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|Allman Brothers Band: Atlanta, GA|
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|Re: Allman Brothers Band: Atlanta, GA 9-26-04 (Score: 1)|
by jchasin (email@example.com) on Oct 24, 2004 - 03:28 PM
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|For the select few of us who were able to drag our happy but over-extended butts out of bed early enough, Sunday began with a 9 AM prayer circle led by Lana and Oteil, in a square on the roof of the Georgian Terrace hotel. Beautiful blue Georgia sky above, the Atlanta skyline all around, the city still, a brisk but gentle breeze hinting at the Indian summer day that was ahead. Cleansing, redemptive, and non-denominational. People can you feel it, love is everywhere. Say amen, brother Oteil.|
Every Hungry Woman
Done Somebody Wrong
Hoochie Coochie Man
High Cost of Low Living
End of the Line
Same Thing >
Elizabeth Reed (drums, bass)
Please Don’t Keep Me Wondering
No One Left to Run With
The third and final night at the Fox kicked off with “Revival.” Love was everywhere as the crowd sang along with the “People can you feel it?” lines. The song is propelled by hard, driving chord work. A tough “Every Hungry Woman” is next, Derek wailing, Warren tosses off his first biting notes of the night. The drummers are bopping, swinging the tune forward. The guitarists lock into a groove and exit the song on a two-line guitar lick.
“Done Somebody Wrong” is a taken at a slower pace, rendering it more of a shuffle than a stop-time, Derek leading into the vocals with bouncy cascading blues lines reminiscent of Elmore James. “Hoochie Coochie Man” begins with the now-standard Derek/Warren volley that turns into good-natured duel. Warren playa a slide solo largely in the traditional electric blues style. Derek steps up and responds by departing from an “Amazing Grace” foundation. Warren ups the ante, his glass slide flying across the strings. Then Derek plays a sort of “Amazing Grace meets the King of Tone” burst; he crosses over into the stratosphere, then tosses Warren the hot potato. Warren takes it and drives it solidly into the ground, planting the stake off of which the band launches into that climbing, thundering opening riff. Oteil anchors the proceedings, Derek plays a fat, glassy slide over some nasty Warren chord work. Warren eschews the slide for a nasty blues solo, the instrumental counterpoint to his cocksure vocals. The mix in the house is spot on, and the band sounds about a hundred feet tall.
Next Warren plays the by-now familiar blues intro to “Desdemona,” a song that two band members have told me is the best song Gregg has written in years, and one that ranks with his early classics. After his gut-wrenching vocals, I write down that “Gregg plays tasty keyboards over the ‘My Favorite Things’ vibe in the mid-section.” As I write, in one of those moments of synchronicity that happens when band and audience have established a tangible connection, Derek tosses off the “Raindrops on roses” lick from that very song, just ever so quickly. He waltzes away from it, then comes back and plays it again. Derek flies, fusing jazz and blues, deep into improvisational jazz territory, soaring, crying. Is he playing “Desdemona” or “My Favorite Things?” It doesn’t matter. Oteil and the drummers gallop on, either way. There is a tasty transition riff, then Warren slowly crafts his piece, going heavy with a “Rocking Horse”-style attack before pulling up, steering the song back towards the blues. There is a soft landing on the last note of the solo, which is also the first note of the second bookend vocal portion of the song. Gregg’s singing is simply beautiful. The song is a highlight.
On “High Cost of Low Living,” Derek takes both wistful solos out of the verse. He paints with gentle strokes to accentuate Gregg’s singing on the verses, then switches to a bigger brush as he cuts a swath across a bigger canvas, particularly on the second solo. The crowd is mellow—this is the second “sitting” song in a row—but Derek’s
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