A JOYOUS GOODBYE: EAT A PEACH THE ALLMAN BROTHERS BAND

There exists up to this day a friendly argument as to whether EAT A PEACH or THE ALLMAN BROTHERS LIVE AT THE FILMORE EAST is the best album the Allman Brothers ever made. The argument, while friendly, is also at bottom quite pointless. Every man, woman, and child should have both--at the very least. Every Allman Brothers album from the best to the worst always had something to say. The triumphs and trials (yes, sometimes quite literally "trials" in the legal sense) wrenched and warped the band into non-existence during the 1980's. Suddenly, with the appearance of the box set, DREAMS, (a damn good box set at that), interest in the band peaked once again and the band reformed with the remarkable success of SEVEN TURNS followed by an excellent string of albums through the 1990's. But EAT A Peach represents the end of the classic lineup featuring Duane Allman--one hell of a guitar player. Unfortunately, Duane would never see the success he had been working so hard to achieve for his band and for himself. As both volumes of THE DUANE ALLMAN ANTHOLOGY show, Duane offered his services to just about anyone could who use him: Wilson Picket, Herbie Mann, Delaney & Bonnie, Boz Scaggs, Aretha Franklin, Lulu (!?Lulu?!) and a host of others. But it was with the appearance of THE ALLMAN BROTHERS LIVE AT THE FILMORE EAST and LAYLA AND OTHER ASSORTED LOVE SONGS (sort of a "side project" with Eric Clapton that burnt out Clapton's fire for some time) that his mastery and greatness was recognized. This edition of EAT A PEACH is the very best one to have. The first disc contains the entire original two LP set of EAT A PEACH. It marked an expansion of the band into new writing and mood. What strikes me even after all these years how joyous EAT A PEACH IS. The lyrical themes cover all the class "blues" subjects of giving up on a woman, sweet memories of a woman lost to the singer, cheating lovers and avoiding angry husbands. But the actual music is one glorious romp filled with excellent singing and hot guitars. "Ain't Wastin' Time No More", "Melissa", "One Way Out" are stand out tracks that bear all the sweetness and smoke of Southern country boy blues. "Melissa" has been a particular favorite that is so perfect it almost makes you cry that nothing like it was ever to be made again. "Melissa" is simply one of the most beautiful songs in the rock catalogue. Dicky Betts' "Brers in A Minor" begins with a dive into the blue waters of atonal jazz that establishes the band's musical credibility if not quite everyone's cup of tea. But, keeping with the Allman Brothers' true spirit, "Brers" turns into a duel between Dicky Betts and Duane Allman that just rocks. "Blue Skies" is joyous and uplifting song of the country side and the wonders of loving a good woman. "Trouble No More" and "Stand Back" stand more in the vein of "Ain't Wastin' Time No More" if a little less artful but memorable nonetheless. "Little Martha" ends the album as Duane Allman's instrumental farewell. It sweet and glorious if a sad "goodbye" from a genius who died too young. Strangely, the core of EATA PEACH is the extended "jams" or "boogies" called (of course) "Mountain Jam". Based loosely on Donavon's "There Is A Mountain. "Jam" is so long that it had to be broken into two LP sides on the original 1972 release. Here it presented as one piece without the separation of the original LP. When EAT A PEACH was first released in 1972, it didn't take the college boys very long to realize that "Mountain Jam" was a continuation of "Whipping Post" from THE ALLMAN BROTHERS LIVE AT THE FILMORE EAST. In other words, as performed at the actual performance, all the pieces fit together in one long 56 minute song/instrumental fest. It had everything from Gregg Allman's wrenching vocal lamentation, guitars switching leads, guitars in duets, changing melodies, and drum solos. Thousands labored hard with their cassette recorders to put all the parts together in one seamless stream. Those born after the heydays of the first half of the seventies may question "why"; but long instrumental performances were quite popular at the time. The "long versions" of what were originally three minute songs marked the difference between juvenile "hits" and serious rock music lovers. Tastes have changed and long "boogies" are no longer done; but they were wonderful to behold. In any event, in these days of the CD, the entire "Mountain" performance is presented in its entirety on the Chronicles version THE ALLMAN BROTHERS BAND: THE FILLMORE CONCERTS. Like the deluxe edition of Santana III, this edition includes a second disc of the band's complete last performance at the Fillmore East as Bill Graham was closing the venue to build larger concert halls. This disc is every bit as good as THE ALLMAN BROTHERS LIVE AT THE FILMORE EAST. The song list is jumbled up in a little different order and included three extra songs: "Don't Keep Me Wondering", "One Way Out" and "Midnight Rider". Fun in its own way. The Allman Brothers would move on to a new phase with BROTHERS AND SISTERS the following year which marked a brand new success for the Allman "family". It began to disintegrate after that as fame, drugs and in-fighting took their toll. A new generation of rock bands rose up and, as they say, the rest is history. If music is important to you in the spiritual sense of the art and not just a kind of background soundtrack in your life, then it is time to drink the water from this well. This is the real thing.