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|The Allman Brothers Band: New York, NY|
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|Re: The Allman Brothers Band: New York, NY (Score: 1)|
by jchasin (firstname.lastname@example.org) on Mar 12, 2014 - 12:46 AM
(User information | Send a message) http://apennysworth.blogspot.com
|1992 Intro Jam >|
Come and Go Blues
Don't Keep Me Wondering
Get On With Your Life
Hoochie Coochie Man
Little Martha >
Sailing Across the Devil's Sea
Seven Turns (Oteil vox)
Black Hearted Woman
Low Down Dirty Mean
Spots of Time > drums/bass (brief) > Spots >
The show begins before most of the crowd realizes it, with Warren's slide making an offering over swelling bass and drums. Soon the music becomes an overture, an intro somewhat reminiscent of "Les Brers," but actually labelled "1992 Intro Jam" on the printed setlist. The music builds, the tension mounts, Derek finally hangs a big fat note out, tosses a look at Gregg, who counts in "Statesboro"...
Maybe it's because Play All Night is out, the live set from this same theater recorded in 1992... but as the night unfolds, it becomes clear that an overarching theme to the set is the early '90s incarnation of this band, the Seven Turns/Shades of Two Worlds band. Indeed, by the end of the second set, it has become clear that the night is also a nod to the one Forrest Richard Betts, at least to his compositional contributions. But we're getting ahead of ourselves...
So, "Statesboro." Derek solos some slamming rhythm. Then they do an especially crunchy "Come and Go Blues," Warren playing some nice lead on the break. Then "Don't Keep Me Wondering" is a shimmery, undulating blast. Derek spews fiery metallic runs up the neck that you can actually taste. The house erupts in appreciation at song'a end; my buddy turns to me and asks, rhetorically, "Who the hell brings the house down on the third song?"
"Hot 'Lanta" is frisky as well; Gregg rips it up-- two nights in a row he's got himself a seat at the solo table-- Derek gallops, and so on his solo Warren starts sparse-- but quickly smolders, leading into the drum attack, and a frenetic guitar dash to the finish. Then Oteil-- all Clark Kent in his glasses-- lays down the vamp that has become the first movement in the "Rocking Horse Suite." Warren plays an extended, quack-quack jam over a chugging Derek-driven rhythm, until finally rolling into the formal beginning of "Rocking Horse." Out of the front end run through the vocals, Warren gives a master class in monster molten face melting, before Derek reaches up and touches the Blue Sky on the major key instrumental section I've come to think of as "Derek's Tune."
Back into the "Horse," and after the back end vocal section Derek stretches out some wavy tone, pulling it like taffy, and the band rides it into "Get On With Your Life." The slow, sexy Gregg blues was a staple of the set throughout, that's right, 1992-- and they haven't played it since. They squeeze every drop of juice out of this one. Derek dances, Gregg vamps it up, Warren stings like a bee, Gregg sings the hell out of it.
On "Rain" Warren walks between he raindrops, clear as a bell. Then they segue into the instrumental "Egypt." Derek and Warren converge center stage for a hot, uptempo summit meeting, then Warren's solo starts with a "Norwegian Wood" tease, then goes off from there, until Derek sprinkles some fairy dust signaling the band's return to the theme. "Hoochie Coochie Man" closes the set; Oteil throbs and pulsates at the bottom.
The second set begins with the two guitarists easing into "Little Martha," so casually that not everyone realizes the set has begun. Marc joins in with some spice, then suddenly it's the whole band, kicking and driving... and then flipping right over into "Blue Sky," an Eat a Peach one-two punch. Derek solos first, valiantly fighting the Dickey lines that define our collective memory of the song; finally he falls into the transition licks, Warren joins him in harmony... as good as the soloists are, tonight it is hearing them embrace these familiar riffs
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