Track listing
- 1.1 Statesboro Blues 4:16
- 1.2 Trouble No More 4:00
- 1.3 Don't Keep Me Wonderin' 3:47
- 1.4 Done Somebody Wrong 3:54
- 1.5 One Way Out 5:08
- 1.6 Blue Sky 11:26
- 1.7 Stormy Monday 8:53
- 1.8 You Don't Love Me 25:47
- 2.1 Dreams 19:37
- 2.2 In Memory of Elizabeth Reed 19:43
- Total length: 106:31
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9 Reviews
Buy it for the "Blue Sky" with God sitting in on first guitar. Most beautiful thing they ever recorded? Most beautiful thing ever recorded? Seriously, it's desert island material for me. Listening to that guitar is just...it just peals through the dome outdoors, y'know what I mean? (No? Oh.) It's like Louis Armstrong's trumpet, in the sense that you can just let it sort of wash over you while you move forward happy and agape, filled to the brim. And by 'you,' of course, I mean 'you.' Everyone puts in their time against that guitar and it's beyond these mere words to describe, or to guess how they aren't just cringing against the grandeur. Start the spring with a long walk in the country. It's amazing.
You've heard the songs in this set - two sets, really - before (I'd hope!), and of course most of them are performed Definitively on the canonized albums, whether that be live or in studio. The sound quality here isn't great and the first four tracks sound real crummy - you can hear God shouting at the roadies - with the drums in particular quite weak throughout; it would've been great to hear all those hits in "One Way Out". And the less said about the organ the better; it was often the boring part of the longer jams, but it really takes the breeze out of "Stormy Monday" this time. Berry Oakley's bass, though, sounds pretty good, and hey, y'know what doesn't sound weak? The fucking guitars, that's what the fuck doesn't sound weak. When God's really cookin' - all those stings and squeals and peals in "Statesboro Blues" and "Don't Keep Me Wonderin'" and "One Way Out" - I really don't care that the rest of the band sounds so crummy, and in fact I don't even notice. Matterafact when God's really cookin' it's probably not worth bothering with anything else that may or may not be going on. "One Way Out", always a good driving bluesy groove, has some real ragin' hand-off lickin' goin' down, and "Stormy Monday" sounds particularly dazed and dreamy here, and not tinged with any lasting melancholy — it's real mellow most of the way, like hanging out on the hammock with a...mint julep. That's what they drink down south, right? Mint juleps?
There's almost two hours of music here and of course one has to break out the shears now and then. "Trouble No More" swings nice enough but I can't imagine why anyone would need it in this fidelity, and the Allmans' version of Elmore James' "Done Somebody Wrong" has never been a favorite version — it's kinda chirpy and boring and I don't know why they played it so often. And as for the 26-minute "You Don't Love Me", well, it was done better at 19 minutes on Fillmore East, even if both versions get boring and exciting in roughly the same places: the second quarter is pretty limp, but the bumpy rumbles-and-licks in the third quarter (and the ending — Betts quoting "Joy to the World" here) are exhilarating.
The second disc is comprised of only "Dreams" and "In Memory of Elizabeth Reed" — both in their 20-minute versions, of course. The beloved "Elizabeth Reed" jam here is just too...jammy, I dunno what else to say except that the organ solo seems particularly boring in this version. Honestly you don't need to listen to this version at all if you have Fillmore East, which you do because you're presumably not a sillybilly(/rancid dumbass gigglefuck piece of shit). The Allmans had better songs than the Grateful Dead, but they weren't as good a jam band all together, although I bet God could've kicked them into an even higher gear if he'd stuck around. "Dreams" seems to encourage that theory: it's long and psychedelic and a lot of people get bored with it in any form, but not me and certainly not here, where it rolls around in waves without ever losing the feeling that something is surging just under the surface. About halfway through there are these high-on-the-bridge slide-guitar sounds that cheep and chirp in a way that evokes an oasis of birds and frogs; this is orchard psychedelia. God went back five weeks later.
A–.
