1971 live album by the Allman Brothers Band
At Fillmore East
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|
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Released
| July 6, 1971
(
1971-07-06
)
[1]
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Recorded
| March 12?13, 1971
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Venue
| Fillmore East
(New York City)
|
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Genre
|
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Length
| 76
:
22
(1971 release)
132:11 (1992 reissue)
134:58 (2003 reissue)
365:03 (2014 reissue)
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Label
| Capricorn
|
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Producer
| Tom Dowd
|
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|
At Fillmore East
is the first
live album
by American
rock
band
the Allman Brothers Band
, and their third release overall.
Produced
by
Tom Dowd
, the album was released on July 6, 1971, in the United States by
Capricorn Records
. As the title indicates, the recording took place at the
New York City
music venue
Fillmore East
, which was run by concert promoter
Bill Graham
. It was recorded over the course of three nights in March 1971 and features the band performing extended
jam
versions of songs such as "
Whipping Post
", "
You Don't Love Me
" and "
In Memory of Elizabeth Reed
". When first commercially released, it was issued as a
double LP
with just seven songs across four vinyl sides.
At Fillmore East
was the band's artistic and commercial breakthrough, rapidly escalating the band's exposure and gaining them a new legion of loyal fans. Many people consider
At Fillmore East
to be one of the best live albums of all time, and consider the album to be the start of the band's association with the jam band school of music (although members of the band have repudiated the label, stating instead they are just "a band that jams"). It has also been ranked among the best overall albums by artists and continues to be a top seller in the band's catalog, becoming their first album to go
platinum
. In 2004, the album was selected for preservation in the
Library of Congress
, deemed to be "culturally, historically, or aesthetically important" by the
National Recording Registry
.
Background
[
edit
]
Shortly after completing recording of their second album,
Idlewild South
(1970), band leader
Duane Allman
was contacted by guitarist
Eric Clapton
to contribute to his new project,
Derek and the Dominos
. Allman was a huge fan of his work with the band
Cream
, and likewise Clapton enjoyed Allman's session work on
Wilson Pickett
's "
Hey Jude
" some years prior.
They met after a show one night in
Miami
and had a
jam session
together until the next afternoon,
with the two guitarists regarding one another as "instant soulmates".
Clapton invited Allman to join Derek and the Dominos, and according to band biographer Alan Paul he considered it; in the end, he declined and rejoined the Allman Brothers Band, returning after missing a string of several shows.
The sessions were collected on the album
Layla and Other Assorted Love Songs
, issued that November.
In the interim,
Idlewild South
had yet to achieve strong commercial success, but the band's popularity and reputation began to increase due to their live performances.
The band played continuously in 1970, performing over 300 dates on the road traveling in a Ford Econoline van and later, a Winnebago, nicknamed the Wind Bag.
During this time, the group began struggling with drug addictions.
Everyone in the group, with the exception of the brothers, was also struggling to make a living (vocalist
Gregg Allman
received more money from royalty payments and Duane more from session work).
In one incident, tour manager Twiggs Lyndon stabbed and killed a promoter for not paying the band; he later claimed temporary insanity.
Their fortunes began to change over the course of 1971, where the band's average earnings doubled.
The Allman Brothers Band had first played
Fillmore East
in December 1969, opening for
Blood, Sweat & Tears
for three nights.
Promoter
Bill Graham
enjoyed the band and promised to have them back soon.
In January 1970, the band opened for
Buddy Guy
and
B.B. King
at
San Francisco
's
Fillmore West
, and one month later at Fillmore East supporting
the Grateful Dead
. According to biographer Alan Paul, "these shows were crucial in establishing the band and exposing them to a wider, sympathetic audience on both coasts."
Drummer
Butch Trucks
considered their performances at the Fillmore East to be the launching pad for their success.
In 1970, Duane Allman told
disc jockey
Ed Shane, "You know, we get kind of frustrated doing the [studio] records, and I think, consequently, our next album will be ... a live recording, to get some of that natural fire on it."
"We were not intentionally trying to buck the system, but keeping each song down to 3:14 just didn't work for us," remembered Gregg Allman.
