...es p e c i a l l y in the 70's when I could've afforded tix!
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Just saw the Dead and the Allman brothers in Pennstate last night. Sound was very echoe, dead were rusty, but still wouldn't have wanted to be anywhere else on the face of the earth.
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Hey, wcawthorne, I did see them at August Jam. I saw a lot of bands in Charlotte in those days. Glad to be reminded of it!
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If we consider Dylan and Hendrix as "solo artists," then this is the most important American Rock n Roll band of all time; amazing how these guys pushed rock to its limits into jazz, psychedelic, country etc... They expanded the limits of what a rock outfit can do, and their legacy only grows more awesome with time. In my mind, only The Grateful Dead come close; and both belong with the various Miles Davis bands, those of Coltrane, Monk etc... in their impact on music of the late 20th century.
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saw them first in macon 1970...life has never been the same
also, did anyone see them at 'August Jam'-charlot t e north carolina august 1974? |
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