Allman Brothers Band | down to texas ’71 | See again

Four months before Macon Georgia Allman Brothers Band Reached mega fame with their breakthrough Eat a peach album, the foundational formation of Duane and Gregg Allman alongside Berry Oakley, Dickey Betts, Jaimoe Johanson and Butch Trucks was at its peak as a touring group. They mesmerized their audiences with exhilarating live performances that extended blues and soul to a genre-defying field of improvisation. Each gig added a little something extra, their signature was a rising double guitar and the best vocal chops of any bluesmen of their generation. By 1971 Duane Allman was an experienced guitarist as a Lead and Slide session guitarist, supporting Aretha Franklin and Wilson Pickett in the studio, but he remained committed to his core Allman Brothers Band. After three consecutive years of gigs and non-stop gigs, September brought new inspired tracks, such as “Blue Sky”, which will become their cornerstone. More importantly, large canonical numbers such as “Dreams,” “Elizabeth Reed,” and “Whipping Post” were getting wilder than ever in uncharted territory.

In the midst of this precious era, just a month before Duane was tragically swept up in a motorcycle crash at the age of 24, the Allmans rocked a growing fan base at the Austin Municipal Auditorium for a Evening at the barn fire for an audibly ecstatic crowd, augmented to numerous tunes by saxophonist Juicy Carter, probably at Duane’s request. Down to Texas ’71 captures a valuable audio artifact from an underlying period of the Allman Archives. Similar to SUNY at Stonybrook 09/19/71 release, audio anomalies impact the first minutes of execution. The flawed recording actually compliments the energetic transfer between the crowd and the band that night, so “Statesboro Blues” looks like a well-worn sweater. “Trouble No More” flowed into the sound of the board and immediately apparent was the unison of Berry and Duane. Their connection is fully appreciated during the partial interview on KPFT radio with Summer ’71 which ends the outing, in chilling retrospect, so that both would be conspicuously absent within a year.

Gregg’s “Don’t Keep Me Wonderin ‘” has been a beacon for many final final originals to come, which is the first we hear of Juicy Carter, which will blend in completely with the ensemble later in the performance. The Lone-Star State got a double dose of Elmore James with “Done Somebody Wrong” and “One Way Out”, two tracks that had become and will remain the mainstays of their live performance. The latter demonstrated some of Duane’s hottest latest slides recorded on tape. Dickey Betts’ response came during the song’s peak where the guitar duo struggled and weaved, leading to Gregg’s screaming finale before the strings and drums collided with a lingering conclusion.

Juicy joined on stage to lend to the exploratory segment of the evening starting with Dickey’s audience favorite “In Memory of Elizabeth Reed”, to which Gregg sounds, “This is Dickey’s song” Liz Reed “”. In an ironically unintentional match of brevity, the recording cuts out just as the group begins cooking around the six-minute mark. The curator’s completeness here is understandable, as the group had embarked beyond the main theme of the jam vehicle in the rave-up, grabbing the tap-cut and lending favorably to the sweet “Stormy Monday” serenade that took off. monitoring. Halfway through the song, we’re immersed in a cool jazz stanza that was the moment Juicy Carter instantly clicked, delivering a stirring solo to the trance-tinged Austin viewers. The aesthetic change continued in “You Don’t Love Me,” in which John P Lynskey’s album cover notes observe: “The first time I heard it my jam fell. J grew up with the music of Metallica, Iron Maiden, Black Sabbath – that kind of stuff. So when I heard Duane play that lick – It’s a heavy metal lick! You could only imagine where the band’s classic lineup would have evolved if fate hadn’t turned out the way it did. Allman’s studio sound after Duane, who kicked the band to the top of the charts, may not have been their destination.

The evening’s finale, “Hot Lanta,” is a catchy precursor to Prog-Rock, which differentiates the act that possessed the precision of the Mississippi Delta bluesmen with an exploratory disposition closer to that of John Coltrane. The casual and most devoted Allman Brothers Band fans will undoubtedly fall in love with Down to Texas ’71 which will be available in exclusive presale on www.merchmountain.com, and from March 26 (anniversary of the group’s formation) in the Big House Museum gift shop and online store, and in digital format.

About Kelly Choos

Kelly Choos

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