Play All Night: Live at The Beacon Theatre 1992 The Allman Brothers Band

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  • 1Statesboro Blues07:00
  • 2You Don't Love Me06:38
  • 3End of the Line05:45
  • 4Blue Sky07:34
  • 5Nobody Knows13:20
  • 6Low Down Dirty Mean07:20
  • 7Seven Turns04:41
  • 8Midnight Rider03:20
  • 9Come on in My Kitchen06:02
  • 10Guitar Intro / Hoochie Koochie Man10:01
  • 11Jessica10:01
  • 12Get on With Your Life08:18
  • 13In Memory of Elizabeth Reed20:58
  • 14Revival05:46
  • 15Dreams11:20
  • 16Whipping Post11:36
  • Total Runtime02:19:40

Info for Play All Night: Live at The Beacon Theatre 1992

„Much as the current Allman Brothers lineup had coalesced in 2003, the ensemble that came together in 1989 for the twentieth anniversary box set Dreams (Polydor, 1989) tour had tightened considerably (minus keyboardist /vocalist Johnny Neel) by the time they decided to engage in their first extended run at New York's Beacon Theatre and record themselves for a live album. Play All Night: Live At the Beacon Theatre consists of performances captured on March 10 & 11 in 1992 and over the course of its two discs, effectively supplants the concert pieces of that era captured on An Evening With ... 1st Set (Epic, 1992) and 2nd Set (Epic, 1995).

Its title echoing the impromptu shout near the end of the seminal live recording At Fillmore East (Capricorn, 1971), this package has been produced by guitarist/vocalist/songwriter Warren Haynes from original recordings overseen by long-time Allmans producer, the late Tom Dowd. The set list retains the uniformity espoused by the group's deceased founder, guitarist Duane Allman, allowing the group to move effortlessly from one familiar number ('Statesboro Blues') to another ('You Don't Love Me') and concentrate on improvisation to render the numbers fresh, as well as to incorporate select sit-ins such as harpist Thom Doucette and the newly recruited percussionist Marc Quinones as a regular member of the septet.

Yet as much as the arrangements and the musicianship is polished, there's a raw abandon to the music, even on new material of the era such as 'End of the Line,' the sensation even more palpable on guitarist/vocalist/songwriter Dickey Betts' 'Nobody Knows.' A swirling rise and fall of intensity in melody and rhythm, in turn mirrored by the guttural caterwauling of keyboardist/vocalist Gregg Allman, effectively renders obsolete the studio version from Shades of Two Worlds (Epic, 1991).

But that's in keeping with a remarkable rediscovery of style honed since this particular collective assembled. Haynes' presence not only restored the Brothers' original two-guitar attack, thus allowing a more accurate replication of songs such as 'Blue Sky,' but his growing skill, including mastery of slide there and on 'Dreams,' pushed his counterpart to play at an ever higher level of intricacy and power. This reciprocal dynamic echoed the dual-guitar axis' influence on the rest of the band as it was originally instituted, too: bassist Allen Woody, who would go on to form Gov't Mule with Haynes in 1994 (and unfortunately passed away in 2000), plays with a taut insistence comparable to his predecessor, the late Berry Oakley, while at this juncture, both drummers Jaimoe and Butch Trucks, were interacting with comparably muscular strength.

A novel twist to Allmans concerts of this period included an acoustic interlude in which self-composed standards like 'Midnight Rider, 'as well as the title tune from the reformed ABB's first studio record, Seven Turns (Epic, 1990), evoked folk and country roots almost as deeply as Robert Johnson's 'Come On In My Kitchen' hearkens to the Allman Brothers' roots in the blues (restated via {{Muddy Waters))' 'Hoochie Coochie Man' where Haynes' vocal reaffirms newfound strengths of the group exhibited just prior). It's a tribute to the skill of song sequencing that the sly syncopation cum shuffle of 'Low Down Dirty Mean' serves as such a smooth segue into that segment of the concert as presented on these two discs, thus embodying the solidity of the Allman Brothers Band in this configuration.

The logic of that approach continues as the show builds inexorably but joyously to a dramatic climax with 'Whipping Post.' Moving with readily discernible acceleration through a high-flying 'Jessica,' a languorous, then frenetic finish to 'In Memory of Elizabeth Reed' (with its spirited three-way drum interlude just long enough to showcase Quinones contributions to the rhythm axis), plus the sing-along set piece 'Revival,' the Allmans exhibit as much of a sense of adventure as consummate skill, both individually and collectively.

As much as the Allman Brothers' performances of this period did justice to their legacy, so does Live at the Beacon Theatre 1992—and to practically the same extent endorses the inspiring atmosphere the group discovered at the venue.“ (Doug Collette, AllAboutJazz)

Gregg Allman, organ, piano, acoustic guitar, lead vocals
Dickey Betts, electric guitar, acoustic guitar, lead vocals
Jaimoe, drums, background vocals
Butch Trucks, drums, tympani, background vocals
Warren Haynes, electric guitar, acoustic guitar, background vocals
Allen Woody, bass, acoustic bass, background vocals
Marc Quiñones, congas, percussion
Thom Doucette, harmonica

Recorded on 10./11. March 1992
Engineered by David Hewitt, Phil Gitomer, Dave Roberts
Produced by Warren Haynes, 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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