On the strength of their two previous albums and, more recently, a string of knockout live performances from coast to coast, the Allmans have come likewise to be known as “musicians’ musicians,” a band’s band. Betts: It was a great band, good music. Allman: No one did it better in a live setting than the Allman Brothers, and Fillmore East is still the proof, all these years later. ", In Glide Magazine, Doug Collette wrote, "Almost a year after the formation of the seminal Southern rock band... the original sextet was homing in on the sound that would lend itself to At Fillmore East, the epic recordings done thirteen months later at the same venue. There are two different versions of this release. Produced by Tom Dowd, the album was released in July 1971 in the United States by Capricorn Records. In fact, the only criticism I’ve heard from other musicians seemed quite frankly to have its roots very firmly in the time-honored practice of hollering sour grapes — over the last year the Allman Band played the Fillmores so frequently that some people were calling them Bill Graham’s House Band. As the title indicates, the recording took place at the New York City music venue Fillmore East, which was run by concert promoter Bill Graham. Stanley Owsley -- the Grateful Dead's very own sonic solution -- recorded this music the same way that he documented the Dead night after night. Performances by the Grateful Dead from the same set of shows have been released on two albums – Bear's Choice, and Dick's Picks Volume 4. DISC TWO Hot ‘Lanta 5:19 In Memory of Elizabeth Reed 13:04 Whipping Post 23:03. On AllMusic, Lindsay Planer wrote, "There is no mistaking the unbridled fervor of the original line-up of the band. Go Inside a Zoom Horror Film With 'Take This Lollipop 2', Dolly Parton Made Stephen Colbert Cry With an Old Folk Song on ‘The Late Show’. 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. In 2018, the album was remastered and rereleased by the Owsley Stanley Foundation, with the title Bear's Sonic Journals: Fillmore East, February 1970. It was released on the Grateful Dead label, in cooperation with the Allman Brothers' record company at the time, PolyGram Records. Rising to the challenge of exploratory psychedelia -- while remaining ever faithful to their Southern blues roots -- blues standards such as "(I'm Gonna Move to The) Outskirts of Town" and "Hoochie Coochie Man" are strengthened and extended beyond their typical assertions. Turn the volume up all the way and sit through the concert; by the time it’s over you can almost imagine the Allman Band getting high and heading back to Macon (where, characteristically, they continue to live in unparanoid bliss) on their motorcycles. It was mastered by the Dead's recording engineer, Jeffrey Norman. And if you think I’m dog-shittin’ you, listen to this album. But, then, neither has anyone else. Side three is devoted to the group’s tune “Hot ‘Lanta” and nearly 13 minutes of “In Memory of Elizabeth Reed,” written by Betts, who plays lead. The band gels instantly into a symbiotic instrument with each member both playing and listening in equal measure. No specific dates for the performances are noted, so it is presumed this release is a composite from recordings made at some point during the two sets per night that the Allman's performed on February 11th through the 14th. Tracks. Want more Rolling Stone? It is out of this respect for the art form that the band is able to pull off such authentic psychedelia-tinged Delta sounds. The first two sides consist of an all-blues set, with Duane setting the pace on slide guitar. His theories on live recording are unique and capture aural insights that are lost to some. Wherever they play throughout the South, in fact, audiences seem to regard the Allmans as their own. , In The Music Box, John Metzger said, "... the disc opens with a scorching rendition of "In Memory of Elizabeth Reed" that simply grooves. No longer are they relegated to the inadequately rendered thrashings of garage rock. It was recorded by Owsley Stanley at the Fillmore East in Manhattan on February 11, 13, and 14, 1970. Likewise, the Allman Brothers were beginning to ascend as not only premier interpreters, but purveyors of a revolutionary new electric guitar-driven blues movement". Why Are Men So Compelled to Defend Jacking Off on a Work Zoom? The recording also bears mentioning. ", 1996 live album by The Allman Brothers Band, An Evening with the Allman Brothers Band: 2nd Set, "Previously Unreleased Allman Brothers Band Recordings from February 1970 Fillmore East Run Coming", "The Allman Brothers Band: Bear's Sonic Journals: Fillmore East February 1970 – Deluxe Edition", "Fillmore East, February 1970 - The Allman Brothers Band | AllMusic", "The Music Box: Allman Brothers Band - Fillmore East, February 1970 (Album Review)", "The Allman Brothers Band Bear's Sonic Journals: Fillmore East February 1970", Wipe the Windows, Check the Oil, Dollar Gas, An Evening with the Allman Brothers Band: First Set, Live at the Atlanta International Pop Festival: July 3 & 5, 1970, S.U.N.Y. © Copyright 2020 Rolling Stone, LLC, a subsidiary of Penske Business Media, LLC. The other is the Deluxe Edition, on three CDs, with two discs of additional music from the same run of concerts.. On February 11, 13, and 14, 1970, the Allman Brothers Band, along with the Grateful Dead and Love, played at Bill Graham's Fillmore East auditorium in New York City. The version here is even better than the cut on the Allmans’ second album. Fillmore East, February 1970 is a live album by the rock group the Allman Brothers Band. The early originals