Brothers And Sisters

THIS IS A REVIEW OF THE 4 CD 40TH ANNIVERSARY EDITION.Plane and simple--if you like the original album--you need to purchase this new edition of this classic album. All the good things in the original album are still here, but magnified several times over. The original album was a real test to see if the ABB would continue to make good, vital, exciting music. The answer was obvious on first listening to the original album. And now we have both studio and live tracks that add substantially to the original albums listening experience. With both Duane Allman and Berry Oakley gone, the core sound of the band shifted towards both Gregg Allman and Dickie Betts. Together they helped push the bands sound into something slightly different.Nothing much needs to be said about the original album--it stands as a classic. But where things begin to get interesting is in the unheard studio tracks. Listen to a more laid back version of "Wasted Words". The slower tempo and Betts' slide guitar give this a tune a lighter feel. "Trouble No More" sounds more like a finished track than simply a rehearsal version. "One Way Out" is an instrumental--sounding like a backing track--but it has some typically fine Betts' guitar. "I'm Gonna Move To The Outskirts Of Town" combines Allman's jazzy organ and Betts' country inflected blues guitar. Allman gives this song one of his typically good blues vocals. This tune was used by the band to see if pianist Chuck Leavell would fit into the band--check out his playing and hear for yourself. The old Elmore James tune "Done Somebody Wrong" has no real surprises, but starting with this tune, all the rest of the tracks feature Lamar Williams on bass. "Early Morning Blues" is another bluesy outtake that has a nice Allman vocal, and some typically fine playing by the band. Listen to "Jelly Jelly" on the original album--the same tune with different lyrics. "A Minor Jam" quickly fades in and includes the band minus Allman and Betts. Guitarist Les Dudek replaces Betts, and his tone and phrasing is very reminiscent of Betts' style. Chuck Leavell handles the piano chores, and at times sounds like a combination of Allman's style and his own. All through the jam there's a subtle intensity, a build up and release of tension, not only between Dudek and Leavell, but the entire band. The band continues playing until the tune ends fairly abruptly.But the live set is the real jewel here. Of the sixteen tunes over the two discs,, eleven are previously unreleased. The other five tracks can be heard on the "Dreams" and "Wipe The Windows, Check The Oil, Dollar Gas" sets. This live concert is certainly one of the best from this band. There's no wasted notes, no noodling, just one of the finest bands in music doing what they do best. Betts, who doesn't really like playing slide guitar, steps up and shows his mastery of that style time after time. His playing has a combination of finesse and toughness. Allman is in fine voice, and the rest of the band is tight and alive sounding. Song after song, their ensemble playing is solid, intuitive, and exciting. Everything seems to come together--no matter what the tempo. I was going to pick some highlights, but its ridiculous to try.Of the unreleased live tracks, listen to this bands "Stormy Monday". Fans familiar with other versions will still find this workhorse tune worth hearing. "Midnight Rider" is another great version of this Gregg Allman composition. The ragged vocals really fit this world weary tune. And listen to Betts' slide work on Blind Willie McTell's "Statesboro Blues". "Come And Go Blues" (heard on the original album) sticks close to the original, but has an edgy flow to it. "Jessica" is really nice here. There's a certain feel of this live version different from the album version that makes you wish you were standing in that hall in person. "Les Brers In A Minor", at 25+ minutes, is the longest track here, and for people lucky enough to have heard the ABB live during this period, this will bring back those memories. The playing is tough yet jazz like in spots. Listen to the electric piano work and you'll hear what I mean. This tune shows that the band wasn't tied to a strictly blues sound. There's a nine minute drum solo which then incorporates Williams' bass, and then shifts back to the entire band before ending. This track is definitely a highlight for a number of reasons.Betts' "Blue Sky" sounds close to the original, but has that ABB sound that gives it something extra. Leavell's piano is just right for this loping countryish tune. The intensity picks up with "Trouble No More". This is prime ABB from this period. The final tune is "Whipping Post" (no surprise) and the band instantly grabs this tune and injects it with a life of its own. Once again Leavell proves his worth on the piano, acting at times like a second lead instrument, and a foil for Betts' guitar work. Everyone is familiar with the Fillmore East version which is so intense it sounds dangerous. On this version the band uses their new configuration to great effect--a "that was then this is now" feel--and it works. All in all, nothing is wasted. The playing is sharp, visceral, and exciting. ABB fans need to hear this live set in its entirety.Its apparent that great care was taken with the sound. Its crisp and clean, but without any harshness. Individual instruments can clearly be picked out throughout both the studio and live tracks. The packaging is pretty nice. The paperback size holder folds out five times. There's four slots for the discs, but I cringe every time I slide one out--I've since put the discs in double jewel cases. The 31 page attached booklet has an essay on the band and the music, along with individual track information. Except for the cover, the booklet and packaging have some unseen photos of the band in both color and b&w. This is a nice presentation of a landmark album. An album now made even better with all the additional music. Miss this at your own peril. This has been a good week for live releases. Besides this set, "Volume Two" from the Jerry Garcia Band has also been released. So much music, so little time.

