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The Allman Brothers Band
The Homecoming!

by Kirk Anderson (kirka@aol.com)

Fabulous Fox Theatre, Atlanta, Georgia
September 1,2,4,5,6, 1998

Each year the Allman Brothers Band play an extended run of shows at New York City's Beacon Theater. It's a festival unrivaled in rock n roll. The band's psychic connection with the city that never sleeps and it's fans overwhelm them every year. Over the course of the past few years, the Allman Brothers Band made multi-day stops at some of the premier music Theaters across the country. There has been the Riviera in Chicago, Illinois. 1995 saw a back to back set of shows at the Radio City Music Hall in the Borough of Manhattan in New York City to the Tower Theater in Philadelphia, Pennsylvania. 1994 saw multi-date gigs at the Warfield Theater in San Francisco and the Wiltern Theater in Los Angeles, California. The month before gave the fans multi-show runs at the State Theater in Detroit, Michigan and March of 1994 saw a landmark double dip at the Orpheum Theater in Boston, Massachusetts. Examples pepper the tour landscape through time including a trio of nights at Kosei- Nenkin-Kaikan in Tokyo, Japan in early 1992.

But you had to go back to the end of 1991 to see another multi-night run of the Allman Brothers Band in Georgia. A real homecoming, four nights in a row leading up to New Year's Eve 1991/1992 at the Macon City Auditorium in Macon, Georgia. But 1998 held a very special set of "homecoming" shows for Atlanta and the Fox Theatre. 5 shows over the course of 6 days.

Anyone knowing Allman history knows that the band basically started in Jacksonville, Florida. But it was their early forays into Atlanta's Piedmont Park that put them in front of a wider audience of people. It was these free shows that allowed them to work out their licks in front of an audience.

The band was giving all of themselves to the audience. They barely had money, but they dragged their instruments, equipment and PA's to Piedmont Park to play for free. The camaraderie of the band was forging links between the band members. As happens so many times in any project, sometimes you have to give up all of your earthly ideals and give yourself to those with whom you journey. You have to strip away the masks of the capitalistic society and all of the trappings of what you thought reality was.

In Piedmont Park, the young Allman Brothers Band found a home. Their first performances were on May 11, 12, 1969. They played 19 more times in Atlanta during this period. As the band's following grew, it always found itself coming back to bigger and bigger venues in Atlanta. From Piedmont Park to Georgia Tech Coliseum and the Municipal Auditorium to Chastain Park Amphitheater to the Omni Coliseum and Lakewood Amphitheater to the Atlanta- Fulton County Stadium and the Atlanta Pop Festivals in Hampton and Byron.

Finally in April of 1979, the Allman Brothers Band came back to Atlanta to play the Fabulous Fox Theatre for the first time. They came back in 1980 for two shows in a row on November 23rd and 24th. 1981 saw three different shows hit the Fox Theatre on May 16th, November 14th and 20th.

The reunion years 1989-1996 saw the Allman Brothers Band play annually in Atlanta mostly at the newly built Coca-Cola Lakewood Amphitheater. A two night stand at the Chastain Park Amphitheater in early July of 1990 and a single date at the newly converted Olympic Horse Park venue in early July 1997 were the two exceptions.

The Summer tour had started and the new Allman Brothers Band CD called "Mycology" had already been released. Set lists were making their way to the ABBase and fan reviews of the shows were being posted to the Listerve at "netspace.org." This was the second full tour for the new line-up of the Allman Brothers Band. Some fans "kept the faith." Some wanted the Allman Brothers Band to reprove themselves to the fans. Others didnUt seem to want to pay attention to their once favorite bands due to the changes.

The longest incarnation of the Allman Brothers Band had parted ways in 1996 when bass player Allen Woody and lead, slide, rhythm guitarist and part-time lead vocalist Warren Haynes left to concentrate full-time on the GovUt Mule project. Again it was time for a change within the Allman Brothers Band and the band decided to hire the bassist from the Aquarium Rescue Unit and Frogwings, Oteil Burbridge. To step in as second guitarist and vocalist came Jack Pearson who may best be known to Allman Brothers Band fans as a major player in Gregg Allman's band. Their stories and their induction into one of Rock n Roll's longest lasting jam band's is very interesting but really deserve their own stories in later issues of JamBands.