"And we realized that the audience was a big part of what we did, which couldn't be duplicated in a studio. A lightbulb finally went off; we needed to make a live album."
Recording and production
[
edit
]
At Fillmore East
was recorded over two nights ? March 12 and 13, 1971 ? for which the band was paid $1,250 each show.
The shows were typical performances for the band, and regarded as slightly above average by drummer
Jai Johanny Johanson
.
Ads for the shows read: "Bill Graham Presents in New York ?
Johnny Winter
And,
Elvin Bishop Group
, Extra Added Attraction: Allman Brothers."
While Winter was billed as headliner, by the third night the Allman Brothers were closing the show.
Tom Dowd
produced
At Fillmore East
; he had previously worked on their second studio album,
Idlewild South
. He had recently returned from
Africa
from working on the film
Soul to Soul
, and stayed in New York several days to oversee the live recording.
"It was a good truck, with a
16-track machine
and a great, tough-as-nails staff who took care of business," recalled Dowd. He gave the staff suggestions and noted the band had two lead guitarists and two drummers, "which was unusual, and it took some foresight to properly capture the
dynamics
."
Things went smoothly until the band unexpectedly brought out
saxophonist
Rudolph "Juicy" Carter, an unknown horn player, and longstanding "unofficial" band member
Thom Doucette
on
harmonica
.
"I was just hoping we could isolate them, so we could wipe them and use the songs, but they started playing and the horns were leaking all over everything, rendering the songs unusable," said Dowd.
He rushed to Duane during the break to tell him to cut the horn players; while Duane loved the players, he put up no fight with Dowd.
The final show was delayed because of a bomb scare, and did not end until 6 am.
[19]
Each night following the shows, the musicians and Dowd would "grab some beers and sandwiches" and head to
Manhattan
's
Atlantic Studios
to go over the performances.
Set lists for following shows were crafted by listening to the recordings and going over what they could keep and what they would need to capture once more. "We wanted to give ourselves plenty of times to do it because we didn't want to go back and overdub anything, because then it wouldn't have been a real live album," said Gregg Allman,
and in the end, the band only edited out Doucette's harmonica when it didn't fit.
"That was our pinnacle," said Dickey Betts later. "The Fillmore days are definitely the most cherished memories that I have. If you asked everybody in the band, they would probably say that."
On June 27, the Fillmore East closed, and the band were invited to play a final, invitation-only concert,
along with
Edgar Winter
, the
Beach Boys
and
Country Joe McDonald
.
[23]
The Beach Boys initially refused to perform unless they headlined the event, but Graham refused, telling them that the Allman Brothers would be closing the show, and they were free to leave if they disagreed.
This Allman Brothers' performance was used for the second disc of the 2006 expanded version of the follow-up album to
At Fillmore East
,
Eat a Peach
.
[24]
Composition
[
edit
]
At Fillmore East
showcases the band's eclectic mixture of
blues
,
rock
,
country
, and
jazz
. "
Fusion
is a term that came later, but if you wanted to look at a fusion album, it would be
Fillmore East
. Here was a rock 'n' roll band playing blues in the jazz vernacular. And they tore the place up," said Dowd.
Stage Manager Michael Ahern opens
At Fillmore East
with a simple introduction: "Okay, the Allman Brothers Band."
Duane Allman biographer Randy Poe describes it as "the only low-key moment over the course of the [show]."
The cover of
Blind Willie McTell
's "
Statesboro Blues
" which opens the set showcases
Duane Allman
's
slide guitar
work in
open E tuning
.
"Statesboro Blues" bears close resemblance to
Taj Mahal
's 1968 rendition, which had inspired Duane to pick up slide guitar playing.
"
Done Somebody Wrong
" follows, and is introduced by Duane as "an old Elmore James song ... This is an old true story ..."
Thom Doucette takes a solo on blues harp, and by the end of the song, the band breaks out of the shuffle and "builds up to a dual-lead guitar, triplet-based crescendo."
"
Stormy Monday
" echoes the band's blues roots, and many guitar parts come from the version cut by
Bobby "Blue" Bland
in the early 1960s.
