The Allman Brothers Band Album: “Beginnings [Remaster]”

I purchased this in the hopes that these remastered versions would yield a significant sonic improvement over the poor quality earlier versions of the first two ABB albums on CD that I already owned.

What I wasn't expecting was that the contents of the first album have been remixed here. (Idlewild South does not appear to have been remixed.) The albums themselves are both five stars in my book. However, I must "ding" this release at least one star for being a remix but not advertised as such.

Among the differences between the original "ABB mix" and the "Beginnings mix" are:

--Intro to "Every Hungry Woman": Original mix has the guitar in the left channel and a faint hi-hat pedal stomp counting out the beat in the right. The remix has the guitar more or less centered, and the hi-hat deleted.

--End of "Whipping Post" fades out in the remix, as opposed to a "cold" end in the original mix. The fade out cuts off the snare drum shots that close out the original mix.

--On several tracks, bass guitar has been moved from center to the left channel and increased substantially. This mimics the approach used on several "Idlewild South" tracks, suggesting that this remix may have been an attempt to apply the "Idlewild South" mixing strategy and lessons learned to the "ABB" session tapes.

--On several tracks, especially where two lead guitar parts play note-for-note harmonies, the positions of the two guitars (one panned 100% left, the other panned 100% right) have been reversed in the remix, while drums and percussion have their positions unchanged (e.g maraccas panned 100% left).

--Vocals in the remix tend to seem a bit "cleaner" and more forward as opposed to the original mix. I haven't yet determined whether this is simply a volume issue, or whether the reverb was cut back.

As a personal preference, I tend to avoid remixes. I view recordings as a document of the times in which they were originally produced. The Allman Brothers Band still had a lot to learn when the were cutting ABB. Given the timing of the release of Beginnings (sometime in 1973), after the deaths of Duane Allman and Berry Oakley in late 1971 and late 1972 respectively, it's quite likely that the remixes took place after one, if not both, of their deaths.

How would this bit of information affect your buying decision? If you're an ABB completist and want to learn more about the music by studying the differences between the remix and the original mix, or don't care about the remix and are looking for the best value, then pick up this package and you won't be disappointed. The vocals and bass are for the most part clearer than in the original mix. But if you do care whether or not you're listening to mixes that were made before the deaths of Allman and Oakley, you'll need to buy the first album individually. Since "Idlewild South" does not appear to have been remixed here, you might consider purchasing both "Beginnings" and the first CD if you want both mixes of the first album plus "Idlewild South."

"Don't Want You No More" starts out with the searing, up-front statement that would characterize the band's future work. The twin guitar leads roar out a dramatic opening, and are followed by blazing organ, crashing drum/cymbals. Then it's Duane's turn: he steps up to belt out a dynamic riff. The band regroups again for another pass at the opening theme, Dickey then hammers a reply to Duane, and everyone simmers down into "It's Not My Cross to Bear." Gregg's vocals are steamed raw, and his torment and despair are left standing bare and alone as Duane wraps another solo around the framework of Gregg's vocals.

"Black Hearted Woman" rocks along with Gregg's angry lyrics and guitar solos that skip boisterously ahead of the rest of the band. "Trouble No More," their studio version of Muddy Waters's song, shuffles and hesitates while Duane shows his slide guitar call-and-reply style against Gregg's vocals. "Every Hungry Woman" opens with a gust of guitar and B-3 Hammond organ layering the track, and Gregg's accusing comments and voice are painted with cynicism and contempt.

"Dreams" is one of the band's masterpieces, as Duane mixes slide and lead guitar. The drummers coil and release with refrained shots of snare drum and cymbal rides, and Gregg's organ takes the song to a hazy, etheric state. His grievous, intense singing provides the setting for Duane's soaring, spiraling solo. Skydog's mid-way switch to bottleneck lifts the piece right out of the stratosphere, and sets up the infamous, earth-shattering "Whipping Post." Berry starts off with dark and frightening warfare bass lines, the band reaches a frenzy behind Gregg's confrontation of his misery, and the guitars ring out their defiance. Duane and Dickey embrace the pain with their solos, and the band walks on coals to a scorching crescendo. Gregg has never sounded more wretched in his plight when he sings the chorus line.

"Revival," written by Dickey Betts, shows a hippie, peace-and-love side of the band, with cheerful acoustic guitar and family vocals helping underscore the country sound of twin lead guitars and upbeat measure. "Don't Keep Me Wonderin'" offers stinging slide by Duane, highlighted by octave sweeps as he rides up the fretboard on his solo. Special guest Thom Doucette also fills in handsomely with harmonica whoops. "Midnight Rider" is Gregg's offering of a country-rock ballad, with dusty trails fading in the sunset. "In Memory of Elizabeth Reed," Dickey's instrumental wizardy, features a panoramic, Carribean-like intro, and a race course workout for both guitar solos. Berry paints "Hoochie Coochie Man" with voodoo vocals and threats, and Duane and Dickey pick the flesh off the bones with their solos. Everything is forgiven in Gregg's mind as he laments on piano during "Please Call Home," and Duane plays his heart out beside him, sadly reflecting on his brother's pleas for reconciliation. James Brown would be pleased with "Leave My Blues At Home," a scruffy, bumpy shuffle.

The first seven songs are sheer ecstasy, representing an unbroken string of excellence in every note. "Dreams" probably saved my life, gave me the strength to cope with depression. It's long enough to never get airplay, so most of the listening world has never even heard it. Hell, every one of these songs is vastly superior to the standards the DJ's trot out whenever it's time for them to play an Allmans tune. "Beginnings" is on my list of 50 essential rock and roll albums. You should own it.

This CD contains Both "The Allman Brothers Band" and "Idlewild South", Their first two albums. "The Allman Brothers Band" is a great Blues Based Album. It Has a nice flow from song to song. "Idlewild South" is a more jazz-based album that really brings out the best in Guitarist/Songwriter/Singer Dickey Betts. these two albums were made before Duane Allman died, so i recomend this because you can hear the best of Duane Allman before he dies.

Finally, a good deal, two albums on one disc for a decent price. And adding to it, both the albums are incredible. I have about 150 cd's and and this happens to be one of my favorites of all time... Songs you might be missing out on: The emotional Please Call Home, and all the raunchy bluesy classics of the first lp that are missed on the greatest hits cd such as Black Hearted Woman, Not My Cross, Every Hungry Woman, etcetra...