Eat A Peach

Performer: The Allman Brothers Band
Engineer: Howie Albert; Aaron J. Brown; Larry Dahlstrom
Producer: Tom Dowd
Distributor: Universal Distribution

Notes: This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. The Allman Brothers Band: Gregg Allman (vocals, acoustic guitar, piano, organ); Dickey Betts, Duane Allman (guitar); Berry Oakley (bass guitar); Jai Johanny Johanson (drums, congas); Butch Trucks (drums, percussion). A tribute to the dearly departed Duane, Eat a Peach rambles through two albums, running through a side of new songs, recorded post-Duane, spending a full album on live cuts from the Fillmore East sessions, then offering a round of studio tracks Duane completed before his death. On the first side, they do suggest the mellowness of the Dickey Betts-led Brothers and Sisters, particularly on the lovely "Melissa," and this stands in direct contrast with the monumental live cuts that dominate the album. They're at the best on the punchier covers of "One Way Out" and "Trouble No More," both proof of the group's exceptional talents as a roadhouse blues-rock band, but Duane does get his needed showcase on "Mountain Jam," a sprawling 33-minute jam that may feature a lot of great playing, but is certainly a little hard for anyone outside of diehards to sit through. Apart from that cut, the record showcases the Allmans at their peak, and it's hard not to feel sad as the acoustic guitars of "Little Martha" conclude the record, since this tribute isn't just heartfelt, it offers proof of Duane Allman's immense talents and contribution to the band. ~ Stephen Thomas Erlewine 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.

Rolling Stone (4/13/72, p.62) - "...typically, the whole band merges into one organism, one master musician with 30 fingers and six instruments to play on..." Spin (p.87) - 5 starts out of 5 -- "[A] sometimes somber, sometimes epic astral-boogie elegy." Q (p.118) - 4 stars out of 5 -- "The mellow country vibes of 'Blue Sky' and 'Melissa' are nice..."

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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