The Allman Brothers Band was an American rock band formed in Jacksonville, Florida in 1969[2] by brothers Duane Allman (founder, slide guitar and lead guitar) and Gregg Allman (vocals, keyboards, songwriting), as well as Dickey Betts (lead guitar, vocals, songwriting), Berry Oakley (bass guitar), Butch Trucks (drums), and Jai Johanny "Jaimoe" Johanson (drums). The band incorporated elements of blues, jazz, and country music, and their live shows featured jam band-style improvisation and instrumentals.

The Allman Brothers Band's fifth live release in 25 years, cut during 1994 in Raleigh, NC, and at the Garden State Arts Center in New Jersey, is a high-water mark in their Epic Records catalog. If anything, they're even better here than they were on the earlier Evening with the Allman Brothers Band, the old material getting fresh new approaches – the band was on for both nights, and presented sets, including an acoustic version of "In Memory of Elizabeth Reed" and "Jessica" (which won a Grammy Award), that soared and flowed, especially Dickey Betts and Warren Haynes' guitars. What's more, the clarity of the recording and the volume at which it was recorded make this a most rewarding 70 minutes of live music on a purely technical level – you can practically hear the action on the guitars during the acoustic set. It won't replace Live at Fillmore East or the live portions of Eat a Peach, but it deserves a place on the shelf not very far from them.

Tijdens de eerste helft van de 70-er jaren waren the Allman Brothers Band de meest invloedrijke rockgroep in Amerika, waarbij zij rockmuziek en de grenzen daarvan herdefinieerden. Het krachtige, uitgebreide improviseren van de band op het podium veranderde de normen van concertoptredens; er waren andere groepen die bekend stonden om hun improvisaties maar the Allman Brothers konden een nummer 30 tot 40 minuten uitrekken, en waren op zijn best opwindend, nooit hedonistisch. Zij gaven het alles een distinctieve Zuidelijke stem en openden hierdoor een deur voor een golf van 70-er rockbands vanuit de ten zuiden van de Mason-Dixon Line gelegen regio, waaronder Lynyrd Skynyrd.

36 tracks from guitar legends such as Eric Clapton, Dire Straits, Lynyrd Skynyrd, Stevie Ray Vaughan, Roy Buchanan, Allman Brothers Band, B.B. King, Tom Petty, Fleetwood Mac, Thin Lizzy, Ry Cooder, Chris Rea, Santana and more…

32 tracks from guitar legends such as Mark Knopfler, Lynyrd Skynyrd, Eric Clapton, Stevie Ray Vaughan, Allman Brothers Band, B.B. King, Fleetwood Mac, Ry Cooder, ZZ Top, Gary Moore, Chris Rea, Santana and more, all help make this 2 CD set a sure fire hit.

Brothers and Sisters is significant for myriad reasons. It’s the first album the Allman Brothers Band made in its entirety after Duane Allman’s death. It also came after bassist Berry Oakley’s spookily similar passing, yet he appears on two of the songs. The 1973 set also marks the emergence of guitarist Dickey Betts as the collective’s leader. And pianist Chuck Leavell’s arrival. But more than anything else, the record remains noteworthy for its incredible soulfulness and completeness. Having stayed at the top of the Billboard charts for five consecutive weeks, Brothers and Sisters constitutes the Allman Brothers Band’s biggest commercial triumph. Given the circumstances surrounding its creation, such an accomplishment hardly seemed possible. Fresh from licking their wounds over Duane’s tragic motorcycle accident, the group experienced déjà vu when Oakley met the same fate just blocks away from where his mate was killed. Rather than collapse, the Allman Brothers Band tightened up and mellowed out, inviting Leavell to join instead of recruiting another guitarist.

The Allman Brothers Band's comeback album, and their best blues-based outing since Idlewild South that restored a lot of their reputation. With Tom Dowd running the session, and the group free to make the music they wanted to, they ended up producing this bold, rock-hard album, made up mostly of songs by Dickey Betts (with contributions by new keyboardman Johnny Neel and lead guitarist Warren Haynes), almost every one of them a winner. Apart from the rippling opening number, "Good Clean Fun," which he co-authored, Gregg Allman's contribution is limited to singing and the organ, but the band seem more confident than ever, ripping through numbers like "Low Down Dirty Mean," "Shine It On," and "Let Me Ride" like they were inventing blues-rock here, and the Ornette Coleman-inspired "True Gravity" is their best instrumental since "Jessica".

The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and more redemption. During the early '70s, they were arguably the most influential rock group in America, thanks in no small part to At Fillmore East (a high-water mark for concert albums), that redefined the scope of rock's musical boundaries. Duane Allman and Dickey Betts pioneered the twin-lead guitar sound so prevalent during the decade that continued well into the 21st century. The group placed an emphasis on musicianship, seamlessly melding rock, blues, jazz, and R&B with extended improvisation. The band also included two very complementary drummers in Butch Trucks and Jai Johanny Johanson (aka Jaimoe), a virtuoso bassist in Berry Oakley, and the grainy, soulful vocals (and organ playing) of Gregg Allman, who sounded like a decades-older bluesman. They turned epic-length jam tracks such as "Whipping Post" and "In Memory of Elizabeth Reed" into FM radio staples. They directly influenced virtually all '70s rock acts south of the Mason-Dixon Line, including the Marshall Tucker Band and Lynyrd Skynyrd, and the jam band movement of the '90s. 1973's Brothers & Sisters showcased a different aspect of their character with accessible, radio-ready hit singles such as "Ramblin' Man" and "Jessica." Even in their final incarnation with guitarists Derek Trucks and Warren Haynes, ABB churned out charting live albums such as 2003's Hittin' the Note.

