The Allman Brothers Band: Live At Fillmore East

The Allman Brothers Band: Live At Fillmore East

Mobile Fidelity  UDSACD 2143

Stereo Hybrid


The Allman Brothers Band

Fillmore East is synonymous with some of the greatest concerts ever staged. Yet the vaudeville venue belongs to one group: The Allman Brothers Band. This groundbreaking double album is why. As the collective's breakthrough, it broadcasts to the world wowing improvisational flights and seamless musical fusion the likes of which no one had ever heard. In communion with the crowd, the band establishes an interactive blueprint for all shows that followed, while its high-wire displays of powerhouse soloing and time-stretching arrangements remain the stuff of hall-of-fame legend.

Mobile Fidelity's collectable hybrid SACD of At Fillmore East joins the unparalleled reissue imprint's other Allman titles in presenting the inimitable ensemble's music in the most lifelike, uncompromising fidelity possible. You're whisked to the midst of the Fillmore East for four gigs performed on March 12 and 13, 1971, plunked down in a fifth-row seat surrounded by fervent fans and a smoke-filled atmosphere. Every slippery bottleneck note, every aching vocal moan, every soulful purr from the organ, every gritty interlocking riff comes across with unfettered clarity and realism.

Although the record features multiple works the band never laid down in a studio, At Fillmore East is a meticulously conceived affair. The Allmans prepped rough sketches and layouts of the tunes, carving out spaces for each member's solos, and leaving the direction of such entirely up to the individual. As a result, the effort-anchored by iconic producer Tom Dowd's stellar production-presents a jazz-drifting rock band benefiting from both a sense of assured direction as well as opportunistic freedom.

Indeed, At Fillmore East is the rare sounds of a group letting it all go, fearlessly maneuvering through bluesy shuffles, exquisite laments, graceful instrumental passages, and frenetic swamp-laden boogies. Achieved via a combination of virtuosic skill, visionary ambition, and natural chemistry, the six-piece burns white-hot with intensity and persuades via a padlock-tight rhythm section on which Duane's searing slide playing and Gregg's bottom-of-the-stomach vocals glide, each aural utterance coaxing on their respective mates to strive for new heights.

Support this site by purchasing from these vendors using the paid links below.
As an Amazon Associate earns from qualifying purchases.

Add to your wish list | library


7 of 8 recommend this, would you recommend it?  yes | no

Analogue recording
1. Statesboro Blues
2. Done Somebody Wrong
3. Stormy Monday
4. You Don't Love Me
5. Hot 'Lanta
6. In Memory Of Elizabeth Reed
7. Whipping Post
Comments (2)

Comment by Mark Powers - November 1, 2015 (1 of 2)

I did critical listen of the brand new Allman Brothers Band, Live At Fillmore East. Absolutely awesome. The best I have ever heard at 82 decibels, flawless. As good as the BD~A 3 disc set in surround. So here are potential debates between the two. Excellent surround vs excellent stereo. Here's the deal for me, I grew up on the stereo, all versions ever released. The ONLY negative for me in the 3 disc set was it was the entire 3 day concert. For historical perspective the 3 disc set is a must. But to hear the best live album of all time MOFI nailed it. Duane left speaker, Gregg, in between left and ghost center, Dickey center, with Trucks, Oakley, and Hammond B3 right, Johnson mostly left. In the beginning it is slightly weighted to the left but this is as original LP and evens out by Hot Lanta. Not a distraction just an observation. A must have Hybrid Stereo Only SACD.

Comment by Tony Reif - March 26, 2017 (2 of 2)

Mark or anyone, have you heard the 2016 SHM-SACD, which is based on a 2013 DSD flat transfer of the US tapes? (Note that the previous two SHM-SACDs were made from a Japanese master.) I have heard neither, but I do have the Platinum SHM-CD which uses that flat transfer, and the Mercury SACDs - they are miles apart, and neither is really satisfactory as an audiophile experience. The Mercury is hyped in the highs for a hifi type of sound. The SHM-CD is way more natural (bass too) but frustratingly lacking the detail of high-res. I suspect the SHM-SACD would sound really good.