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Allman Brothers Band - Discography (1969-2014) [FLAC]

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Music : Rock : Lossless
     01 - 1969 -
The Allman Brothers Band (Polydor823 653-2 USA 1988)
02 - 1970 - Idlewild South (1997 US 314 531 258-2)
03 -
1972 - Eat A Peach (1988 US UDCD 513)
04 - 1973 - Brothers And Sisters (1994 US UDCD 617)
05 - 1975 - Win,
Lose Or Draw (1998 JP PHCR-94007)
06 - 1979 - Enlightened Rogues (1998 JP PHCR-94009)
07 - 1980 - Reach For
The Sky (1998 GB 74321 569612)
08 - 1981 - Brothers Of The Road (1995 JP BVCA-7319)
09 - 1990 - Seven Turns
(1990 EU 466850 2)
10 - 1991 - Shades Of Two Worlds (1991 US EK 47877)
11 - 1994 - Where It All Begins (1994
US EK 64232)
12 - 2003 - Hittin' The Note (2003 UK SANCD170)
1971 - The Allman Brothers Band At Fillmore East
(live)
1976 - Wipe The Windows, Check The Oil, Dollar Gas (live)
1989 - Dreams (compilation)
1990 - Live
At Ludlow Garage 1970 (retrospective)
1991 - A Decade Of Hits 1969-1979 (compilation)
1992 - An Evening With
The Allman Brothers Band~First Set (live)
1992 - The Fillmore Concerts (live)
1994 - Hell & High Water~The
Best Of The Arista Years (compilation)
1995 - An Evening With The Allman Brothers Band~2nd Set (live)
1998 -
Mycology~An Anthology (compilation)
2000 - Peakin' At The Beacon (live)
2002 - American University, Washington
D.C. 12-13-70 (retrospective)
2003 - Live At The Atlanta International Pop Festival 1970 (retrospective)
2003
- Martin Scorsese Presents The Blues (compilation)
2003 - S.U.N.Y. At Stonybrook, NY 9-19-71 (retrospective)
2004 - One Way Out (live)
2004 - Stand Back~The Anthology (compilation)
2005 - Gold (compilation)
2005
- Nassau Coliseum, Uniondale, NY 5-1-73 (retrospective)
2007 - Boston Common, Boston, MA 8-17-71 (retrospective)
2014 - Play All Night~Live At The Beacon Theatre 1992 (retrospective)


The story of the Allman
Brothers Band is one of triumph, tragedy, redemption, dissolution, and more redemption. Since their beginning in the
late '60s, they went from being America's single most influential band to a shell of their former self trading on past
glories, to reach the 21st century resurrected as one of the most respected rock acts of their era.

For the
first half of the '70s, 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 March 1969 by (Howard) Duane Allman (b. Nov. 20,
1946-d. Oct. 29, 1971) on guitar; (Gregory L.) Gregg Allman (b. Dec. 8, 1947) on vocals and organ; Forrest Richard
("Dickey") Betts (b. Dec. 12, 1943) on guitar; (Raymond) Berry Oakley (b. Apr. 4, 1948-d. Nov. 12, 1972) on
bass; and Claude Hudson ("Butch") Trucks (b. May 11, 1947) and Jaimoe (aka Jai Johanny 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, which drew from and extended their soul influences. 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, Alabama, 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 Allman Brothers Band 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."
Idlewild South 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 predominately at Criteria Studios in North Miami, Florida, 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.
At Fillmore East 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.
Eat a PeachDuane Allman
died 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 remaining 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 decided to add a second soloist in the form of a piano player Chuck Leavell. The group had
already begun work on a long-delayed follow-up to Eat a Peach, when Oakley was killed in November 1972 in a motorcycle
accident only a few blocks from Allman's accident site.

Brothers and SistersLamar 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, .38 Special and
the Outlaws, 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 many of the members, 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. In addition, Betts' leadership of the group created a further strain for him.

Win, Lose or Draw 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.

Wipe the Windows, Check the Oil, Dollar Gas 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.
Enlightened Rogues 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 Great
Southern, Dickey Betts' solo band), who was brought in when Chuck Leavell (along with Lamar Williams) chose to remain in
Sea Level. By that time, however, the Allmans were fighting against time and musical trends. Disco, punk, and power pop
had pretty much stolen the thunder from 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).
The group did take a shot at its past glories with Enlightened
Rogues, which garnered the most favorable fan and critical response since Brothers and Sisters, but the band's 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.

Pattern Disruptive 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, Gregg released two solo
albums and achieved some chart success with "I'm No Angel," while Dickey released the critically acclaimed but
somewhat overlooked Pattern Disruptive.
Dreams 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 added Warren Haynes from Dickey Betts' solo band on lead guitar as a
replacement for Toler, 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.

Seven
Turns 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. The next year they filled out their rhythm section with the addition of percussionist Marc Quiñones. Their
subsequent studio albums didn't fare quite as well, and their two live albums, An Evening with the Allman Brothers Band
and 2nd Set (which won a Grammy for its performance of "Jessica") were steady but not massive sellers. The
decline in sales wasn't the fault of the material so much as a natural result of the passage of time, which left the
Allmans competing with two decades' worth of successors and rivals.
In 1997, Warren Haynes and Allen Woody left the
Allman Brothers Band to form the power trio Gov’t Mule; stepping in were bassist Oteil Burbridge and, for a time,
Nashville guitarist Jack Pearson. In 1999, Pearson was replaced by young guitar phenom Derek Trucks, Butch's nephew.

In 2000 -- the year that bassist Allen Woody died -- the band took what many older fans might view as an
unthinkable step, parting ways with original guitarist Dickey Betts and thereby setting up a new round of recriminations
among the group's original founders. However, far from signaling the demise of the Allman Brothers Band, the group
ultimately re-emerged reinvigorated in the opinion of many listeners, with the establishment of one of its strongest
lineups in years, featuring the dual guitars of Warren Haynes (who returned in 2001) and Derek Trucks, the powerful yet
fluid and jazzy bass of Oteil Burbridge, some of Gregg Allman's most committed vocal and organ work in years, and the
ever-reliable drum tandem of Butch Trucks and Jaimoe, supplemented by new percussionist Quiñones.

Hittin'
the Note They remained a top concert attraction decades after their last historically important album, easily drawing
more than 20,000 fans at a time to outdoor venues, or booking 3,000-seat theaters for three weeks at a time. Their back
catalog, especially the first five albums, remained consistent sellers on compact disc and downloads. Apart from their
Arista releases, the Allman Brothers Band have remained remarkably consistent, altering their music only gradually over
40 years. They continued soaring at their concerts and on most of their records since 2001. Released in 2003, Hittin'
the Note was hailed as their best album in decades, while the Live at the Beacon Theater DVD showed why they'd sold out
220 consecutive shows at that New York venue (the standing record). They played at Eric Clapton's Crossroads festival
twice and, starting in 2005, presented their own WaneeFest in Live Oak, Florida. In 2012, the group was presented with
the Lifetime Achievement award at the Grammys, a fitting addition to their Rock and Roll Hall of Fame status (which was
conferred in 1995, the group's first year of eligibility).
In the early days of 2014, Haynes and Trucks released a
joint press announcement stating that they were both leaving the Allman Brothers Band at the end of the year.
bio
from allmusic.com

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