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Allman Brothers Wake Up Mama

author
Christina Perez
• Wednesday, 06 January, 2021
• 14 min read

Over the years that we have been doing this the introductions are usually very short and this one's going to be short but little longer than usual last few days we have had the privilege of working with this particular group and in the past years, so we had them both and number of times and all that time I have never heard the kind of music that this group of plays and last night We had the good fortune of having to get on stage about 233 o'clock, and they walked out of here at 7 o'clock in the morning, and it's not just that they played quantity and for my amateur is in all my life. We're going to round it off with the best of them all the AllmanBrothers.

farmer brian derek mccabe rip gone soon another too wake warren fest peach sunday august
(Source: alanpaul.net)

Contents

All those moments will be lost in time, like tears in the rain. Important: The song above is NOT stored on the Charlie server.

Charlie works as a search engine and provides on-the-fly formatting. ’t:Scottsboro Blues} {st: AllmanBrothers Band} # #Title: SCOTTSBORO BLUES (Blind Willie McTell) # # Makeup mother, turn your lamp down low Makeup mother, turn your lamp down low You got no love babe, to turn Uncle John from your door.

I woke up this morning, had them Scottsboro Blues I woke up this morning, had them Scottsboro Blues I looked over in the corner, and grandpa seemed to have them too. LEAD Well my mother died and left me My poppa died and left me I ain't god looking' baby But somewhere I'm sweet and kind I'm going' to the country, baby do you want to go If you can't make it baby, your sister Lucile said she want to go (and I sure will take her).

Makeup, mother, turn your lamp down low. In order to write a review on digital sheet music you must first have purchased the item.

I have been run down, I have been lied to, I don't know why I let that mean woman make me a fool. Now she's with one of my good time buddies, They're drinking' in some crosstown bar. Sometimes I feel, sometimes I feel, Like I have been tied to the whipping post, Tied to the whipping post, Tied to the whipping post, Good lord, I feel like I'm dying'.

gypsy 2008 january tell why need don
(Source: yarmarge.typepad.com)

My friends tell me, that I've been such a fool, And I have to stand by and take it baby, all for loving' you. But nothing' seems to change, the bad times and the shame, And I can't run.

I have been run down, I have been lied to, I don't know why I let that mean woman make me a fool. But nothing' seems to change, the bad times and the shame, And I can't run.

With Gregg Allman's death today (May 27) at the age of 69, Billboard looks back at the 20 greatest AllmanBrothers songs in roughly chronological order. The band's showstopper until the end, “Whipping Post” was arguably the AllmanBrothers greatest achievement, with an idiosyncratic 11/4 key signature in the intro, a gut-wrenching heartrending vocal from Gregg Allan and extended, high-flying solo sections that allowed both of the band's guitarists to stretch out and build to a blindingly tense crescendo, brought all the way back home by Allman's formidable voice.

One of Gregg Allman's most somber vocal performances, “Dreams” is a simple song that allowed the band to stretch out and show off what it could do, in a way that managed to be both forlorn and sad, and also freed from restriction. An early rip-roaring blues, “Black Hearted Woman” was a sign of what the band would eventually prove so skillful at pulling off: complex, emotional yet badass guitar work supplemented by a once-in-a-generation voice, delivered with stunning exactitude.

It's relatively simple, compared to the majority of the band's catalog, but it's the spirit of the song -- “The road goes on forever,” Allan sings wistfully -- that makes it such a key part of their musical identity. The open road that fueled Gregg's lifelong love of motorcycles, and contributed to the demise of Duane and Oakley, has always been a driving force for the group, and “Midnight Rider” is its ultimate theme.

(Source: www.musicfestnews.com)

But the group's grounding in the blues tradition meant that the peace-love-happiness themes that ran through the songs of many of their peers rarely reared its head in their own music. A rare exception to that is Idle wild South album opener “Revival,” with its “Love is everywhere” singalong chorus -- making the song both an outlier, and a welcome dose of levity.

Another extended instrumental from their catalog, “Reed” is one of Beats' first show-stopping songs, and it's one of the few that gives Allan a chance to show off what he could do on the Hammond B-3 organ, admittedly not his strongest suit -- that would be his voice, of course -- but one in which he was more than competent. Simple yet complex, short but powerful, “Little Martha” closed out Eat a Peach and served as Duane Allman's swan song, a finger-picked farewell that, quite frankly, could not have been written by any other guitarist.

Eat a Peach may have been the band's greatest studio moment, but it was largely an album split down the middle, between songs recorded both before and after Duane's death. This AllmanBrothers song was written and recorded during the latter period, and epitomized their attempts to move forward, trying to take Duane's death as a lesson to seize what was in front of them rather than wallow in self-pity.