Allman and Betts trade solos, as does Gregg Allman on the
organ
as the
tempo
shifts into a "swinging" beat.
"
You Don't Love Me
" kicks off the first of the jazz-inspired jams and features a solo from Duane Allman in which the entire group stops, leaving it just him and his guitar. The song's conclusion quotes the Christian hymn "
Joy to the World
".
"
Hot 'Lanta
" is an
instrumental
, which has elements in common with
jazz rock
and
progressive rock
,
and is a showcase for Berry Oakley's bass-playing.
"
In Memory of Elizabeth Reed
", with its harmonized melody,
Latin
feel, and burning drive invited comparisons with jazz
saxophonist
John Coltrane
(especially Duane's solo-ending
pull-offs
, a direct nod to the musician).
The performance begins with a "long, laconic intro" by Betts employing volume swells, reminiscent of the "dreamy trumpet" used to open songs on
Miles Davis
'
Kind of Blue
(1959).
"
Whipping Post
" (opening in 11/8
time
, unusual territory for a rock band) by this point had become one of the longest jams in the band's set; the original album version runs five minutes, while the
At Fillmore East
version exceeds 23.
Aside from the opening bassline and lyrics, the two versions are completely unalike.
Again, Betts and Allman trade long guitar solos, with one of Betts' solos quoting what would later become the main theme for the song "Les Brers in A Minor", as featured on the band's 1972 album
Eat a Peach
. The song includes a false ending which quotes the theme of the French
nursery rhyme
song "
Frere Jacques
", and finally closes with "long, sustained notes" from Allman opposite Trucks' kettledrum.
Applause concludes the album and the song fades out.
During the fadeout, Trucks begins playing the tympani intro to "
Mountain Jam
" which would not be released in its entirety until its inclusion on
Eat a Peach
.
Artwork
[
edit
]
The band devised the cover idea for
At Fillmore East
rather than leaving it in the hands of Atlantic executives (Duane Allman was particularly disgusted with the artwork for
Sam & Dave
's
Hold On, I'm Comin'
,
although that album's artwork was created by
Stax Records
, which Atlantic had previously distributed).
Initially, the album cover was to be shots of the band taken in front of the Fillmore East with their names on the marquee above them, but no one was satisfied with the results.
The band's main purpose for the cover was that it be as "meat and potatoes" as the band's ethos and performing, and someone suggested the band make it a photograph of the band in an alley waiting with their gear to go onstage.
The image was shot by photographer
Jim Marshall
one morning in the band's home of
Macon
,
Georgia
.
[34]
The group were not very happy about being woken up early to shoot ("we figured it didn't make a damn bit of difference what the cover was or what time we took it," said guitarist
Dickey Betts
).
Normally the band hated being photographed; the cover of later retrospective release
The Fillmore Concerts
shows them displaying terminal boredom. However, during the session, Duane spotted a dealer friend, raced over and grabbed a bag of contraband, then returned to his seat, discreetly clutching the stash in his lap. This made the whole band laugh, resulting in a memorable image.
Marshall stenciled the album title on one of the road cases, which were stacked in front of the wall.
The back cover shows their road crew gathered in the same spot with 16 oz cans of
Pabst Blue Ribbon
beer provided by the photographer as a reward to the roadies for lugging out and stacking the band's heavy equipment for the shoot.
Among the crew on the back cover are
Joseph "Red Dog" Campbell
, Kim Payne, Mike Callahan, Joe Dan Petty and Willie Perkins (the last two the newest additions to the crew at the time).
The idea to have the crew on the back cover was Duane Allman's idea, as all involved viewed them the "unsung heroes" in the operation.
A photo of Lyndon, then in jail awaiting his trial, was superimposed to the wall behind the crew.
Release and critical reception
[
edit
]
At Fillmore East
was released in July 1971 by
Capricorn Records
as a
double album
, but reduced to the cost of a single LP.
Atlantic and Atco initially rejected the idea of issuing a double album, with
Jerry Wexler
feeling it "ridiculous to preserve all these jams."
Manager
Phil Walden
explained to executives that the band were less of a studio band and that live performances were most important to them.
In all, the album featured seven songs spread over four vinyl sides.
