Allman Brothers Band - At Fillmore East CD

At Fillmore East songs A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune"). All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth. Those familiar with the Live Adventures album these two recorded at the Fillmore West know how brilliant they could be on stage, and here's another gem, recorded at the Fillmore East this time and featuring 'One Way Out,' 'It's My Own Fault' (with Bloomfield trading licks with Johnny Winter...Johnny was signed to Columbia after this gig!). Newly remastered & now with 4 bonus tracks, 'Albert's Shuffle' (2002 Remix w/o Horns), 'Season of the Witch.' (2002 Remix w/o Horns), 'Blues For Nothing' (Studio Outtake) & 'Fat Grey Cloud' Previously Unreleased Live Track). Features 12-page booklet with unpublished photos from the recording session, new liner notes by Al Kooper & the Rolling Stone Hall Of Fame review by David Fricke. 60 scintillating minutes! 13 tracks. Colunbia/Legacy. 2003. Includes liner notes by Al Kooper, Michael Thomas. Includes liner notes by Michael Thomas. Full performer name: Mike Bloomfield/Al Kooper/Steve Stills. Personnel: Mike Bloomfield (electric guitar); Al Kooper (vocals, 12-string & electric guitars, piano, organ, ondioline); Steve Stills (electric guitar); Barry Goldberg (electric piano); Harvey Brooks (bass); Eddie Hoh (drums). Personnel: Mike Bloomfield (electric guitar); Al Kooper (piano, organ, ondioline, vocals, 12-string & electric guitars); Steve Stills (electric guitar); Barry Goldberg (electric piano); Harvey Brooks (bass); Eddie Hoh (drums). Reissue producer: Bob ...

At Fillmore East buy CD music Remastered reissue of 1969 album, suitable for standard & 'Super Audio' CD players. Audio Remasterers: Jon Astley; Teri Landi; Steve Rosenthal; Paschal Byrne. The Rolling Stones: Mick Taylor (guitars); Keith Richards (acoustic guitar); Mick Jagger (harp); Bill Wyman (autoharp); Charlie Watts (drums); Brian Jones (percussion). Additional personnel: Nanette Newman, Merry Clayton (vocals); Ry Cooder (mandolin); Byron Berline (fiddle); Bobby Keys (tenor saxophone); Al Kooper (French horn); Ian Stewart , Leon Russell (piano); Nicky Hopkins (organ); Jimmy Miller , Rocky Dijon (percussion); Doris Troy, London Bach Choir, Madeline Bell (background vocals).

At Fillmore East album for sale Remastered reissue of 1968 album, suitable for standard & 'Super Audio' CD players. Recorded at Olympic Studios, London, England. The Rolling Stones: Keith Richards (vocals, guitar); Mick Jagger (vocals); Brian Jones (guitar); Bill Wyman (bass); Charlie Watts (drums).

At Fillmore East CD music Recorded live at the Atlanta Internation Pop Festival, Atlanta, Georgia, July 3 & 4, 1970. Includes liner notes by Kirk West. The 1970 Atlanta International Pop Festival was one of the first big rock festivals of the decade, beating out the Isle of Wight by over a month. It was also home turf for the Allman Brothers, who were invited to play the opening and closing sets of the three-day event. In retrospect, it's interesting to note how--despite their penchant for extended jams--the Allmans were somewhat at odds with the flower-child ethic of the day; after the MC delivers a classic hippie/stoner intro, the tough, raw opening strains of "Statesboro Blues" come off as delightfully incongruous. Nevertheless, the band's improvisational blues-rock majesty made them a crowd-pleaser. It's easy to see why; the level of energy (and musicianship) here equals, if not surpasses their legendary live Fillmore East recordings from the following year, which showcase much of the same material. Dickey Betts and Duane Allman's guitars play ably against Greg Allman's thick organ voicings and the percolating polyrhythms of drummers Butch Trucks and J. Johnny Johnson. Between-song announcements of a rain delay and the opening of the gates to non-paying fans reinforce the Woodstock-era vibe, making this two-disc set effective as both a musical and historical document. Personnel: Gregg Allman (vocals, keyboards); Berry Oakley (vocals, bass guitar); Duane Allman (guitar, slide guitar); Dickey Betts, Johnny Winter (guitar); Thom Doucette (harmonica); Butch Trucks (drums, timpani). Audio Mixer: Thom Cadley. Recording information: Atlanta International Pop Festival (07/03/1970-07/05/1970). Photographers: Carter Tomassi; Twiggs Lyndon; Joe Sia. Allman Brothers Band: Gregg Allman (vocals, Hammond B-3 organ, keyboards); Berry Oakley (vocals, bass); Duane Allman, Dickie Betts (guitar); Thom Doucette (harmonica); Butch Trucks, J. Johnny Johnson (drums, percussion). Additional personnel: Johnny Winter (guitar).