They directly influenced virtually all '70s rock acts south of the Mason-Dixon Line, including the Marshall Tucker Band and Lynyrd Skynyrd, and the jam band movement of the '90s. 1973's Brothers & Sisters showcased a different aspect of their character with accessible, radio-ready hit singles such as "Ramblin' Man" and "Jessica." Even in their final incarnation with guitarists Derek Trucks and Warren Haynes, ABB churned out charting live albums such as 2003's Hittin' the Note. The group was founded in March 1969 by Duane Allman on guitar; Gregg Allman on vocals and organ; Dickey Betts on guitar; Berry Oakley on bass; and Butch Trucks and Jaimoe (aka Jai Johanny Johanson) 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 directly influenced virtually all '70s rock acts south of the Mason-Dixon Line, including the Marshall Tucker Band and Lynyrd Skynyrd, and the jam band movement of the '90s. 1973's Brothers & Sisters showcased a different aspect of their character with accessible, radio-ready hit singles such as "Ramblin' Man" and "Jessica." Even in their final incarnation with guitarists Derek Trucks and Warren Haynes, ABB churned out charting live albums such as 2003's Hittin' the Note. The group was founded in March 1969 by Duane Allman on guitar; Gregg Allman on vocals and organ; Dickey Betts on guitar; Berry Oakley on bass; and Butch Trucks and Jaimoe (aka Jai Johanny Johanson) 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.

The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and more redemption. During the early '70s, they were arguably the most influential rock group in America, thanks in no small part to At Fillmore East (a high-water mark for concert albums), that redefined the scope of rock's musical boundaries. Duane Allman and Dickey Betts pioneered the twin-lead guitar sound so prevalent during the decade that continued well into the 21st century. The group placed an emphasis on musicianship, seamlessly melding rock, blues, jazz, and R&B with extended improvisation.

The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and more redemption. During the early '70s, they were arguably the most influential rock group in America, thanks in no small part to At Fillmore East (a high-water mark for concert albums), that redefined the scope of rock's musical boundaries. Duane Allman and Dickey Betts pioneered the twin-lead guitar sound so prevalent during the decade that continued well into the 21st century. The group placed an emphasis on musicianship, seamlessly melding rock, blues, jazz, and R&B with extended improvisation.

The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and more redemption. During the early '70s, they were arguably the most influential rock group in America, thanks in no small part to At Fillmore East (a high-water mark for concert albums), that redefined the scope of rock's musical boundaries. Duane Allman and Dickey Betts pioneered the twin-lead guitar sound so prevalent during the decade that continued well into the 21st century. The group placed an emphasis on musicianship, seamlessly melding rock, blues, jazz, and R&B with extended improvisation.

As this was the Allman Brothers Band's last ever show with Duane Allman (who would die in a motorcycle accident just over a month later), this unofficial CD is a historic and emotional document of the concert the Macon, Georgia band gave on September 16, 1971 at the Warehouse Music Venue in New Orleans, the site of many of their performances. Fresh from the great success, also commercial, of the live 'At Fillmore East' released about two months earlier, Duane (lead guitar) and Gregg Allman (vocals and keyboards), together with Dickey Betts (lead guitar), Berry Oakley (bass), Butch Trucks (drums and percussion) and Jai Johanny Johanson 'Jaimoe' (drums) propose exciting versions of pieces also included in the legendary double album (Blind Will McTell's 'Statesboro Blues', Elmore James's 'Done Somebody Wrong', T Bone Walker's 'Stormy Monday', the tour force 'In Memory Of Elizabeth Reed' and 'Whipping Post', 'Hot 'Lanta') and other warhorses of the period such as Muddy Waters's 'Trouble No More', 'Don't Keep Me Wondering', Elmore James's 'One Way Out', 'Midnight Rider', 'Revival' and the 'Blue Sky' later released on 'Eat A Peach'

The Allman Brothers shared the bill with the Grateful Dead on several notable occasions. This release recalls the Brothers in support of the Dead and Love in February 1970 at the fabulous Fillmore East. No specific dates for the performances are noted, so it is presumed this release is a composite from recordings made at some point during the two sets per night that the Allman's performed on February 11th through the 14th. There is no mistaking the unbridled fervor of the original line-up of the band. Rising to the challenge of exploratory psychedelia – while remaining ever faithful to their Southern blues roots – blues standards such as "(I'm Gonna Move to The) Outskirts of Town" and "Hoochie Coochie Man" are strengthened and extended beyond their typical assertions. No longer are they relegated to the inadequately rendered thrashings of garage rock. Betts and the Allman's understand the dynamics of blues. It is out of this respect for the art form that the band is able to pull off such authentic psychedelia-tinged Delta sounds.