The album received strong initial sales.
While previous albums by the band had taken months to hit the charts (often near the bottom of the top 200), the record started to climb the charts after a matter of days.
At Fillmore East
peaked at number thirteen on
Billboard
's
Top Pop Albums
chart, and was certified
gold
by the
Recording Industry Association of America
that October.
The album was later certified platinum on August 25, 1992.
[40]
In a contemporary review, George Kimball of
Rolling Stone
magazine said that "The Allman Brothers had many fine moments at the Fillmores, and this live double album (recorded March 12th and 13th of this year) must surely epitomize all of them."
[41]
Kimball cited the band as "the best damn rock and roll band this country has produced in the past five years" and said of comparisons to the
Grateful Dead
at the time, "The range of their material and the more tenuous fact that they also use two drummers have led to what I suppose are inevitable comparisons to the Dead in its better days."
[41]
In a less enthusiastic review for
The Village Voice
,
Robert Christgau
gave
At Fillmore East
a "B?" grade and said the songs "sure do boogie", but ultimately found it musically aimless: "even if Duane Allman plus Dickey Betts does equal
Jerry Garcia
, the Dead know roads are for getting somewhere. That is, Garcia (not to bring in
John Coltrane
) always takes you someplace unexpected on a long solo. I guess the appeal here is the inevitability of it all."
[42]
In a retrospective review,
AllMusic
editor
Stephen Thomas Erlewine
gave the album five out of five stars and stated, "[it] remains the pinnacle of the Allmans and Southern rock at its most elastic, bluesy, and jazzy".
[43]
Mark Kemp
of
Rolling Stone
gave it five stars in a 2002 review and commented that "these shows [...] remain the finest live rock performance ever committed to vinyl", and the album "captures America's best blues-rock band at its peak".
[44]
At Fillmore East
was one of 50 recordings chosen in 2004 by the
Library of Congress
to be added to the
National Recording Registry
.
Rolling Stone
included it at number 49 in their 2003 list of
The 500 Greatest Albums of All Time
, describing it as "rock's greatest live double LP",
[45]
maintaining the rating in a 2012 revision, and slipping to number 105 in the 2020 reboot of the list.
[46]
[47]
The album was also included in the books
1001 Albums You Must Hear Before You Die
(2005) and
1,000 Recordings to Hear Before You Die
(2008).
[19]
[48]
In the latter, author
Tom Moon
noted that, nearly forty years after its release, "[the album] remains one of the best live albums in rock history. Ornery and loud, it's perfect driving music for the road that goes on forever."
[19]
In 2020
The Independent
newspaper rated it the best live album of all time.
[49]
Track listing
[
edit
]
Side four
Title
| Writer(s)
|
---|
1.
| "
Whipping Post
"
| Gregg Allman
| 22:40
|
---|
Recording dates:
- March 12 late show: "Done Somebody Wrong", second part of "You Don't Love Me"
- March 13 early show: "Statesboro Blues", "In Memory of Elizabeth Reed", first part of "You Don't Love Me"
- March 13 late show: "Stormy Monday", "Hot 'Lanta", "Whipping Post"
Expanded editions
[
edit
]
Over the years several expanded editions of
At Fillmore East
have been released.
The Fillmore Concerts
[
edit
]
On October 10, 1992,
The Fillmore Concerts
, an expanded version of
At Fillmore East
, was released as a two-disc
CD
. It includes all the songs from the original album, plus the live songs from
Eat a Peach
? "One Way Out", "Trouble No More", and "Mountain Jam" ? and two additional tracks ? "Don't Keep Me Wonderin'" and "Drunken Hearted Boy" ? all of which were recorded at the same concerts. The album was remixed from the concert recordings, and a few of the songs are alternate takes, so the same songs sound somewhat different from those on the original album.
