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The Allman Brothers Band – The Allman Brothers Band (1969) [MFSL 2012]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 33:24 minutes | Scans included | 1,34 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 706 MB
Mobile Fidelity Sound Lab # UDSACD 2101

This might be the best debut album ever delivered by an American blues band, a bold, powerful, hard-edged, soulful essay in electric blues with a native Southern ambience. Some lingering elements of the psychedelic era then drawing to a close can be found in “Dreams,” along with the template for the group’s on-stage workouts with “Whipping Post,” and a solid cover of Muddy Waters’ “Trouble No More.” There isn’t a bad song here, and only the fact that the group did even better the next time out keeps this from getting the highest possible rating.

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The Allman Brothers Band – Eat A Peach (1972) [Reissue 2004]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 69:20 minutes | Scans included | 4,28 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 69:38 mins | Scans | 1,39 GB
Features 2.0 Stereo and 5.1 multichannel surround sound

A tribute to the dearly departed Duane, Eat a Peach rambles through two albums, running through a side of new songs, recorded post-Duane, spending a full album on live cuts from the Fillmore East sessions, then offering a round of studio tracks Duane completed before his death. On the first side, they do suggest the mellowness of the Dickey Betts-led Brothers and Sisters, particularly on the lovely “Melissa,” and this stands in direct contrast with the monumental live cuts that dominate the album. They’re at the best on the punchier covers of “One Way Out” and “Trouble No More,” both proof of the group’s exceptional talents as a roadhouse blues-rock band, but Duane does get his needed showcase on “Mountain Jam,” a sprawling 33-minute jam that may feature a lot of great playing, but is certainly a little hard for anyone outside of diehards to sit through. Apart from that cut, the record showcases the Allmans at their peak, and it’s hard not to feel sad as the acoustic guitars of “Little Martha” conclude the record, since this tribute isn’t just heartfelt, it offers proof of Duane Allman’s immense talents and contribution to the band.

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The Allman Brothers Band – Eat A Peach (1972) [MFSL 2013]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 70:13 minutes | Scans included | 2,82 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,38 GB
Mobile Fidelity Sound Lab # UDSACD 2102

A tribute to the dearly departed Duane, Eat a Peach rambles through two albums, running through a side of new songs, recorded post-Duane, spending a full album on live cuts from the Fillmore East sessions, then offering a round of studio tracks Duane completed before his death. On the first side, they do suggest the mellowness of the Dickey Betts-led Brothers and Sisters, particularly on the lovely “Melissa,” and this stands in direct contrast with the monumental live cuts that dominate the album. They’re at the best on the punchier covers of “One Way Out” and “Trouble No More,” both proof of the group’s exceptional talents as a roadhouse blues-rock band, but Duane does get his needed showcase on “Mountain Jam,” a sprawling 33-minute jam that may feature a lot of great playing, but is certainly a little hard for anyone outside of diehards to sit through. Apart from that cut, the record showcases the Allmans at their peak, and it’s hard not to feel sad as the acoustic guitars of “Little Martha” conclude the record, since this tribute isn’t just heartfelt, it offers proof of Duane Allman’s immense talents and contribution to the band.

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The Allman Brothers Band – Brothers And Sisters (1973) [MFSL ‘2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:16 minutes | Scans included | 1,56 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 754 MB
Mobile Fidelity Sound Lab # 2103

Released a year after Eat a Peach, Brothers and Sisters shows off a leaner brand of musicianship, which, coupled with a pair of serious crowd-pleasers, “Ramblin’ Man” and “Jessica,” helped drive it to the top of the charts for a month and a half and to platinum record sales. This was the first album to feature the group’s new lineup, with Chuck Leavell on keyboards and Lamar Williams on bass, as well as Dickey Betts’ emergence as a singer alongside Gregg Allman. The tracks appear on the album in the order in which they were recorded, and the first three, up through “Ramblin’ Man,” feature Berry Oakley — their sound is rock-hard and crisp. The subsequent songs with Williams have the bass buried in the mix, and an overall muddier sound. The interplay between Leavell and Betts is beautiful on some songs, and Betts’ slide on “Pony Boy” is a dazzling showcase that surprised everybody. Despite its sales, Brothers and Sisters is not quite a classic album (although it was their best for the next 17 years), especially in the wake of the four that had appeared previously, but it served as a template for some killer stage performances, and it proved that the band could survive the deaths of two key members.

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