A building is just a building. A home has a story. So does the Fox Theatre. The Fabulous Fox was opened in 1929. Originally set to be a convention and meeting place for a private organization, financial problems made the Fox Theatre a public venue. The decades rolled on and movies gave way to music and then the shifting of business centers in Atlanta left the Fox Theatre facing the wrecking ball.

Local entities wanted to tear down the facility to make room for a new skyscraper and the community rallied. The "Save The FoxU campaign started and a 25 cent surcharge was added to every ticket sold. Rock n roll bands that felt that the Fox was their home came to the rescue. Eventually, the goals were reached and the Fox Theatre once again became the Fabulous Fox Theatre.

As September 1, 1998 finally arrived, the buzz in the City of Atlanta was fantastic. Georgia was welcoming back the Allman Brothers Band and their fans. Walking down Peachtree Street towards the Fox, my first site was the beautiful mezzanine heralding the homecoming of the Allman Brothers Band and all five show dates.

Walking under the mezzanine, the old box office is the first thing to greet the us. A plaque denoting the Fox's National Register of Historic Places status on a side wall only adds to the overwhelming history of the building and the event. Window displays heralded the week long homecoming run. Now at the entry door, a dapper gentlemen dressed in his 'sher's best greets us and points the direction to our seats.

The Hall opens up as we walk past the overhang of the balcony seats. The original architect conceived the auditorium as an open courtyard in a Moorish city, with twinkling stars and floating clouds in an azure sky overhead. The stage is hidden by the hall's immense stage curtain and in anticipation, one's mind conjures up each of the members standing on such a special stage, in a special town during a special run of shows. .

The house lights went dim and the heavy red velvet curtains were finally pulled back exposing a full stage. The members came out and took their places. Gregg Allman at his Hammond B3 and Leslie, Jack Pearson, Dickey Betts and Oteil Burbridge left to right across the front. Jaimoe and Butch Trucks on the drums riser behind the axes and Marc Quinones topping off the pyramid on the percussion's riser. The only thing lit enough to see was the twirling multi-colored mushroom lamp on Oteil's bass rig and the multicolor backdrop banners of mushrooms in the wild.

All at once, every member of the band started full force into "DonUt Keep Me WonderinU." Everybody not in their seats were scrambling. The Allmans wanted to take Atlanta by storm, from the very first note. The first 3-four counts overloaded the senses as the sound started the eardrums moving. The sounds from the stage actually moved enough air for the body to feel the music. The stage lights started at full intensity moving across the stage and out into the first few rows of the audience. The Brotherhood Of The Light show on the 20 foot screen hung above and behind the band started off in a blaze of motion and color.

Rather than describe every jam or special moment from this week long homecoming, let me put up the set lists from all 5 shows and go back to chronicle some of the highlights from the run. Note: Bold typefaced titles are detailed after the set lists.

Tuesday, September 1, 1998

Don't Keep Me Wonderin'
Ain't Wastin' Time No More
Blue Sky
I'm Not Crying
Stormy Monday
Good Clean Fun
High Falls
**Acoustic set:**
Steady Rolling Man
Everyday
Midnight Blues
Goin' Down the Road Feelin' Bad
Come On In My Kitchen
Melissa
Midnight Rider
**Electric set:**
Statesboro Blues
One Way Out
In Memory of Elizabeth Reed
**Encore:**
No One To Run With

Wednesday, September 2, 1998

Black Hearted Woman
Sailin' 'Cross the Devil's Sea
I'm Not Crying
Ramblin' Man
Statesboro Blues
Please Call Home
Trouble No More
Jessica
**Acoustic set:**
Steady Rolling Man
Everyday
Goin' Down the Road Feelin' Bad
Come On In My Kitchen
Melissa
**Electric set:**
Don't Want You No More ->
It's Not My Cross To Bear
Blue Sky
One Way Out
w/Derek Trucks, Kofi Burbridge, Yonrico Scott
In Memory of Elizabeth Reed
**Encore:**
No One To Run With