[51]
Disc two
Title
| Writer(s)
| Notes
|
---|
1.
| "
Hot 'Lanta
"
| | March 12 second show
| 5:11
|
---|
2.
| "
Whipping Post
"
| Gregg Allman
| March 13 second show
| 22:37
|
---|
3.
| "
Mountain Jam
"
| | March 13 second show
| 33:41
|
---|
4.
| "Drunken Hearted Boy" (with
Elvin Bishop
)
| Elvin Bishop
| March 13 second show
| 7:33
|
---|
At Fillmore East
Deluxe Edition
[
edit
]
The Deluxe Edition was released as a two-disc CD on September 23, 2003. It contains the same songs, in a slightly different order, as
The Fillmore Concerts
, and one additional track from the same concerts, "Midnight Rider". The Deluxe Edition is based on the master recordings for
At Fillmore East
and
Eat a Peach
, and so it sounds more similar to those albums than
The Fillmore Concerts
does.
[52]
Disc one
Title
| Writer(s)
|
---|
1.
| "Statesboro Blues"
| McTell
| 4:17
|
---|
2.
| "Trouble No More"
| Morganfield
| 3:43
|
---|
3.
| "Don't Keep Me Wonderin
'
"
| G. Allman
| 3:27
|
---|
4.
| "Done Somebody Wrong"
| | 4:11
|
---|
5.
| "Stormy Monday"
| Walker
| 10:19
|
---|
6.
| "One Way Out"
| | 4:55
|
---|
7.
| "In Memory of Elizabeth Reed"
| Betts
| 12:59
|
---|
8.
| "You Don't Love Me"
| Cobbs
| 19:24
|
---|
9.
| "
Midnight Rider
"
| | 2:55
|
---|
Disc two
Title
| Writer(s)
|
---|
1.
| "Hot 'Lanta"
|
- D. Allman
- G. Allman
- Betts
- Oakley
- Trucks
- Johanson
| 5:20
|
---|
2.
| "Whipping Post"
| G. Allman
| 22:53
|
---|
3.
| "Mountain Jam"
|
- Leitch
- D. Allman
- G. Allman
- Betts
- Oakley
- Trucks
- Johanson
| 33:41
|
---|
4.
| "Drunken Hearted Boy" (with Elvin Bishop)
| Bishop
| 6:54
|
---|
The 1971 Fillmore East Recordings
[
edit
]
The 1971 Fillmore East Recordings
was released on July 29, 2014. This six-CD boxed set contains the four complete concerts?the early and late shows from March 12 and March 13, 1971?from which the songs included on
At Fillmore East
were selected, plus the Allman Brothers' performance at the Fillmore East closing show on June 27, 1971. A three Blu-ray edition was also released which contains a multi-channel mix.
[53]
[54]
* = Previously unreleased track
# = Track selected for the original "At Fillmore East" Album
Disc one:
March 12, 1971 ? first show
Title
| Writer(s)
|
---|
1.
| "Statesboro Blues" (*)
| McTell
| 4:44
|
---|
2.
| "Trouble No More" (*)
| Morganfield
| 3:47
|
---|
3.
| "Don't Keep Me Wonderin
'
" (*)
| G. Allman
| 3:53
|
---|
4.
| "Done Somebody Wrong" (*)
| | 4:24
|
---|
5.
| "In Memory of Elizabeth Reed" (*)
| Betts
| 17:38
|
---|
6.
| "You Don't Love Me" (*)
| Cobbs
| 14:58
|
---|
Disc two:
March 12, 1971 ? second show
Title
| Writer(s)
|
---|
1.
| "Statesboro Blues" (*)
| McTell
| 4:29
|
---|
2.
| "Trouble No More"
| Morganfield
| 4:04
|
---|
3.
| "Don't Keep Me Wonderin
'
" (*)
| G. Allman
| 3:39
|
---|
4.
| "Done Somebody Wrong" (#)
| | 4:56
|
---|
5.
| "In Memory of Elizabeth Reed" (*)
| Betts
| 18:38
|
---|
6.
| "You Don't Love Me" (# ? final 12 minutes)
| Cobbs
| 19:13
|
---|
7.
| "Whipping Post" (*)
| G. Allman
| 19:30
|
---|
8.
| "Hot 'Lanta"
|
- D. Allman
- G. Allman
- Betts
- Oakley
- Trucks
- Johanson
| 5:19
|
---|
Disc three:
March 13, 1971 ? first show
Title
| Writer(s)
|
---|
1.
