Live at the Atlanta International Pop Festival: July 3 & 5, 1970 [Digipak]

Performer: The Allman Brothers Band
Artist: Johnny Winter
Engineer: Harry Zerler; Mike Callahan; Ray Colcord; Russ Payne; Tim Geelan
Producer: Kirk West; Jerry Rappaport
Distributor: Sony Music Distribution (

Notes: 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). Recorded live at the Atlanta Internation Pop Festival, Atlanta, Georgia, July 3 & 4, 1970. Includes liner notes by Kirk West. 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. For the first time anywhere -- officially or not -- two (mostly) complete performances by the Allman Brothers at the Atlanta International Pop Festival over the Fourth of July weekend (they were the bookends of the fest) in 1970 have been issued with stellar sound, complete annotation and cool liner notes. The festival took place while the Allmans were in the process of recording their second album, Idlewild South, when they appeared on July 3 as the hometown openers of the entire festival and proceeded to blow the minds of over 100,000 people -- for their last set on July 5 at 3:50 a.m. they performed in front of as many as 500,000. Musically, other than a somewhat stiff version of "Statesboro Blues," the July 3 set is magical. There is a stunning version of "Dreams" lasting almost ten minutes with beautiful Hammond/guitar interplay between Gregg and Dickey. Long and ferocious versions of "Whipping Post" and "Mountain Jam" are here, but the track on the July 3 set is Berry Oakley's feral vocal read of Willie Dixon's "Hoochie Coochie Man." " A short (5:49) version of this song, it has a rock & roll immediacy that is strained out of the longer versions to gain the improvisational edge. Disc one also restores Gregg Allman's "Every Hungry Woman," to its rightful place -- previously only having been available on an anthology. Harp player Thom Doucette, no stranger to ABB fans, is here aplenty, adding his righteous, stinging harp lines to many tracks on both nights. The way Gregg's organ playing is recorded here offers a new view of just how integral an anchor he was for both guitarists to play off. He is a monster musician and, even at this early date, was showing off his improvisational and rhythmic skills. Disc two is graced by the original live mixes of "Statesboro Blues" and "Whipping Post" that were released on First Great Rock Festivals of the Seventies and these are stunning for their intensity and focus, as well as clarity. "Don't Keep Me Wonderin'" is as tough a set opener as there is with the ringing slide guitars attacking one another and going for broke to kick things off. The long versions of "Stormy Monday" and "'Liz Reed" are among the most intimate and groundbreaking the band ever recorded, while "Whipping Post" transmutes itself into a jazz tune for a few minutes and changes everything. The nearly half-hour "Mountain Jam" is deepened here by the addition of a third guitarist: Johnny Winter sits in with the ABB and Doucette for the definitive version of this classic -- you can forget the one on Eat a Peach after this. While it won't replace Live at the Fillmore East as the greatest live record ever made, this is an essential purchase for ABB fans, one that gives us the treat of a dignified rendering of a very important and defining moment in the band's early career. It also provides an excellent, even mind-blowing introduction to a band that was at the peak of its power. ~ Thom Jurek 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.

Mojo (Publisher) (11/03, p.141) - 3 stars out of 5 - "...Well-recorded performances, which alternate between pioneering quasi-psychedelic rock-jazz-blues jams and the tastiest Southern blues rock..."

They're known as the founding fathers of Southern rock, but the Allman Brothers were actually much more progressive than the musical school they inspired. They reclaimed the US-influenced blues-rock of Cream et al. and brought it back to America, adding country and jazz touches. They were noted for their improvisatory skills, particularly the inspired dual-guitar work of Dickey Betts and the late Duane Allman. Even after the deaths of Duane and original bassist Berry Oakey and the departure of Betts, the band soldiered on strongly into the 21st century, led by founding singer/organist Gregg Allman.

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