The Allman Brothers Band At Fillmore East (Remastered) The Allman Brothers Band

Album info



Label: Mercury

Genre: Rock

Subgenre: Blues-Rock

Album including Album cover

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  • 1Statesboro Blues 04:20
  • 2Done Somebody Wrong04:36
  • 3Stormy Monday 08:50
  • 4You Don't Love Me19:19
  • 5Hot 'Lanta 05:22
  • 6In Memory Of Elizabeth Reed 13:07
  • 7Whipping Post23:13
  • Total Runtime01:18:47

Info for The Allman Brothers Band At Fillmore East (Remastered)

Während die meisten großen Rockalben von ihrer Energie leben, ist At Fillmore East eher mit einer großartigen Live-Jazz-Session zu vergleichen. Was sich hier überträgt, ist vor allem der Spaß der beteiligten Musiker am Zusammenspiel auf der Bühne an diesen drei Konzertabenden im März 1971. Das wunderbare an diesem Album, das den Allmans so viel Anerkennung brachte, ist aber, dass es nicht nur feinste Rockmusik bietet, sondern zudem auch noch unglaublich gut produziert ist.

Tom Dowd, der auch schon das zweite Studioalbum der Allman Brothers aufgenommen hatte, war mit einer 16-Spur-Bandmaschine zugegen und fing die Band - in ungewöhnlicher Aufstellung mit zwei Lead-Gitarristen und zwei Schlagzeugern - ein.

Keine Frage: Dieses Doppel-Album zählt zu den legendären Live-Konserven der Rock-Geschichte. Dokumentiert der Mitschnitt vom März 1971 doch eine Band auf der Höhe ihrer Spiellust und -laune. Eine Höhe, aus der sie noch im gleichen Jahr durch den Unfalltod des begnadeten Allman-Bruders Duane "Skydog" heruntergerissen wurde. Sein virtuoses Slide-Gitarrenspiel prägte gemeinsam mit dem rauhen Blues-Organ von Bruder Gregg, der solide geführten zweiten Lead-Gitarre Dickey Betts' und dem dichten Rhythmus- Teppich der beiden Drummer den Gruppen-Sound. Live dehnte das Sextett aus Jacksonville/Forida In Memory Of Elizabeth Reed (13'06"), You Don't Love Me (19'18") und natürlich Whipping Post (23'11") zu langen Improvisationsketten, an denen es sich trotz einiger Ego-Trips Duanes in den Olymp des Southern-Rock hangelte." (Audio)

"Neben dem elegischen Twin-Gitarren-Track “In Memory Of Elizabeth Reed”, dem schwungvollen Cover “You Don’t Love Me”, bei dem besonders der kurz darauf verstorbene Duane Allman punktet, “Stormy Monday” und einem feurigen “Whipping Post” sind all die Klassiker zu hören, die die Gruppe an die Spitze des Southern-Rock brachten. Atemberaubend!" (Good Times)

Duane Allman, guitar, slide guitar
Gregg Allman, organ, piano, vocals
Dickey Betts, lead guitar
Berry Oakley, bass
Jai Johanny Johanson, drums, congas, timbales
Butch Trucks, drums, tympani
Guest musicians:
Thom Doucette, harmonica
Jim Santi, tambourine

Recorded March 12–13, 1971 at Fillmore East, New York City
Engineered by Aaron Baron, Larry Dahlstrom, Aaron Baron, Larry Dahlstrom
Produce by Tom Dowd

Digitally remastered

Allman Brothers Band They formed in 1969, but the road veterans continue to tour like they have something to prove. And they're already legends, with a secure place in history and a plaque at the Rock & Roll Hall of Fame. But THE ALLMAN BROTHERS BAND is also a vital contemporary phenomenon, as much a part of the present and future of music as any band can be.

In early 2003, the group released the critically lauded Hittin' The Note, their first new studio project in nine years (and 24th overall). Released March 18, 2003 on their own Peach label (via a new deal with Sanctuary), these 11 tracks prove the band's ability to adapt its classic sound to the energy and aesthetics of modern rock. The ALLMAN BROTHERS BAND underlined the success of Hittin’ The Note (including two Grammy nominations for the track “Instrumental Illness”) with a live DVD and CD recorded in New York during the group’s annual marathon of shows at the Beacon Theatre (which they have packed over 140 times, including 14 sell-outs in 2006). The group also continues to release music from their personal archives, which they’ve guarded closely over the years.

The Allman Brothers Band at the Beacon Theatre…just hearing the phrase conjures up images and sounds of well executed and passionately played live rock and roll. To capture the event for fans who might not necessarily have been lucky enough to get into the 2894-seat venue, the group recorded the shows, and released the Live At The2 Beacon Theatre DVD in late ’03, and it was quickly certified gold. One Way Out, a live album from the same Beacon stand, came out in March 2004.

2003 also brought further accolades for the ALLMANS. The band was recognized by Rolling Stone for featuring four of the top 100 guitarists of all time: the late Duane Allman was cited as #2, while current guitarists Warren Haynes and Derek Trucks came in at #23 and #81, respectively. Known as one of rock’s best live acts, the ALLMAN BROTHERS BAND were one of only two artists whose live albums ranked in the top 50 of Rolling Stone’s list of the “500 Greatest Albums of All Time.” The ALLMAN BROTHERS BAND was honored for At Fillmore East (while James Brown was saluted for Live At The Apollo). An expanded version of At Fillmore East and the previously unavailable Atlanta International Pop Festival (the July 1970 concert that they both opened and closed) were released to critical and fan acclaim. The group was selected as the first artist to introduce the “Instant Live” program, whereby fans were able to purchase CD copies of the ALLMAN BROTHERS BAND concert they just saw, immediately after the show.

Not many groups have been around as long as The Allman Brothers Band. Of those that have, most have either lapsed into a nostalgia-act coma or withered on a weary vine. If you're talking about a band that has both legs and heart, whose experience feeds an intensity that's rare even among the greenest music newbies, that narrows the field pretty much down to these psychedelic sons of the South. But passion doesn't come easily, which helps explain why it's taken them so long to record once again. In April 1997, frustrated by tensions within the group that were threatening to slow its creative momentum, Warren Haynes and bassist Allen Woody left to pursue Gov’t Mule (with whom he still tours and releases new music), and the focus of the group shifted exclusively to live performance. Though they still delivered killer shows, something was missing, and eventually it became clear that the only way to get it back was to make a change in the personnel. Visit:

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