A seven-minute instrumental in its original studio version, “Jessica” is the brainchild of Beats and served as a showstopper for both his regimented guitar work and piano player Chuck Leavell's silky keys. It fell out of favor with the band over the years, as Beats was in and out of the group due to personality clashes with Gregg Allan and drummer Butch Trucks.

But “Just Ain't Easy” goes above and beyond, and is even more of a gem given its relative lack of notoriety; it's buried towards the end of 1979's Enlightened Rogues, and stands next to early track “Please Call Home” as among Gregg's best vocal performances. Warren Haynes' introduction to the band in the 1980s reinvigorated The AllmanBrothers, after a period of various different guitar players who played second fiddle to Beats throughout the 1970s and early '80s.

circa 1969 dad mom
(Source: sonomacoastweekly.blogspot.com)

Transcribed by Ed Turkey I went around to your house, found you laid up in the bed, by early afternoon you were so sloppy drunk, you couldn't even raise up your head. Each day brings a new confusion, another way to break this poor heart of mine.

Won't somebody please wake me from this bad dream, I remember my grand mama told me, things ain't always what they seem. Cause each day brings another confusion, it's about to break this poor heart of mine, Omaha, going to lose my only mind, oh baby.

It's all going very wrong circling over New York, the diverted and delayed Virgin Atlantic 747 that I’m on board is shuddering its way through a thunderstorm and getting ready for a second attempt at landing. I’m just taking in the faded grandeur of the ornate Beacon Theater and breathing in the aroma of a hot, happy crowd when, breaking out of a series of chords and low-key guitar flurries, comes the unmistakable opening riff of Layla.

On the left-hand side of the stage the diminutive figure of Gregg Allan sits sandwiched between his Hammond organ and the Leslie cabinet behind his head. Up at the back of the stage are two other original AllmanBrothers : drummers Butch Trucks and Jaime, drawing on 35 years’ worth of rhythmic telepathy.

And tucked in by the percussionists is a tall, thin boy with long blond hair in a ponytail, absorbed in his guitar, emitting the same ‘crying bird’ tone that jousted with Eric Clapton on the original Layla, recorded by the latter in 1970. He doesn’t have many, but he certainly came through with that one,” he laughs with his gentle Southern drawl, a hint of the charm that has proved irresistible over the years.

The Allan family had moved down to Daytona Beach, Florida, and the brothers played in local bands until they finished school in ’65. They then had a brief, disastrous brush with the hip, groovy Los Angeles music business as The Hour Glass, dressed in off-the-peg psychedelic outfits and trapped inside the record company’s gilded cage when all they wanted to do was play gigs.

The only good thing about that bad trip came while Duane was laid up with a virulent bout of flu. He spent two solid weeks developing an awesome slide guitar technique using the glass Coincide medicine bottle.

Or, as Duane told the legendary John Hammond (the man who signed Aretha Franklin, Bob Dylan and Bruce Springsteen) when he asked him how he got so good: “Man, I took speed every night for three years and practiced.” While Gregg stayed on the West Coast, contractually bound to a solo album, in 1968 Duane headed back to Florida and hooked up again with local bands, including the similarly Cream-obsessed Second Coming, who already had their own shit-hot guitarist Dickey Beats and top-drawer bass player Berry Oakley.

Duane also got a break when he was hired for a Wilson Pickett session on the strength of his playing on the Hour Glass albums. He suggested Picket cover The Beatles’ Hey Jude, taught the band the arrangements, and laid a sublime solo over the top.

I said: ‘I don’t think I can do this.’ And he started going: ‘You little punk!’ at me in front of all these guys I didn’t even know. So now there was a healthy dollop of sibling rivalry to add to the heady musical brew the band were working up in their cramped two-room apartment in Macon.

It blended a bluesy, jazz-tinged soul with a progressive Southern vibe (as opposed to the reactionary redneck vibe that afflicted so many of their inferior imitators), characterized by Gregg’s gruff, heartfelt vocals, the dual guitar lines that varied from gentle cooing to frenzied wrestling, and the remorseless percussive pulse. They got in touch with their psychedelic side on the languid, sumptuous Dreams before the final, five-minute, pile-driving Whipping Post.

The All mans’ second album was even better than the first, thanks to producer Tom Down who caught the essence of their road-hardened energy. Dickey Beats also came through with a couple of gems: the opening, stirring Revival and the towering instrumental In Memory Of Elizabeth Reed (their graveyard fave), which quickly assumed more than double its seven-minute length on stage.