| "Statesboro Blues" (#)
| McTell
| 4:18
|
---|
2.
| "Trouble No More"
| Morganfield
| 3:47
|
---|
3.
| "Don't Keep Me Wonderin
'
"
| G. Allman
| 3:38
|
---|
4.
| "Done Somebody Wrong" (*)
| | 4:08
|
---|
5.
| "In Memory of Elizabeth Reed" (#)
| Betts
| 13:15
|
---|
6.
| "You Don't Love Me" (# ? first 7 minutes)
| Cobbs
| 19:50
|
---|
7.
| "Whipping Post" (*)
| G. Allman
| 17:30
|
---|
Disc four:
March 13, 1971 ? second show ? Part 1
Title
| Writer(s)
|
---|
1.
| "Statesboro Blues" (*)
| McTell
| 4:43
|
---|
2.
| "One Way Out" (*)
| | 4:40
|
---|
3.
| "Stormy Monday" (#)
| Walker
| 10:39
|
---|
4.
| "Hot 'Lanta" (#)
|
- D. Allman
- G. Allman
- Betts
- Oakley
- Trucks
- Johanson
| 5:31
|
---|
5.
| "Whipping Post" (#)
| G. Allman
| 23:05
|
---|
Disc five:
March 13, 1971 ? second show ? Part 2
Title
| Writer(s)
|
---|
1.
| "Mountain Jam"
|
- Leitch
- D. Allman
- G. Allman
- Betts
- Oakley
- Trucks
- Johanson
| 35:39
|
---|
2.
| "Drunken Hearted Boy" (with Elvin Bishop)
| Bishop
| 7:45
|
---|
Disc six:
June 27, 1971 ? Fillmore East closing show
Title
| Writer(s)
|
---|
1.
| "Introduction by Bill Graham / Statesboro Blues" (*)
| McTell
| 5:31
|
---|
2.
| "Don't Keep Me Wonderin
'
"
| G. Allman
| 3:47
|
---|
3.
| "Done Somebody Wrong"
| | 3:36
|
---|
4.
| "One Way Out"
| | 5:24
|
---|
5.
| "In Memory of Elizabeth Reed"
| Betts
| 12:33
|
---|
6.
| "Midnight Rider"
| | 3:07
|
---|
7.
| "Hot 'Lanta"
|
- D. Allman
- G. Allman
- Betts
- Oakley
- Trucks
- Johanson
| 5:48
|
---|
8.
| "Whipping Post"
| G. Allman
| 20:14
|
---|
9.
| "You Don't Love Me"
| Cobbs
| 17:23
|
---|
Other Fillmore East recordings
[
edit
]
- Eat a Peach
? contains "Trouble No More" from March 13, 1971 (Show 1) and "Mountain Jam" from March 13, 1971 (Show 2) and "One Way Out" from June 27, 1971
- Duane Allman: An Anthology
contains "Don't Keep Me Wonderin'" from March 13, 1971 (Show 1)
- Duane Allman Anthology, Vol. 2
contains "Midnight Rider" from June 27, 1971
- Dreams
contains "Drunken Hearted Boy" from March 13, 1971 (Show 2)
- Eat a Peach
, Deluxe Edition ? second CD (the final Fillmore East concert) also contains "Statesboro Blues", "Don't Keep Me Wonderin'", "Done Somebody Wrong", "One Way Out", "In Memory of Elizabeth Reed", "Midnight Rider", "Hot 'Lanta", "Whipping Post", and "You Don't Love Me" from June 27, 1971
- The Road Goes On Forever
contains "Statesboro Blues" from March 12, 1971 (Disc 1).
