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People can think what they want to about The Blues Brothers movie but Belushi & Akroyd rekindled the fire for the blues and reintroduced a new generation to many artists like John Lee Hooker, Matt Guitar Murphy, Ray Charles, Pinetop Perkins and many others.
Story goes that Belushi & Akroyd drove from NYC to LA and they alternated between John’s Allman Brother’s 8 track tapes and Dan’s comedy tapes to pass the time. From that, Dan Akroyd wrote the script for the movie and its been a cult classic ever since -
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Belushi was a proper class act, I feel he never got the cedit he was due, 1940 was a master piece as was the blues brothers, maybe if he had lived then Jack Black wouldnt have ripped off his persona.
Dont know much about ABB, a few tracks i like( similar to many other bands) but never got in to them or where they an influence...Billy..
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Belushi was a proper class act, I feel he never got the cedit he was due, 1940 was a master piece as was the blues brothers, maybe if he had lived then Jack Black wouldnt have ripped off his persona.
Dont know much about ABB, a few tracks i like( similar to many other bands) but never got in to them or where they an influence.Billy
Sorry for the long answer but The Allman Brothers are by far my favorite American band of all time and Duane Allman & Dickey Betts are my 2 favorite American guitarists
The Allman Brothers were a major influence, they were the first “Southern Rock” band and all others followed. The members were a very unique matchup and their music was a blend of blues, jazz, country, R&B and rock.
They were especially known for their improv skills, many of their song were stretched to 12+ minutes, with one tune “Mountain Jam” found on their “Eat A Peach” album was nearly 34 minutes longDuane Allman, was a ground breaker in the area of slide guitar, breaking the mold on what many were doing with slide. Even though he only had played slide about 3-4 yrs when he was killed at age 24, many today rank him as being the best slide player – I know that is a matter of opinion but that is the thought.
Duane could also improvise for long periods of time and never repeat himself. Duane joined Clapton on the 4th song of the Layla album and one of the finest blues rock albums in history was recorded“The Allman Brothers Live At The Fillmore” is ranked as the best live album ever recorded and has been a major seller since its release in 1971. It showcases The Brothers at their finest and in their element of being a live band – Duane was killed in a motorcycle accident shortly after it was released
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Oh sorry keith i wasnt trying to rubbish your taste in music.
Tbh my take on a lot of bands is like this, there will be about 5 or 6 tracks out of their whole disography that i can happily sit down and listen to, the rest just leaves me cold.
No idea why,could be down to writing style or their recipe …
Once again mate, my apologies if i can across as criticising your taste in music...Billy..
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Not at all Billy, I didn’t take it that way. I’ve listened to the Allman Brothers over & over since the 70s and I’m always ready to talk about their music.
If I had a dollar for every time that I’ve listened to Live At The Fillmore, I’d be a rich man LOL
If you like great improv music, the Allman Brothers had it going on
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This is a review from the BBC about this album
CD: Allman Brothers Band,Live At Fillmore East
BBC Review
There are many great live double albums. It was probably Cream with Wheels Of Fire who set the template for distended albums that allowed the band to ahem ‘explore’ their lengthier numbers by making them a little more…um, lengthy. Van Morrison’s Too Late To Stop Now? Thin Lizzy’s Live And Dangerous? Crosby Stills and Nash’s Four Way Street? All marvellous of course, but the Allmans did it best…
By 1970 the band had completed two fine studio albums but hadn’t been able to translate their live reputation into fiscal returns. The solution, of course, was to give the public a good compromise. Remarkably, for such a deep-rooted bunch of good ol’ southern boys, they’d found a spiritual home on the East Coast at Bill Graham’s New York Fillmore East. With this in mind the tapes rolled on two nights in November and the results were condensed into At The Fillmore East. Paydirt was hit.
While many remember the Allmans as essentially a superior version of (ugh) Lynyrd Skynyrd or even (good grief) Black Oak Arkansas, what they really represented at this point was a melting pot of styles welded together to produce something incredibly sophisticated while retaining the requisite ‘jamming’ looseness needed to entertain the free-thinking audiences of the time. Duane Allman, already a session player par excellence, loved everything from jazz to blues as did co-lead Dickie Betts. Their duelling Les Pauls rode the matching rhythms of twin percussionists Jaimoe and Butch Trucks (still the best name of any drummer on the planet). Topping it all off was sibling Allman Gregg’s husky blues wail and lyrical Hammond.
Together they could do what so many bands of the time tried and failed: play numbers for half an hour and never once resort to cliché or repetition. Here reside the defining moments of the Allmans’ career. “Whipping Post”, already a behemoth of tortured soloing, here becomes an exploration on a par with anything Miles was attempting. Indeed the other monster cut here, ”In Memory Of Elizabeth Reed” is Bett’s homage to Miles, and amply demonstrates his fantastically complex style.
Whether delivering the blues with Duane’s slide licks daring grown men to weep (“Stormy Monday”), or with Gregg’s song writing skills to the fore on more succinct gems like “Midnight Rider” (a bonus cut on this deluxe edition) this remains a snapshot of a band getting off on each others’ abilities and sharing the joy with one lucky crowd. Tragedy was lurking just around the corner, but for these precious moments they were, and remain unbeatable. –Chris Jones
..Billy..
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Well in that case kiddo, I’ll go buy the album hahaha
Most of The Brothers albums are available on You Tube so you can check them out before buying
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