Another roadie was shot in the thigh by an off-duty police officer in Macon for ‘resisting arrest after refusing a speeding ticket’. After a close call in New York when they tossed a package containing heroin out of a car window just as they were being pulled over by a cop (it was still there went they went back for it), their luck ran out in Alabama in March 1971 when police found marijuana, PCP and heroin in their van.

More bizarrely, Twigs was found not guilty of his murder charge by reason of insanity, after a methadone-induced performance in the witness box by bassist Berry Oakley, complete with nausea attacks. It enabled the defense to prove that any reasonable person would have been driven mad working for the AllmanBrothers.

Taken from four lengthy sets, the band are in mesmerizing form, tearing through standards like Scottsboro Blues, Stormy Monday and a 20-minute You Don’t Love Me before heading into the stratosphere with a couple of heady instrumentals and topping it all off with a 22-minute version of Whipping Post. Live At The Fillmore was the breakthrough the band and record company were looking for, selling half a million copies within a couple of months of its release in July 1971.

The album cover shows the band, who hated posing for pictures, in front of their equipment, packed and ready to roll. They finished off a couple of songs for the next album, but it was clear that they needed rest, recuperation and detox.

On October 29, riding his beloved Harley-Davidson in Macon, Duane swerved to avoid an oncoming truck and came off the bike, which landed on top of him. Naturally the tragedy had heightened interest in the band, and the album went Top 5 when released early in 1972.

Numb, the band carried on, recruiting Jaime’s friend Lamar Williams on bass, and proceeded to have their most successful year ever in 1973 as Brothers And Sisters topped the charts for five weeks and their shows escalated accordingly, culminating in the Watkins Glen Festival in upstate New York in front of 600,000 people. Gregg was either drugged up or remarrying, and Dickey’s frustration at the lack of leadership produced some alarming mood swings.

When a couple of the road crew were fired for being fucked up on drugs, not surprisingly they complained about the pot calling the kettle black. The copious quantities of drugs supplied to the band came largely via the Hawkins Gang, who were already being stalked by the FBI.

When the FBI nabbed Gregg’s personal roadie John ‘Scooter’ Herring and his supplier, both of whom had connections to the gang, they had a crucial plank in their case and began putting the squeeze on them. It didn’t help that Gregg had embarked on a whirlwind romance/marriage/separation/reconciliation ad infinitum with Cher that progressed from news to soap opera to farce, and meant that the media were in attendance to watch him ‘stitch up Scooter in court.

While Gregg found solace in a baby with Cher and recording the appropriately titled Two The Hard Way albums with her (he was so much in love he gave up heroin, but got addicted to methadone instead), Dickey Beats and Butch Trucks were dangerously out of control. Refused entry to a club one night, Butch rammed his Mercedes against the entrance and kept his foot down until the rubber burned off the tires; Dickey vented his anger in a more personal manner, as friends and wives discovered to their discomfort.

Enlightened Rogues (Duane’s phrase) sold a million when it was released in 1979, and was a return to form. But it was all too late for Capricorn Records, who went comprehensively bankrupt later that year, taking nearly $4 million of the All mans’ money with it.

He’d swapped methadone for alcohol, but Cher refused to sign up for the next series of their soap opera, leaving Gregg alone with the bottle. First The AllmanBrothers signed to famed record company mogul Clive Davis’s Krista label.

Shades Of Two Worlds, in 1991, maintained the momentum, but An Evening With The AllmanBrothers invited unflattering comparisons with the Fillmore album. When he was arrested after a fight with his wife in a hotel room in June 1993 and went into rehab, the band continued the tour with stand-in guitarists.

Gregg tended to hole up in rehab in California between tours, only to fall off the wagon every time they went on the road. By 1997 Warren Haynes and bassist Woody Allen could stand no more and decamped to set up Government Mule, a loose conglomerate of jam band members who had an almost fundamentalist regard for the All mans’ original musical principles.

The All mans soldiered on, playing around 60 shows a year and releasing live albums to keep the fans happy. “Ain’t no way we can fire Dickey,” fellow founding member Butch Trucks explained at the time.

Derek and Warren bring a contemporary jam-band sensibility to the All mans’ pioneering style, broadening it and giving them a fresh impetus. And now that a certain dark cloud with its bad weather has passed, it’s really a new day for The AllmanBrothers, ” he concludes pointedly.

That explains the inclusion of songs like Layla in their shows, and the vitality of Hitting’ The Note, the band’s first studio album in a decade and arguably their most rewarding since the 70s. The AllmanBrothers Band played their last show on October 28, 2014, at the Beacon Theater.

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