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Eat a Peach – the Deluxe Edition with the second disc devoted to the closing of the Fillmore in June is a freakin’ tour de force. Scorching through the stratosphere Hot Lanta is just fantastic. The mix is stellar and I’ve been listening to it on crappy car and desk top speakers as well as my treasured Polks. Berry is clearly heard and of course the tone of the guitars is so vintage, biting, just the right amount of fuzz not overwhelming to distort the true tone of the notes just scorching. The twin drums are settled in so nicely and everything is heard with the Hammond B-3 building slowly to a crescendo and then punctuating the soul groove.

The way the band and Berry jump out on Whipping Post is serious. Whether it’s my imagination or not it sure sounds up tempo to me. Berry is more than ready to bring it and it feels like he catches the band by surprise as he furiously launches into the opening… so great to hear and it’s a pace that doesn’t let up…. as the boys just go with it – oh my the little touches on the guitar twin attack. I have to stop myself right now or I’ll spend the next twenty minutes celebrating every note, turn, phrase, sound and riff just beautifully rendered together. I mean the tone of that band and tighter than tight. Gregg’s vocals are heard beautifully just right above the mix.

When they slow it down you can hear that B-3 just stalking the band the chords sustaining like wind through your hair. Their gentle segues arrive tear inducing as they reach for the heavens follow. If you don’t get a lump in your throat you don’t know how to listen to music.

Get Eat a Peach back out and it will seduce you with its magic so passionately. I’m so happy that it was captured in real time for all time just a blistering messianic journey to the soul of creation.

It’s mind boggling how a band can sound this excellent, the drive and the power, the determination. Music wasn’t a distraction it was a mission.

Stand Back I’m laser locked on that tune the way it jumps out and grabs you with that riff. The Allman Brothers knew what they were doing and the lyrics “a dagger in my back while she’s calling me honey” just fantastic. Look a lot has been written about the jazz influence on the ABB – granted – and it’s all good and true but don’t forget the funk. They can authentically bring that swing and swagger just funkin, funktastic. Funkified freaks every funkin where they funkin can the ABB throw that groove at a very righteous magnitude with Berry and Butch as far into the pocket with Gregg grinding the soul foundation and Jaimoe painting over the top.

“Hey have you seen my copy of Eat a Peach” wait I can hear it blaring upstairs in my sisters room. As I open the door Amy and her friends are moving to Les Brers as if their lives depended on it – “just don’t scratch it” as the door slams back in my face.

Stand Back – when listening to Eat a Peach and believe me it was almost impossible to get to as I had to pry The Fillmore Concerts out of my player – its beguiling to think, project where and what the band was going to do next had brother Duane decided to stick around for some more studio albums. His contribution to Les Bres alone would have taken that tune to another level and I say that absolutely loving that butt shaking tune that Berry just rumbles through.

Okay so maybe I’m stating the obvious but we really only get Blue Sky, Stand Back and Little Martha as studio cuts from Eat a Peach. It’s an immense rip off by the music gods. I know, I know they are a live band and Duane is more than well represented on the Eat a Peach Album I’m listening to the Deluxe Edition with the June 1971 closing of the Fillmore represented on the second disc. It’s a wonderful compilation with excellent liner notes, packaging and throwback labeling on the discs. But contrast Stand Back, Blue Sky and Little Martha for a moment and hold them in your mind. Each tune is in its own right a different genre. While Stand Back is the fuel injected brothers swaggering through their composition Blue Sky is its melodic counter point. Much like their playing these two songs back to back represent the branches of the tree that was the Allman Brothers. They are two tonal opposites yet together much like Dickey and Duane trading riffs. Of course Gregg is writing here and Dickey is writing there but what brings them together the playing of Duane is a very necessary bridge. Not to draw too fine a point on it but Duane was the glue that kept Dickey and Gregg together and without Duane they blew apart and it’s no one’s fault and their personal vision which they were more than entitled too and deserved were different but Duane was the Fulcrum through which their immense talents traveled.

Considering the emergence of the sound that Dickey was bringing forward (Blue Sky) and the swagger of the ABB (Stand Back) and then Little Martha is it really that far out to imagine an all-acoustic album considering Dickey’s Highway Call effort (which I freaking love) and Duane’s solo work with Sam Samudio as featured on the track Goin’ Upstairs? Would it have been so far out of the question that the Allman Brothers with Duane would have done a record sounding like Taj Mahal melded with their swagger? Considering all their influences that were revealed the above mentioned Highway Call and Gregg’s Low Country Blues would such a collective effort over time eclipsed or outfitted the Dawg Music genre with the power of the blues as opposed to just Django? It’s fascinating to imagine what that would have sounded like.

Much has been written and spoken about Duane and the Trane – John Coltrane and Miles – righteous brothers indeed and Tom Dowd’s jazz cat ways but what about the root of the tree of music as embodied by Little Martha? How much more of that would we have seen and heard (Pony Boy)? What would have Duane’s input done to Jessica and Southbound (songs I am passionate about)?

So here we are with Eat a Peach and we just have three studio cuts that are dynamic and all together different and just the greenest of shoots of the myriad of directions this band would have taken, could have taken, fanning off like a giant river oak.

The tree of music that remained and rebirthed time and time again was fortuitous and mighty in its own right and we are all the better for its perseverance, fortitude, drive and power but for a moment play the what if game and use Stand Back, Blue Sky and Little Martha as your jumping off points.

I’m a big fan of the ABB studio work as well, Gregg’s and Dickey’s solo efforts but imagine if it had all stayed together – just three studio cuts from Eat a Peach point the way.

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