Personnel
[
edit
]
- The Allman Brothers Band
- Guest musicians
- Thom Doucette
? harmonica on "Don't Keep Me Wonderin'", "Done Somebody Wrong", "One Way Out", "Stormy Monday" and "You Don't Love Me"
- Jim Santi ? tambourine
- Guest musicians (
The Fillmore Concerts
and
The 1971 Fillmore East Recordings
)
- Bobby Caldwell
? percussion on "Drunken Hearted Boy" and on March 12 shows starting with "In Memory of Elizabeth Reed"
- Rudolph ("Juici") Carter ? soprano saxophone on (only) both March 12 shows, starting with "In Memory of Elizabeth Reed"
- Elvin Bishop
? vocals on "Drunken Hearted Boy"
- Steve Miller ? piano on "Drunken Hearted Boy"
- Production (
At Fillmore East
)
- Tom Dowd
? producer, liner notes
- Bruce Malamut ? assistant producer
- Aaron Baron ? engineer
- Sam Whiteside ? engineer
- Larry Dahlstrom ? assistant Engineer
- Dennis M. Drake ? mastering
- Jim Marshall
? photography
- Production (
The Fillmore Concerts
)
- Tom Dowd ? producer
- Jay Mark ? mixer
- Dan Kincaid ? digital mastering
- Bill Levenson ? executive producer
- Kirk West ? associate producer
- Terri Tierney ? project coordination
- Richard Bauer ? art direction
- Jim Marshall ? graphic concept
- Jimmy Guterman ? liner notes
- John Perkins ? Best Boy
Charts
[
edit
]
Certifications
[
edit
]
Notes
[
edit
]
- ^
"At Fillmore East Anniversary ? At Fillmore East by The Allman Brothers Band"
.
WHTT
. 7 July 2017.
Archived
from the original on 25 June 2021
. Retrieved
25 June
2021
.
- ^
a
b
c
Moon, Tom (2008).
1,000 Recordings To Hear Before You Die
. Workman Publishing Company.
ISBN
978-0-7611-3963-8
.
pp16?17.
- ^
Grunenberg, Christoph; Harris, Jonathan, eds. (2005).
Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s
. Liverpool University Press. p. 163.
ISBN
978-0-85323-929-1
.
- ^
"The Allman Brothers Band ? Eat A Peach"
.
Discogs
.
Archived
from the original on 22 February 2021
. Retrieved
12 July
2020
.
- ^
Marshall, Jim (2004).
Proof
.
San Francisco
:
Chronicle Books
, p. 90. First edition, 2004.
- ^
Grayson Haver Currin (April 10, 2022).
"The Allman Brothers Band: At Fillmore Island Album Review"
.
Pitchfork
. Retrieved
April 9,
2022
.
- ^
Larkin, Colin
(2007).
Encyclopedia of Popular Music
(4th ed.).
Oxford University Press
.
ISBN
978-0195313734
.
- ^
"Gold & Platinum Searchable Database ? May 27, 2014"
. RIAA.
Archived
from the original on February 3, 2015
. Retrieved
May 27,
2014
.
- ^
a
b
Kimball, George (August 19, 1971).
"At Fillmore East | Album Reviews"
.
Rolling Stone
.
Wenner Media
.
Archived
from the original on 2010-12-20
. Retrieved
2011-09-25
.
- ^
Christgau, Robert
(February 1972).
"Consumer Guide"
.
The Village Voice
.
Archived
from the original on 2014-03-26
. Retrieved
2011-09-25
.
- ^
"At Fillmore East ? The Allman Brothers Band | Songs, Reviews, Credits | AllMusic"
.
Archived
from the original on 2021-10-22
. Retrieved
2021-10-29
– via www.allmusic.com.
- ^
Kemp, Mark (July 16, 2002).
"At Fillmore East"
.
Rolling Stone
.
Archived
from the original on December 21, 2019
. Retrieved
October 29,
2021
.
- ^
"500 Greatest Albums of All-Time"
.
Rolling Stone
.
New York City
:
Wenner Media
LLC
. December 11, 2003.
ISSN
0035-791X
.
Archived
from the original on March 26, 2014
. Retrieved
March 25,
2014
.
- ^
"The 500 Greatest Albums of All Time"
.
Rolling Stone
. September 22, 2020.
Archived
from the original on September 22, 2020
. Retrieved
August 4,
2021
.
- ^
"500 Greatest Albums of All Time Rolling Stone's definitive list of the 500 greatest albums of all time"
.
Rolling Stone
. 2012.