Friday, September 4, 1998

Statesboro Blues
What's Done Is Done
I'm Not Crying
Change My Way of Living
Stand Back
Hot 'Lanta
Back Where It All Begins
**Acoustic set:**
Midnight Blues
Steady Rolling Man
Everyday
Goin' Down the Road Feelin' Bad
with Reverand Jeff Moiser on banjo
Melissa
**Electric set:**
You Don't Love Me
-with Ricky Kurtz sitting in for Jack
-Jaimoe and Marc Quinones switch kits
Dreams
Blue Sky
End Of The Line
In Memory of Elizabeth Reed
**Encore:**
Whipping Post

Saturday, September 5, 1998
Don't Keep Me Wonderin'
Ain't Wastin' Time No More
Blue Sky
I'm Not Crying
Stormy Monday
Good Clean Fun
High Falls
**Acoustic set:**
Steady Rolling Man
Everyday
Goin' Down the Road Feelin' Bad
Come On In My Kitchen
Melissa
**Electric set:**
Midnight Rider
Statesboro Blues
Seven Turns
In Memory of Elizabeth Reed
**Encore:**
Back Where It All Begins
No One To Run With

Sunday, September 6, 1998

Black Hearted Woman
Sailin' 'Cross the Devil's Sea
I'm Not Crying
Blue Sky
Statesboro Blues
Please Call Home
Trouble No More
True Gravity
**Acoustic set:**
Steady Rolling Man
Everyday
Goin' Down the Road Feelin' Bad
Come On In My Kitchen
Melissa
**Electric set:**
Don't Want You No More ->
It's Not My Cross To Bear
Change My Way Of Living
One Way Out
In Memory of Elizabeth Reed
**Encore:**
No One To Run With

Steady Rolling Man 9/1
The acoustic set starts off with Robert Johnson's "Steady Rolling Man." Only Jack, Dickey and Oteil are on-stage with their acoustic guitars and bass. Dickey's opening gives way to his vocals recreating a tune from nearly 50 years earlier. Even his guitar strap is a simple string strap not unlike what Robert Johnson used in his day. The contrast of the acoustic compared to the electric is a great time to let the excitement of the night catch up. Acoustic sets scare some artists due to the lack of the rhythm section to hide your mistakes. The change-offs between Dickey and Jack are laid wide open and their ability to understand the music and the other musician comes through clear. During Dickey's solo's, he using a slide on one finger and finger fretting through the rest.

Everyday 9/1
Gregg now comes out with his acoustic guitar to fill the empty barstool. Again, Dickey sets the tone for the jam by moving over to each member and challenging them. Dickey again is playing via slide and finger. The diversity of the vocals is highlighted in this version of "Everyday" in that Dickey the first verse. Oteil opens the second verse with a distinctive bassline and Gregg follows up with the third verse. The verse leads into the solos with Dickey taking the first solo and then Jack the second. As the band plays their part of the rhythm, the two guitarists merge their parts into one and the twin slide guitar sound comes back.

Statesboro Blues 9/1
Starts out a little off tempo but by the end of the opening stanza, the whole band is back on time. Pictures of song author Willie Dixon grace the 20 foot screen behind the band. This nights version of the classic "Statesboro BluesSstands out due to it's placement as first of the electric set coming out of the acoustic set. Always a crowd favorite, the trading off of Dickey Betts and Jack Pearson playing slide gives this version a lot of depth. Plus Dickey BettsU patented body English was in full swing tonight. With each note, his body contorted. With each note that he bent, his whole body would be behind the string bending...to just the right spot and onto the next note.

Jessica 9/2
The Grammy award winning Jessica. Twin leads greet the fans as Dickey and Jack move from trading leads to playing twin leads. This pure instrumental was the last song before the acoustic set. This song which is short on the original album has been stretched into a super jam giving each member a chance to solo. Long enough to be a perfect example of what a jam band can be. Butch and Jaimoe laying down a solid, complicated and continuously hypnotic count. Marc Quinones filling in the empty spots in percussion and adding to the high end. Oteil Burbridge working with the percussionists to craft a nearly full rhythm section. Gregg Allman adding his B3 playing talents to completely warm up the rhythm section. Jack Pearson playing slide as if he were a the rocket ship taking off as Dickey Betts lays down the guitar rhythm. Then Jack playing the rhythm part of the guitar while Dickey shifts the band's gears and takes off on his Strat.]