Great for the truck

The timing is perfect for the 40th anniversary release of the Allman Brother's album "Brothers And Sisters". Rounder Record's retrospective of Duane Allman has been a huge success, Gregg Allman's bio "My Cross To Bear" has gotten rave reviews, as well as his latest solo outing "Low Country Blues". With "Brothers And Sisters", we can revisit the many contributions of Dickie Betts-the man who truly stepped up after the deaths of Duane and bassist Berry Oakley.For a short time in late 1971-early 1972, the brothers carried on as a five piece band after Duane's death. Hiring another guitarist to replace Duane was out of the question, so Alabama pianist Chuck Leavell was brought on board. This was a gamble, but a brilliant move. Betts carried the burden as the only guitarist in a band heralded for its twin guitar attack. Chuck's piano gave the band a jazzier direction and harmonized with Bett's lead lines beautifully.The brothers were recording Brothers And Sisters" when tragedy again struck-Berry Oakley was killed in a motorcycle crash similar to Duane's on November 11, 1972. Again the band moved forward, recruiting Lamar Williams, an old friend of drummer Jaimoe who impressed everyone during his audition."Brothers And Sisters" was recorded chronologically-"Wasted Words" and "Ramblin' Man" are the only two tracks from the original release to feature Oakley. On the remastered edition, the bass is heard to much greater advantage. Although "Brothers And Sisters" is far and away the best selling of the Brother's albums, quite a few listeners found the original mix to be "muddy". The improvement is evident on Bett's compositions "Southbound" and the instrumental "Jessica", while the tandem drumming of Jaimoe and Butch Trucks stands out in "Come And Go Blues" and "Southbound".The previously unreleased tracks have some real surprises-"Southbound" is an instrumental outtake featuring the nimble piano of Leavell. On this track, one really appreciates the seldom recognized beauty of Bett's rhythm playing. "One Way Out" is an instrumental rehearsal where Oakley's bass takes off as a lead instrument. "Double Cross" is a Gregg Allman outtake which would wind up a year later on "The Gregg Allman Tour" double LP."A Minor Jam" is just that-the band jams in minor key. What makes this cut interesting is the guitar of Les Dudek, studio guitarist who plays behind Betts on "Ramblin' Man" and "Jessica". He sounds remarkably like Betts, and his call and response with Leavell is engaging. Chuck would pursue this sound a few years down the road with Sea Level.The third and fourth discs were recorded at San Francisco's Winterland Ballroom on September 26, 1973, and broadcast on KSAN, the city's album oriented radio station. The band features several cuts from the just released "Brothers And Sisters", including "Wasted Words", "Ramblin' Man", "Come And Go Blues" and "Southbound". The Brothers have played Willie Cobb's' "You Don't Love Me" many times over the years, usually incorporating another song into the performance; here they segue into the traditional "Amazing Grace". Without taking a breath, Betts leads the band into "Les Bres in A Minor", another Betts instrumental from "Eat A Peach".It's hard to imagine "Blue Sky" with only one guitarist, but Betts pulls it off with the great piano of Leavell and Gregg's organ and harmonizing vocals. "Trouble No More" is as strong as the version on "Fillmore East", and the obligatory "Whipping Post"retains its dark flavor with the help of William's foreboding bass.Of the seven original tracks on "Brothers And Sisters", four were penned by Betts; he also wrote "Les Bres" and "Blue Sky". Hopefully, his contributions will be appreciated with this 40th anniversary set. Sadly, Lamar Williams passed from lung cancer in 1981 (thought to be from Agent Orange while serving in Vietnam), but the other musicians on this album can be proud of the music they made-and continue to make. Bouquets for the living.

Seems like the Danes know what they're doing when it comes to producing vinyl lps.Hats off to them.Been looking for a while for this album, my original from the seventies was getting worn.The vinyl came pristine, flat, clean and completely noise free.Gatefold is almost exact to Canadian edition.Very impressed this reissue.THUMBS UP!

Alta qualidade de acabamento e entrega emperfeitas condições.

Zo kan het ook, goede nieuwe persing met top mastering voor vinyl.

Ristampa superba di un must della Allman Brothers Band, la ristampa è su un vinile 180 gr in edizione limitata, la qualità è molto alta e lo si sente fin dalle prime note. Consigliatissimo.

I loved this album as a kid, had to get it again when I heard Jessica on the radio.

本作に対して多くを語る必要はないであろう。アルバム収録中に大黒柱のデュアンをバイク事故で失う。その時点でバンドとしての在り方・方向性をメンバーは突き付けられたであろう。その結果が本作。結果としてデッキー・ベッツの音楽性が前面に押し出された形に仕上がっていると感じている。デレクとの葛藤やその他諸々、バンド内のドロドロした悪い場面が排除されていて非常に完成度の高いオールマンブロスサウンドが聴ける秀逸なアルバムであると自信をもってお勧めしたい。