Inicio|Registrarse | Entrada HolaVisitante|RSS
[ Mensajes nuevos · Usuarios · Normas del foro · Buscar · RSS ]
  • Página 1 de 1
  • 1
Moderador del foro: jarpomarx, -EkIkE-  
Forum » Videos » Videos en DVD » The Allman Brothers - Live In Germany (2011) ((DVD5))
The Allman Brothers - Live In Germany (2011)
unica723Fecha: Martes, 2014-07-01, 12:41 PM | Mensaje # 1
Grupo: Administradores
Mensajes: 15967
Reputación: 121
Estatus: Offline
The Allman Brothers - Live In Germany (2011)

Video: PAL, MPEG-2 at 4 153 Kbps, 352 x 576 (1.333) at 25.000 fps | Audio: MPEG Audio 2 channels at 224 Kbps, 48.0 KHz
Genre: Rock, Blues | Label: Immortal | Copy: Untouched | Release Date: 16 Jan 2011 | Runtime: 93 min. | 3,50 GB (DVD5)

Filmed in Baden Baden, Germany, July 5th, 1991.
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
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."
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.
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. Duane 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. Lamar 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
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.
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.
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.
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
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.
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.
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
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.

01. Intro
02. Don't Want You No More
03. It's Not My Cross To Bear
04. Statesboro Blues
05. Blue Sky
06. Low Down Dirty Mean
07. End Of The Line
08. Loaded Dice
09. In Memory Of Elizabeth Reed
10. Gambler's Roll
11. Good Clean Fun
12. One Way Out
13. Kind Of Bird
14. Ramblin' Man
15. Jessica
16. Whipping Post

- Direct Scene Access
- Interactive Menu

Disponible sólo a los usuarios
Archivos adjuntos: 5883711.jpeg(23.6 Kb)

Forum » Videos » Videos en DVD » The Allman Brothers - Live In Germany (2011) ((DVD5))
  • Página 1 de 1
  • 1

Hoy nos han visitado:
brocklesnar, shelekhov2, danielalmeida2490

Este sitio no contiene ningún tipo de fichero ó archivo que viole la propiedad intelectual.
Somos un foro gratuito y sin ningun lucro implicito.
EsparaelMetal no se hace responsable de cualquier posible violacion a cosa con copyright.
Todo lo aquí publicado ha sido encontrado en el libre internet.
EsparaelMetal@2010 Algunos derechos reservados

Web optimizada para una resolucion de 1024x768

Copyright MyCorp © 2021