This tune has also served as a launching pad for an excerpt from "Mountain Jam." Each takes their chance to play the distinctive riff from Donovan's "First There Was a Mountain." Soon the jam slides seemlessly back into "Jessica" as the band. As "Jessica" draws to a close, Butch moves back to the timpani and adds the massive kettle drums bass to the percussion mix that still lays the foundation for the guitars. The sound is now reverberating off of this concert hall's nearly perfect acoustics. The sound still reverberates inside the hall as the band walks offstage and the roadies set up for the acoustic set.

One Way Out 9/2
Although there were not too many guests sitting in through this run, tonight's version of "One Way Out" provided us with three. Earlier in the tour, Jack Pearson had an emergency appendectomy. The tour was pushed back a few days and Derek Trucks sat in for Jack. Tonight was a throwback to that. Derek and his "Gibson SG" made the sound of the night sound so different. Great contrast. His slide playing added a new style to the mix. Also sitting in on drums was Yonrico Scott(drummer for the Derek Trucks Band) and Kofi Burbridge(Oteil's brother) on keyboards. All of a sudden here were 8 musicians on stage and the interplay gave "One Way Out" a unique sound. 'sually these jams are reserved for times when the musicians are alone. But tonight, the fans were treated to 8 musicians all plying their trade with each other.

Goin' Down the Road Feelin' Bad 9/4
The Allman's have been playing this tune acoustically and on a regular basis since 1993 and tonight's version has topped most IUve heard. The Reverend Jeff Moiser from Bluegress Underground came out on banjo and added that down home feeling that this song was meant to have. Plus this allowed Jack and Dickey to give themselves a different sound and interaction. The smiles on their faces told the story.

Dreams 9/4
A tour de force instrumental jam tune from he ages, the band starts off bathed in red lights as Gregg growls out the lyrics. Dickey's first solo plays over the slow, lazy circle that the rhythm section is laying down. Dickey again plays the guitar with so much feeling that his body and face contorts in complimentary styles that seem to be necessary to make the sounds come out of his guitar. As Jack's slide starts to pick up, he used the heavier gauged strings on his Stratocaster to get a much different sound that he had been using that night. The tempo picks up and the bassline gets stronger. The smooth, pretty slide playing of seconds ago has turned into a cutting slide that rips through the whole tune. The tempo starts to relax as the song draws to a close.

Back Where It All Begins 9/5
What some have called the best night of the five nights , "Back Where It All Begins" starts out the town song encore and also serves as another song on the set list that has it's basic structure set in cement, but also has open windows that allow the band to take off into an improvisational jam and then get back to the structure. Jack's first slide solo provides a rising crescendo as the rhythm section builds as does Pearson. All the while Betts plays the rhythm part of the guitar part tying together Jack with the rhythm. As Jack is building to a cadence that makes the fans move to it. Gregg,

Dickey and Oteil all take small solos under Jack's lead slide. Jack plays out his solo and the tempo slows and Dickey's turn is next. Each riff is built into a phrase which in turn is strung together into his solo. The craftsmanship is definite and his talent open to all in attendance. As Dickey's lead builds, it reminds me of a kite in the strong wind. The wind is wildly blowing as does the rhythm sections. The kite is out there in the midst of the tempest defiantly holding it's place. The two doing their thing and yet working together. As the tempest reaches it's zenith, Dickey finger picks with the fingers on the fret board while he uses his other hand close to the headstock as a capo changing the tuning. The band then brings the tune back into it's structure and to the signature riffs of the tune.

Not to mention the Brotherhood of the Light show on the big screen behind the band. A group of fans had rented a bus and went down to Highfalls State Park and Macon Georgia to get a touch of what it's like to walk in the footsteps that the Brothers once walked. One of the people aboard was part of the Brotherhood of the Light and he took video of Highfalls, the railroad tracks by Rose Hill Cemetery and Mama Louise's H&H Restaurant and these images found their way to the show...completing the circle of band to fan and back again.