You've heard the songs in this set - two sets, really - before (I'd hope!), and of course most of them are performed Definitively on the canonized albums, whether that be live or in studio. The sound quality here isn't great and the first four tracks sound real crummy - you can hear God shouting at the roadies - with the drums in particular quite weak throughout; it would've been great to hear all those hits in "One Way Out". And the less said about the organ the better; it was often the boring part of the longer jams, but it really takes the breeze out of "Stormy Monday" this time. Berry Oakley's bass, though, sounds pretty good, and hey, y'know what doesn't sound weak? The fucking guitars, that's what the fuck doesn't sound weak. When God's really cookin' - all those stings and squeals and peals in "Statesboro Blues" and "Don't Keep Me Wonderin'" and "One Way Out" - I really don't care that the rest of the band sounds so crummy, and in fact I don't even notice. Matterafact when God's really cookin' it's probably not worth bothering with anything else that may or may not be going on. "One Way Out", always a good driving bluesy groove, has some real ragin' hand-off lickin' goin' down, and "Stormy Monday" sounds particularly dazed and dreamy here, and not tinged with any lasting melancholy — it's real mellow most of the way, like hanging out on the hammock with a...mint julep. That's what they drink down south, right? Mint juleps?
There's almost two hours of music here and of course one has to break out the shears now and then. "Trouble No More" swings nice enough but I can't imagine why anyone would need it in this fidelity, and the Allmans' version of Elmore James' "Done Somebody Wrong" has never been a favorite version — it's kinda chirpy and boring and I don't know why they played it so often. And as for the 26-minute "You Don't Love Me", well, it was done better at 19 minutes on Fillmore East, even if both versions get boring and exciting in roughly the same places: the second quarter is pretty limp, but the bumpy rumbles-and-licks in the third quarter (and the ending — Betts quoting "Joy to the World" here) are exhilarating.
The second disc is comprised of only "Dreams" and "In Memory of Elizabeth Reed" — both in their 20-minute versions, of course. The beloved "Elizabeth Reed" jam here is just too...jammy, I dunno what else to say except that the organ solo seems particularly boring in this version. Honestly you don't need to listen to this version at all if you have Fillmore East, which you do because you're presumably not a sillybilly(/rancid dumbass gigglefuck piece of shit). The Allmans had better songs than the Grateful Dead, but they weren't as good a jam band all together, although I bet God could've kicked them into an even higher gear if he'd stuck around. "Dreams" seems to encourage that theory: it's long and psychedelic and a lot of people get bored with it in any form, but not me and certainly not here, where it rolls around in waves without ever losing the feeling that something is surging just under the surface. About halfway through there are these high-on-the-bridge slide-guitar sounds that cheep and chirp in a way that evokes an oasis of birds and frogs; this is orchard psychedelia. God went back five weeks later.
A–.
Published
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First four songs are sourced from an audience tape thus they sound really bad. Good news is that's just 15 minutes. Remaining one and a half hour (6 songs) is relatively well recorded. It's still bootleg quality but recorded with pro equipment and sounds fair considering the age of the tape. Your ears get used to the sound in a few minutes and you start to enjoy the music which is imho nothing short of sublime. Stellar versions of Blue Sky, Dreams and Elizabeth Reed.
Published
This has the material to be excellent, and mostly it delivers. Of course we have heard all of these tracks in other live settings from back in the day, typically on the Fillmore recordings. It reminds a person that a live recording is a snapshot in time and great musicians, such as the Allmans, vary the solos, the themes and the interplay from show to show. It is this evolution that makes this album interesting. I have never in fact heard "Blue Sky" in a live setting and it is wonderful here. And this is the only time I am aware of Duane being on the song as it is on Eat A Peach after his passing.
The sound on this record suffers, especially the drumming is not as audible as it should be.
The sound on this record suffers, especially the drumming is not as audible as it should be.
Published
I must confess that I am still to hear Dreams and the closer, but of what I did, I find that some BETTS's stuff is unbearable. You don't love me reveals itself a real torture and God knows how much I like jamming. Disappointing.
Published
SUNY At Stony Brook 9/19/71 is a great live document of the original lineup of the Allman Brothers Band, featuring Duane's slashing slide guitar and Dickey Betts' stinging lead blending with Gregg's bluesy singing and Hammond organ, Berry's thundering bass, and the twin drums of Butch Trucks and Jaimoe to create a synergy that has rarely been equalled. If you love rock or blues, then you must own this set.
Published
The excessive jamming is an acquired taste - but if you're going to listen to excessive jamming you can't get better than the Allman Brothers. Let down a little by some poor quality sound at the beginning - but it is an atmospheric and almost deliriously peaceful record.
Published
Awesome concert. Blue Sky is incredible.
Published
Again . The Allman Brothers Band is the beginning and end of blues- rock for me. All else is just in-betweens.
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