At Fillmore East buy CD music Released shortly after the death of guitar legend Duane Allman, EAT A PEACH occupies an important transitional spot in the Allman Brothers' discography. The leading three tracks, recorded after Duane's death, point the way toward the band's future. While still rooted in the group's blues-jam roots, these songs show the Allmans angling closer to the melodic country style that was guitarist Dicky Betts's forte. Betts acquits himself well on the opening "Ain't Wastin' Time No More," deftly handling a slide-guitar part that cannot help but evoke the group's departed member. "Melissa" plays squarely to Betts's strengths, while "Les Brers in A Minor" recalls the extended jams of the AT THE FILLMORE EAST album. The next three tracks on EAT A PEACH are taken from the Fillmore shows. Each selection represents the Duane-era Allmans at their best, especially the blistering "Trouble No More." The sound quality on these tracks, however, does not compare well to the analogous tracks on THE FILLMORE CONCERTS, an expanded reissue of the classic live album. The final three tracks, studio sessions featuring Duane, hint at what PEACH might have been had Duane lived. Additional Tracks; Live Recording; Deluxe Edition Audio Mixer: Suha Gur. Audio Remixer: Ovie Sparks. Liner Note Author: Scott Schinder. Arrangers: Phil Walden; Bill Graham. The Allman Brothers Band: Berry Oakley (bass guitar); Jai Johanny Johanson (drums); Dickey Betts, Duane Allman, Gregg Allman, Butch Trucks. Personnel: Dickey Betts, Duane Allman (vocals, guitar, acoustic guitar, slide guitar); Gregg Allman (vocals, acoustic guitar, piano, electric piano, organ); Butch Trucks (vibraphone, drums, tambourine, timpani, percussion, gong).

At Fillmore East songs Ultradiscs are mastered from the original master tapes using Mobile Fidelity's proprietary mastering technique, then plated with 24 karat gold and housed in a stress-resistant lift-lock jewel box. With this, his first solo album, Eric Clapton did a complete 180 from his work of the previous five years. Gone were the long, jazzy solos and rootsy Chicago blues work. In their place, Clapton was stretching as a singer and seeking to define his own song forms, inspired by the Beatles, the Band, and his new found collaborators from the southern R&B circuit, Delaney And Bonnie. ERIC CLAPTON marks Clapton's first use of the Fender Stratocaster. Its high, wirey, percussive sound stands in stark contrast to the dark, fat, singing Gibson sounds Clapton had perfected with John Mayall, Cream and Blind Faith. This new Clapton sound is quite striking, from the twangy leads on his opening instrumental "Slunky," to the cutting feints and jabs which transform J.J. Cale's "After Midnight" into a Clapton signature piece. Positioned as it is between the legendary BLIND FAITH and LAYLA sessions, ERIC CLAPTON has long been underrated by fans and critics alike, but the roots of much of what Clapton's done since 461 OCEAN BOULEVARD can be found here: the pithy melodic style of "Blues Power," the country/gospel overtones of "Bottle Of Red Wine," and the confessional tone of "Let It Rain." In addition, ERIC CLAPTON is significant both as a showcase for Clapton's emerging vocal stylings and as a proving ground for his Dominoes rhythm section of drummer Jim Gordon, bassist Carl Radle and keyboardist/vocalist Bobby Whitlock. lso out of print on CD on Polydor (531 819) - D01. Additional Tracks; Deluxe Edition Recorded at Village Recorders, West Los Angeles, California in 1970. Personnel: Eric Clapton, Delaney Bramlett (guitar, vocals); Bobby Keys (saxophone); Jim Price (trumpet); Leon Russell, John Simon (piano); Bobby Whitlock (organ, vocals); Carl Radle (bass); Jim Gordon (drums); Sonny Curtis, Bonnie Bramlett, J.I. Allison (background vocals); Stephen Stills, Rita Coolidge. Personnel: Eric Clapton (vocals, guitar); Delaney Bramlett, Jerry Allison , Rita Coolidge, Sonny Curtis, Stephen Stills, Bonnie Bramlett (vocals); Bobby Keys (saxophone); Leon Russell (piano); Jim Gordon (drums); Tex Johnson (percussion). Audio Mixers: Suha Gur; Delaney Bramlett; Tom Dowd. Liner Note Author: Scott Schinder. Recording information: A&M Studios, Hollywood, CA (09/27/1969-03/??/1970); Island Studios, London, England (09/27/1969-03/??/1970); Olympic Sound Studios, Barnes (09/27/1969-03/??/1970); Sunset Sound Studios, Los Angeles, CA (09/27/1969-03/??/1970); Village Recorders, West Los Angeles, CA (09/27/1969-03/??/1970). Photographers: Tom Wilkes ; Barry Feinstein. Arranger: Delaney Bramlett.