Sailin' 'Cross the Devil's Sea 9/6
Second song of the last night "SailinU" starts out with a monstrous bassline that fills the auditorium. Dickey now has changed to his yellow Stratocaster and using the waa waa peddle that seemed so unused through most of the show. His yellow Strat's set up give him a fatter sound that fits the song perfectly. This moves into Jack taking the music higher by changing the manipulation of the strings sound from waa waa peddle to slide. The keyboards and percussion fill out the rhythm of the bassline to give the listener an overload of sound.

Melissa 9/6:
Gregg's voice dominates the tunes. It sits atop the strong rhythm that his is playing on his new Washburn EA27 Signature Series guitar with the mushroom laid into the headstock. Bud Snyder has the room's sound dialed up just right as the rhythm from Gregg's guitar reaches out the audience. Dickey is playing a lead under Gregg's voice but above his rhythm.

In Memory of Elizabeth Reed 9/6
The last song of the run before the encore, "In Memory Of Elizabeth Reed" starts out as a perfect example of the twin guitar sound. Twin guitars playing the same riffs and twin guitars playing complimentary ruffs. Jack puts down the slide and takes the first lead.. The tambourine atop the high hat cymbal rises above the rhythm and just under the guitars. Dickey playing just under that. A long five minute lead that starts with a slow tempo that Jack builds into excitement. The tempo again slows and it's Gregg's turn to take a B3 lead. Gregg too brings the tempo from slow like a breeze to blowing like a typhoon...and then brings it back down. Dickey then stands forward to take his solo. the tempo has again slowed, although not as quiet or slow as with Jack and Gregg. Starting with a heightened tempo, he has nowhere to go but up. Dickey again builds his lead until there is nowhere else to go. Then the whole band stops and it's time for the percussionists.

The spotlights are only on the three percussionists as Butch plays his snare and bass drum, Jaimoe plays his toms and bass drum and Marc plays his congas and percussion. The three trade off playing parts of their kits that make higher and lower notes. Butch moves to back to his timpani kettle drums to add another sound that adds huge dimensions to the percussion. Many bands just stop the jamming and let the drummer play. But the Allman Brothers Band continue the jamming al la Mickey Hart and Planet Drum.

At a break in the action, Oteil Burbridge comes out with his 6 string bass and joins the percussion section. His rotating, mushroom light behind him seems to almost set a steady beat as Oteil starts using his strumming hand to slap the strings as his other hand caresses the fretboard. He moves from this style to a more orthodox style and back again. He soon ads vocals. Words? No, it's jam band. He's using his voice to accompany the bass line...something he calls "scat bass." The reverberation of the percussion under the bass and vocals comes back at everyone in the hall surrounding us with the warmth that is Oteil. The rest of the band joins the four to go back into the distinct riffs of "In Memory of Elizabeth Reed"..then silence, then cheering.

Each night had it special moments. After several years of wondering what it would be like to see the Allman Brothers Band live several nights in a row. I can sum it up in five words. Anticipation. Excitement. Recharging. Energizing. Electrifying. There really are no words to explain how one feels coming out of the first show of a five show run anticipating the next four more because of the first. There is no words to explain how tired one feels after 4 nights of the run and still knowing you want to come back for a fifth. By the middle of the run, your senses are overcome and you are tired, yet you canUt wait to wake up the next day to get ready for the next show.

Yup, the Allman Brothers Band has a new incarnation. Don't sell yourself or the band short by making some flippant judgment on what version is better. Many sold the Brothers short as they started their reunion tour saying that Warren was no Duane and Allen was no Berry. Most came back to realize that there had to be change and that the nucleus was still intact.

After seeing the Allmans Brothers Band at the Fox Theatre for 5 nights, it's safe to say that the Brothers are working through the change and getting ready to take off again. YouUve got the chance to be on the ground floor....again. See it now for in a couple of years, your friends will being saying, "I wish I had seen them when this incarnation was just getting the groove together."

Kirk Anderson