The Allman Brothers Band - Eat a Peach
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Free Music Notes for Eat a Peach
Free Music Review: Genuine Classic remastered very competently
Hit: 5 Stars
While I own and covet the more "LP-sounding" Mobile Fidelity ("Original Master Recording Ultradisk" gold CD) version, this remastered version is easily competitive and a whole lot cheaper. The sound quality is now excellent and the treble is no longer muted.I have little to say about this albums content that has not been said before: it is arguably the best Allmans album and is certainly a must-own. What are you waiting for?
Free Music Review: Peach Getting Better With Age
Hit: 5 Stars
I was a young Southern rocker when this record came out in the early 70s and, like most, was grieving over the tragic loss of Duane Allman. A lot of people bought this record out of respect to Duane, but really didn't expect much of an album made up of Fillmore leftovers, Duane-less studio tracks and Duane's last work in the studio with the band. In short, we thought this would be the band's swansong.Listening to this record now, however, it is obvious that this may be the best work the Allmans ever did. The studio tracks that kick things off show that Dickie Betts and Gregg Allman had more than enough talent between them to continue making vibrant music for years to come.
The live tracks are blistering forays that come very close to quality of those found on the Fillmore East album. Even the addition of the much-maligned Mountain Jam fits beatifully - a single extended and admittedly self-indulgent jam executed with the passionate precision of masters.
The three studio tracks with Duane that close out the set show the band at its inventive best - particularly the hit Blue Sky and the pensive Little Martha. Yes, Duane was gone... but all was not lost. Eat a Peach showcases all the mesmerising facets of the Allmans in one outstanding package.
Free Music Review: A Time Capsule - I wish I could give it 10 stars!
Hit: 5 Stars
When I listen to this CD, I'm back in Chem lab in 1972 with my partner Jim. He had the original vinyl album in his bag and while we waited for some reaction to complete, we sat mesmerized looking at the amazing artwork inside of the album jacket - what a trip! This was before walkmen so I had to wait until I got home to listen to the tunes - I get chills thinking about the first time I heard One Way Out. I had it cranked through my headphones to "blood out the ear canal" levels singing like a fool. The guitar work is amazing, the vocals tight - it's all there. This album is a time capsule. One listen and it's back to another time (some would say better time) and a better place - when it was all about the music and love. Every rock fan has to have this CD in his or her collection - even if it's just for Blue Sky.Free Music Review: A Peach for Peace
Hit: 5 Stars
This album chronologically starts with the afore-mentioned "Mountain Jam," which can be heard opening up as "Whipping Post" fades off on the Fillmore East set. It is a stunning, tremendous thought that the Brothers followed the powerful beauty of long song with another, more intricate piece that runs 33 minutes. The journey starts off with Duane and Dickey trading off each other's lead, then the band takes the theme from a boiling cauldron of layered jazz. Berry shows his prime by rumbling behind the two guitarists, and Duane grabs a short, direct solo, opening the way for Gregg to run for daylight. Berry casts out fountains of hot bass lava, and the drummers fill in with flourishes and ruffs to sheetrock the room with sound and action. Dickey follows with a truly explosive solo that just blows the lid off, and Berry burns everything in his path.The demolition team of Jaimoe and Butch then take over, with Butch on first solo, slugging and pounding out a furious snare and tom-tom pattern. Jaimoe takes a compact ride on snare and kick drum, and the stage is set for Berry's twisting solo. Oakley thunders out lead bass lines, takes the "Mountain" theme for some jagged runs, and the drummers prod him along like a jockey passing the clubhouse turn. The band then follows Duane's signal, and everyone hangs on while he takes the most meaningful, inspired solo of his too-brief career. His poetic slide swoops and hovers like an ocean bird, and the rest of the band gathers to watch and listen. It ends (momentarily) as everyone rides their chords over the waterfall's edge of sound. Duane then prophetically leads the band through "Will the Circle Be Unbroken," the "Mountain" theme is recaptured and brought out again, and the band again feasts joyfully. At the song's dynamic ending, a complete recapitulation is offered, and a celebration is unleashed. Duane salutes his band with a breathless announcement of thanks, and it's time to go home.
"One Way Out" reappears here, and the Brothers turned this piece inside-out with hustle and snap. Dickey starts the show off with a quick flourish, hastened by an off-beat drum riff, and the others join in, with Duane playing harp-like phrases. Dickey's solo burns bright, and then Duane and he trade off against each other with muscular statements. Duane ignites some of his trademark "sawtooth slide," and squeals away, high on the fretboard. Gregg plays up this display with haughty arrogance, without remorse at his plight. "Trouble No More" is spiced up over the studio version, with Butch and Jaimoe picking up the tempo and propelling the rhythm. Their ride cymbals smack out like windshield wipers during a hard downpour, Duane throws down squawks of protest against Gregg's matter-of-fact "told you so" singing, and everyone stays on top of the beat.
"Stand Back" features Duane in rare form: his slide brays like a brass instrument. Gregg's vocals and lyrics are earthy and bitter, especially his lament, "Thirty minutes after I set sail, she put up a sign and my house began to wail." Berry gets writing credits, and his bass stomps up and down like boot heels on a tile floor. Dickey showcases his high tenor on "Blue Sky," and the song gently kicks off with electric piano and acoustic guitar supporting the melodious solos. "Little Martha," a lovely tune, blends together dobro, acoustic guitar and bass (on the Dreams box set), showing the gentle, romantic side that dwelt within Duane. The "new" band, continued after Duane's tragic loss, picks up with "Ain't Wastin' Time No More," Gregg's courageous but losing effort to face up to life without his brother. Dickey ran off brilliant electric slide licks here, and although it was not intentional, Duane's presence shines through his partner's notes. Gregg's lyrics and vocals are challenging and confrontational, and it almost sounds as though he could have overcome the struggles that lay ahead of him. "Les Brers in A Minor," Dickey's instrumental, dips into international waters as everyone lays down a tale of symphonic intrigue and suspense. The band totally overwhelmed the genre of soundtrack writing with this charismatic masterpiece. "Melissa" was written years earlier by Gregg, but now it sounds like a eulogy for Duane, with references to a musical gypsy with "sunbeams in his hair." Gregg's acoustic guitar leaves space for Dickey's trembling refrains, and the sorrow of the band is brought out for all to hear.
Free Music Review: One Of The Allman Brothers Band's Best Albums Ever
Hit: 5 Stars
Along with BROTHERS AND SISTERS, EAT A PEACH is one of the best albums the Allman Brothers Band ever recorded. It's true that "Les Brers In A Minor" and "Mountain Jam" can be a tedious bore, but the rest of the album is absolutely breathtaking. The opener, "Ain't Wastin' Time No More", can inspire listeners to get into better mental and physical shape; "Melissa" is an eerie meditation on all types of loss; the cover of "One Way Out" explores cautious feelings and paranoia; "Stand Back" is a soul-rock-blues stomper; "Trouble No More" rocks old Chicago blues; "Blue Sky" provides pure rural bliss; and "Little Martha" is an acoustic duet between Duane Allman and Dickey Betts- the only song Duane ever wrote for the band. Overall, this is a great album by a great band.