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Anthology Vol. 2 Full Description
For sure, the South is on the rise again—and has obviously changed the sound of American music. In 1954 a white truck driver from Mississippi named Elvis fooled around with an old blues number, and the resultant blend of C&W and blues became one of the dominant sounds of rock and roll. Elvis was just the tip of the iceberg though—Jerry Lee Lewis, Carl Perkins and Johnny Cash all had blues influences in their early hit singles as well. The "rockabilly" sound became watered down and all but disappeared from the scene when psychedelia moved in, and bands pushed their heads and equipment to their most outer reaches. Very close to 15 years after Elvis broke the barriers, some other down-home boys began reshaping music; a jam session took place in Jacksonville and the Allman Brothers Band was born. Their early material was basically blues-rock (mush-room-laced, of course), but they'd all grown up on C&W as well; Gregg Allman recalled learning a lot from songwriter John D. Loudermilk. The band was just spacey enough in style and material to satisfy the heads, the double drums kept a beat going that could penetrate any Quaalude haze—and the double-lead-guitar harmony lines of Duane Allman and Richard Betts were innovative and exciting. Duane and Richard balanced each other perfectly; their unison lines sounded as if four hands were connected to one brain. When they traded choruses on the long jams like "Elizabeth Reed" and "Mountain Jam," their two different styles and sounds gave the band a wide musical and emotional range to work in. Duane's choruses were usually the more intense, his sound darting and searing, his slide work going into unearthly realms—he played like a man possessed. Richard's choruses were usually a bit more mellow and reflective—he sweetened Duane's sting. Where Duane burned, Richard glowed. Which makes sense if you dig their influences: Duane listed Robert Johnson and early Miles Davis; Richard liked Jimmie ("the Singing Brakeman") Rodgers and blues songster Blind Willie McTell. Duane came from a recent background of studio sessionwork with many soul artists; Richard had grown up more with C&W than blues. Within one band, the two musical strains were again interacting. Although the Allmans didn't gain their widest popularity until after Duane's death, the early dual-guitar band tours and albums influenced a lot of people; it's not hard to think of several popular groups today who owe a hell of a debt to the Allmans. While the band, as it now exists, is still one of the best in the land, it's not quite the same; peaks were reached in past performances that people talk about today the way older dudes recall Charlie Parker or Lester Young gigs. Both albums are good examples of roots and developments of these two extraordinary guitar men. The second Duane Allman anthology is, like the first, a mixture of sessionwork, unreleased masters and a few tracks with the Brothers. Sessionw
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