Allman Brothers Band Allman Brothers Band/England,UK 1974 New Source

Speaking of live recordings related to the Allman Brothers, you may recall the superb audience album “TOKYO 1998 FINAL NIGHT” which recorded Gregg Allman’s performance in Japan in 1988, but this time, the release of the Allman Brothers Band’s main live recordings from the peak of their career in the 1970s has finally been realized. This time, we will deliver the Allmans’ first and last appearance at the Knebworth Festival. Most enthusiasts may not have even known that they had appeared on the Knebworth stage in the first place. The Allmans appeared at Knebworth in 1974. That year, the main performers at Knebworth were Van Morrison and the Sensational Alex Harvey Band on the British side, and the Doobie Brothers and the Allmans on the American side, and they were the final act at the festival. In addition, it was the first time that the Allmans, who represented the southern United States in 1970s rock, set foot on British soil. It can be said that the visit to the UK was realized because the group was at the peak of their popularity due to the huge success of the previous year’s album “BROTHERS AND SISTERS” and the single “Ramblin’ Man”. It was only natural that they were invited to the UK’s representative summer festival and performed as the final act, given the flow of the time. There are also several audience recordings capturing their stage at Knebworth, not to mention the example of ZEP in 1979. Until now, there have been two types of recordings, each with different sound quality, mono and stereo. However, what will be released this time is a third sound source that has not been available among traders until now. What is particularly noteworthy is the outstanding sound quality. Not only is it recorded in stereo, but above all, the incredible closeness of the sound image. The two types of recordings that have been available for a while were also recorded at an amazing level for an audience capturing an outdoor live performance in 1974, and the stereo recording was actually quite good. However, this new recording has an incredible sound image that easily overturns those past versions. The lead guitar played by Dickey Betts is especially close. The sound pressure is so high that it feels like I’m watching him from the wings of the stage, not just the front row. And yet the sounds made by the other members are captured so clearly (although the bass is a little weak because it’s an outdoor recording), that when you listen to it with headphones, the sounds are split into left and right, and you can even get a slight stereo feeling, which is surprising, and at the same time, the superb quality makes you believe that it was recorded in a very good position. Furthermore, the cassette provided by an overseas collector is a version that is thought to be a backup copy made before the master aged, so it’s the so-called first generation. At that time, “In Memory of Elizabeth Reed,” which closed the first set, was copied to the wrong position from the actual position, but of course that was corrected for this release. Also, the recording was once mono at “In Memory of Elizabeth Reed,” and then stereo again from “Statesboro Blues,” which opens the second set. However, it becomes mono again from “Trouble No More” and returns to stereo again from 12 minutes into “Les Brers in A Minor”. That is a pity, but the overwhelming high sound quality throughout is still amazing. If this sound source had been released in the LP era, it would have been mistaken for a “sound board”. However, Taper probably did not expect that the Allmans’ long stage, which was the first time the British had seen it, was nearing the end of the finale “Whipping Post”, and the pitch became unstable. As a result, the fade-out at the end was a flaw. The same was true for the audience at Knebworth, who witnessed the Allmans’ magnificent stage for the first time. Although it was a stage with long songs and performances like them, the high sound quality audience clearly conveyed the way they were glued to their amazing performance. Because it’s not surprising that some people start talking in the middle of a long jam band like them at an outdoor festival. However, there was no commotion during the performance, and yet the enthusiastic cheers at the end of the song made it clear how overwhelmed they were by the performance of the group and Dickey. In the first place, in 1974, Greg Allman had a solo tour, so there were few live shows as a group, and therefore no items. 1974 was an air pocket at the height of the Allmans’ popularity. This is an extremely valuable first appearance recording of an exclusive recording of the best audience and appearance at Knebworth. Enjoy their historic first live performance in the UK to your heart’s content with the powerful sound image, including Dickey’s slide. Knebworth Park, Stevenage, Hertfordshire, UK 20th July 1974 PERFECT SOUND(from Original Masters)*New Source★World’s first sound source this has just been transferred from the master cassettes that received directly from the taper ..this has has never been abused Disc 1 (79:59) 1. Intro 2. Wasted Words 3. Done Somebody Wrong 4. One Way Out 5. Call It Stormy Monday but Tuesday Is Just as Bad 6. Midnight Rider 7. Blue Sky 8. In Memory of Elizabeth Reed 9. Statesboro Blues 10. Come and Go Blues 11. Ramblin’ Man Disc 2 (73:11) 1. Trouble No More 2. Jessica 3. You Don’t Love Me 4. Les Brers in A Minor 5. Drum Solo 6. Les Brers in A Minor (reprise) 7. Whipping Post Gregg Allman – Lead vocals, Keyboards Dickey Betts – Lead & Slide Guitar Lamar Williams – Bass Chuck Leavell – Piano Butch Trucks – Drums, Percussion Jai Johanny Johanson – Drums