and performance staples "Whipping Post," "In Memory of Elizabeth Reed," and "Mountain Jam" -- which is based on the Donovan Leitch song -- are nothing short of revelatory. It was released on CD in 1996, and went out of print soon thereafter. Side four is the encore; 22 minutes-plus of Gregg Allman’s “Whipping Post,” with Duane and Betts trading off leads around Gregg’s organ, and both drummers taking off as well — Trucks sometimes on tympani. at Stonybrook: Stonybrook, NY 9/19/71, Play All Night: Live at the Beacon Theatre 1992, The Essential Allman Brothers Band: The Epic Years, Col. Bruce Hampton and the Aquarium Rescue Unit, https://en.wikipedia.org/w/index.php?title=Fillmore_East,_February_1970&oldid=980861216, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License, "Mountain Jam" (Leitch, D. Allman, G. Allman, Betts, Oakley, Johanson, Trucks), "Mountain Jam" (Leitch, D. Allman, G. Allman, Betts, Oakley, Johanson, Trucks) [incomplete], "Outskirts of Town" (Weldon, Jordan) [incomplete], "Mountain Jam" (Leitch, D. Allman, G. Allman, Betts, Oakley, Trucks, Johanson) [incomplete], Kirk West – associate producer and logistical coordinator, This page was last edited on 28 September 2020, at 22:01. The album was produced by Stanley, who also wrote the liner notes. Any comparison to anybody is fatuous. The Allman Brothers Band. One contains the same material as the original album. Betts and the Allman's understand the dynamics of blues. It was released on CD in 1996, and went out of print soon thereafter. Whatever else one may have to say about Graham, though, his taste in music has been largely unassailable, and hence it came as no surprise at all to anyone in the music business when Graham selected the Allman Brothers (and the Geils Band) to close out the Fillmore East. It’s honest, I guess. (Collectively, the group owns nine of them.) If you’ve been so unfortunate as to never have caught the Allman Brothers Band live, this recording is certainly the next best thing. We want to hear from you! They’re one of the nicest things that ever happened to any of us. In This Article: There is no mistaking the unbridled fervor of the original line-up of the band. The Allman Brothers shared the bill with the Grateful Dead on several notable occasions. Duane Allman died shortly after At Fillmore East shipped, and the Brothers haven’t scaled such heights since. Send us a tip using our anonymous form. The Allman Brothers shared the bill with the Grateful Dead on several notable occasions. The Allman Brothers had many fine moments at the Fillmores, and this live double album (recorded March 12th and 13th of this year) must surely epitomize all of them. Sign up for our newsletter. Rudy Giuliani Will Definitely Regret Filming ‘Borat’ Sequel Interview, Keith Richards Drops Video for ‘Hate It When You Leave’ Packed With Everyday Scenes, Paul McCartney Announces New Album, ‘McCartney III’. The highlight of this album, however, is the nearly 31-minute "Mountain Jam" that drips with a colorfully electrified intensity. DISC ONE Statesboro Blues 4:17 Done Somebody Wrong 4:33 Stormy Monday 8:47 You Don’t Love Me 19:16. Leading off with Blind Willie McTell’s “Statesboro Blues,” the first side moves on into “Done Somebody Wrong” and ends with eight and a half minutes of one of the finest-ever versions of T-Bone Walker’s “Stormy Monday”; the second side is entirely devoted to Willie Cobbs’ “You Don’t Love Me,” a cut on which everybody gets in his licks. –Steven Stolder . This release recalls the Brothers in support of the Dead and Love in February 1970 at the fabulous Fillmore East. At Fillmore East is the first live album by American rock band the Allman Brothers Band, and their third release overall. No specific dates for the performances are noted, so it is presumed this release is a composite from recordings made at some point during the two sets per night that the Allman's … Fillmore East, February 1970 is composed of selections from those concerts. The performances were taped by the Grateful Dead's sound engineer, Owsley ("Bear") Stanley. Yet even as the group... was honing the influential style that would make them famous, they were stretching themselves as well, shuffling novel and well-established material in and out of their repertoire. Fillmore East, February 1970 is a live album by the rock group the Allman Brothers Band. It was recorded by Owsley Stanley at the Fillmore East in Manhattan on February 11, 13, and 14, 1970. The range of their material and the more tenuous fact that they also use two drummers have led to what I suppose are inevitable comparisons to the Dead in its better days. Dickey Betts and Duane Allman are magnificent, as they play with reckless abandon, yet tightly in synch. The Allman Brothers had many fine moments at the Fillmores, and this live double album (recorded March 12th and 13th of this year) must surely epitomize all of them. That rarity on the contemporary rock scene — an integrated group from the Deep South — the Allman Brothers Band has for a couple of years rivaled the Braves for Atlanta’s affections the way the J. Geils Band stole the Red Sox’ following (a good part of it, anyway) in Boston. This release recalls the Brothers in support of the Dead and Love in February 1970 at the fabulous Fillmore East. 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. In my opinion, the fact of the matter is that guitarists Duane Allman and Dicky Betts, organist-vocalist Gregg Allman, Berry Oakley on bass, and drummers J.J. Johanson and Butch Trucks comprise the best damn rock and roll band this country has produced in the past five years.