Archived
from the original on September 29, 2019
. Retrieved
September 23,
2019
.
- ^
Dimery, Robert (2005).
1001 Albums You Must Hear Before You Die
. Tristan de Lancey.
ISBN
1-84403-392-9
.
p. 230.
- ^
Ross, Graeme (May 21, 2020).
"The 20 Greatest Live Albums, from Nirvana Unplugged to Johnny Cash at Folsom Prison"
.
The Independent
.
Archived
from the original on November 13, 2020
. Retrieved
December 25,
2020
.
- ^
Some editions of the album credit only Elmore James as the author of "Done Somebody Wrong"; some 1980s
Polydor Records
pressings also list record mogul
Morris Levy
as a co-author, possibly for royalty collection purposes. The original vinyl LP also included
David Clayton-Thomas
as a writer.
- ^
Eder, Bruce.
The Fillmore Concerts
Archived
2014-08-05 at the
Wayback Machine
,
AllMusic
. Retrieved July 16, 2014.
- ^
Lynch, Dave.
At Fillmore East
Deluxe Edition
Archived
2014-04-09 at the
Wayback Machine
,
AllMusic
. Retrieved July 16, 2014.
- ^
Grow, Kory (June 11, 2014).
"Allman Brothers'
At Fillmore East
Expanded to Six-Disc Box Set"
Archived
2017-10-06 at the
Wayback Machine
,
Rolling Stone
. Retrieved July 16, 2014.
- ^
Sutton, Larson (July 29, 2014).
"The Allman Brothers Band:
At Fillmore East: The 1971 Fillmore East Recordings
"
Archived
2014-08-01 at the
Wayback Machine
,
Relix
. Retrieved July 29, 2014.
- ^
"Top RPM Albums: Issue 7534"
.
RPM
.
Library and Archives Canada
. Retrieved January 22, 2024.
- ^
"The Allman Brothers Band Chart History (
Billboard
200)"
.
Billboard
. Retrieved January 22, 2024.
- ^
"British album certifications ? Allman Brothers Band ? At Fillmore East"
.
British Phonographic Industry
.
- ^
"American album certifications ? Allman Brothers"
.
Recording Industry Association of America
.
References
[
edit
]
- Allman, Gregg; Light, Alan (2012).
My Cross to Bear
. William Morrow.
ISBN
978-0-06-211203-3
.
- Freeman, Scott (1996).
Midnight Riders: The Story of the Allman Brothers Band
. Little, Brown and Company.
ISBN
978-0-316-29452-2
.
- Paul, Alan (2014).
One Way Out: The Inside History of the Allman Brothers Band
. St. Martin's Press.
ISBN
978-1-250-04049-7
.
- Perkins, Willie (2005).
No Saints, No Saviors: My Years with the Allman Brothers Band
. Mercer University Press.
ISBN
978-0-86554-967-8
.
- Poe, Randy (2008).
Skydog: The Duane Allman Story
. Backbeat Books.
ISBN
978-0-87930-939-8
.
- Martin, Bill (2015).
Listening to the Future: The Time of Progressive Rock, 1968?1978
. Open Court.
ISBN
978-0-81269-944-9
.
External links
[
edit
]
|
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|
Studio and
contemporary
live albums
| |
---|
Retrospective
live albums
|
- Live at Ludlow Garage: 1970
- Fillmore East, February 1970
- American University 12/13/70
- Live at the Atlanta International Pop Festival: July 3 & 5, 1970
- S.U.N.Y. at Stonybrook: Stonybrook, NY 9/19/71
- Macon City Auditorium: 2/11/72
- Nassau Coliseum, Uniondale, NY: 5/1/73
- Boston Common, 8/17/71
- Play All Night: Live at the Beacon Theatre 1992
- Live from A&R Studios
- The Fox Box
- Cream of the Crop 2003
- Fillmore West '71
- The Final Note
- Warner Theatre, Erie, PA 7-19-05
- Down in Texas '71
- Syria Mosque
- Manley Field House, Syracuse University, April 7, 1972
|
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Compilations
and box sets
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Video albums
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Original songs
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Cover songs
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Associated bands
and artists
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Related articles
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