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Review: Gregg Allman \u2018Great as Ever: Live in Philadelphia \u201886\u2019<\/p>\n
By Hal Horowitz<\/p>\n
The third in an ongoing series of posthumously released Gregg Allman Band live concerts, isn\u2019t substantially different from last year\u2019s, \u2018One Night in D.C.:May 15, 1984\u2019 set.<\/p>\n
On \u2018Great as Ever:Live in Philadelphia \u201886\u2019,\u2019 available April 10, his five-piece featuring the underrated Dan Toler on guitar, remains the same, save for a different bassist. And six songs out of twelve are repeated, played in similar arrangements. However, dozens of gigs over that two-year span tightened an already solid outfit making these interpretations slightly, but noticeably, sturdier and more confident.<\/p>\n
As in that show, Allman <\/a>had recorded only two solo discs. So he reached back to cherry pick Allman Brothers Band material, which many in the audience came to hear. Of that, the opening \u201cDon\u2019t Want You No More,\u201d and \u201cNot My Cross to Bear\u201d (not coincidentally the first titles from the ABB\u2019s 1969 debut) are the only Brothers\u2019 inclusions unique from the earlier recording.<\/p>\n Some rarities are added, especially \u201cThings You Used to Do,\u201d one of the better, most spirited and bluesiest selections from the disappointing \u2018Brothers of the Road,\u2019 the final ABB collection before they disbanded (the second time) sending Allman on a solo career.<\/p>\n He grinds out robust slow blues on \u201cNeed Your Love So Bad,\u201d stylistically substituting for the overexposed \u201cStormy Monday.\u201d It\u2019s just a minute longer than D.C.\u2019s version as Toler, a veteran of Allman\u2019s band, rips a searing solo even more scorching than the previous one.<\/p>\n But the appearance of \u201cQueen of Hearts,\u201d arguably the finest song Allman has penned, is this show\u2019s zenith. At nearly eight minutes, it\u2019s two minutes longer than \u2018Laid Back\u2019\u2019s original. Although also played on 1974s \u2018The Gregg Allman Tour,\u2019 enhanced by the 21-piece orchestra, this stripped-down staging is riveting. The ballad\u2019s intensity is slightly marred by an overly vocal audience that doesn\u2019t settle down until it\u2019s half over. Yet Allman\u2019s velvety rumble is heartfelt, grounded and personal. When the tempo speeds to a jazz shuffle, pianist Tim Heding displays his chops, bringing almost classical style and phrasing, further enhancing this stunning performance. Toler\u2019s lithe fingering is another high point on the disc\u2019s longest, most impressive moment.<\/p>\n A touching \u201cMelissa\u201d is introduced with \u201cThis one\u2019s for Dickey Betts\u2026wherever he is,\u201d a dig of sorts to his old band mate. Toler\u2019s nimble, precise and speedy six-string acoustic solo is stunning (the crowd reacts appropriately), and Allman, who has played this tune hundreds of times, sounds tapped-in and focused.<\/p>\n We get a reading of \u201cJust Ain\u2019t Easy,\u201d a seldom heard ballad about the dismal life of a prostitute from the underappreciated \u2018Enlightened Rogues\u2019 (1978). It\u2019s another deep track exclusive to this disc;one that deserved to have been a bigger hit. Allman puts his soul into it, groaning \u201cWhen you leave there, you\u2019ve got your hat down on your face\u2026well, well\u201d revving up intensity missing from the studio recording.<\/p>\n The closing \u201cI\u2019m No Angel,\u201d unreleased at the time, seems perfunctory, even hesitant, and fades out; no \u201cgoodnight\u201d or \u201cthanks for coming,\u201d after it ends. And since this gig barely breaks an hour, surely there was more music that night.<\/p>\n \u2018Great as Ever\u2026,\u2019 with its lack of overdubs or sweetening, is an enjoyably unvarnished example of The Gregg Allman Band\u2019s talents as they became an even tighter, more focused unit. The repetition won\u2019t bother longtime fans as previously unavailable performances excavate and revisit worthy obscurities with the verve and integrity he always demonstrated.<\/p>\n Listen to \u201cDon\u2019t Want You No More\u201d HERE<\/a><\/p>\n