The Allman Brothers, in fact, practically invented the genre that came to be known as southern rock. From the basic fusion concept of the music (rock, blues, country, and more) to the rudiments of the form (two drummers, extended solos, etc.) to the requisite defiant stance as southern gentleman hippies, the Allman Brothers set the southern rock mold. Rarely, if ever, has any band succeeded in matching their example. Their greatest records and finest moments on stage stand with the best rock music ever made - and I'm talking Beatles, Stones, whoever. The occasionally redneck posture of the Allman's southern brethren (or their fans) doesn't denigrate that achievement one bit.

The heart and soul of the matter, then, is those first five albums the boys cut for fledgling Capricorn Records between 1969 and 1973. Their first two records are amazing accomplishments for such a young group (who, in fact, had been playing together for several years). Right out of the gate, the band waxed several songs that stand toe-to-toe with the blues standards that fill out the albums. Songs like "Whipping Post" and "Midnight Rider" reflected the full weight of the Allman's southern heritage yet sounded resolutely modern and vital. Allman Brothers Band (1969) and Idlewild South (1973) are available separately and as a cheaper tandem package, Beginnings, originally released in 1973.

Next, the Brothers dropped a bomb, Allman Brothers At Fillmore East (a two-record set edited down from two marathon shows), that proved how powerful, seasoned, and virtuosic they were in concert. Blues covers (Blind Willie McTell, T-Bone Walker, Elmore James) and lengthy jams dominated, and the record cemented their reputation as one of the best American bands of their day. "One Way Out" and the half-hour "Mountain Jam" (based on Donovan's "First There Is A Mountain"), were recorded during the same concerts and became highlights of their next record, Eat A Peach. The entire, unedited two-night stand at Fillmore was issued in 1992 as The Fillmore Concerts.

In late 1971, while the band worked on what would become Eat A Peach, Duane Allman - widely considered one of rock's preeminent guitarists - died in a motorcycle accident. As mentioned above, the unfinished record was fleshed out with unreleased tracks from the Fillmore sessions, but it suffered not one bit as a result. Furthermore, the studio tracks ("Ain't Wasting Time No More," "Melissa," and "Blue Sky") are among the best the band ever recorded. Yet another member (Berry Oakley) was killed while the Allman Brothers worked on their 1973 follow-up, Brothers & Sisters. Despite a noticeable ratcheting down of intensity, it is still a great record, showcasing the heretofore overshadowed talents of guitarist Dickey Betts. The album and its lead single, "Ramblin' Man," became the band's biggest hits ever.

Perhaps it was the death of two founding members, perhaps it was the band's infamous substance abuse problems. Perhaps it was Gregg Allman's marriage to (and disastrous album with) Cher. Regardless, the Allman Brothers entered a long period of decline after Brothers & Sisters. Their remaining albums for Capricorn Records certainly had their moments but were, relatively speaking, undistinguished. After Capricorn folded in 1979, the band jumped to Arista Records. After two even less memorable records for that label, the Allman Brothers threw in the towel.

In the 90's, the Allman Brothers reemerged with a series of well-received albums on Epic Records and reestablished themselves as a formidable touring act. The band was seen as elder statesmen (second only to the Grateful Dead) by the nascent "jam band" scene. Groups like Widespread Panic , Dave Matthews, and the Black Crowes emulated the Allman Brothers much like the Allman Brothers had once emulated T-Bone Walker, Ray Charles, or Cream. This renewed prominence held a bonus for older fans, too - dozens of vintage live recordings (like Live at Ludlow Garage: 1970) flooded the market. But, the Allman Brothers' story - in terms of musical innovation - was already written, and had been since 1973.

The 4-disc boxed set, Dreams, does an admirable job of summing up the Allmans' career from the beginning (including early recordings as the Allman Joys and Hour Glass) through the 1980's. It helps tie together loose ends like "Crazy Love" (a charting single from 1979) and Gregg's handful of solo hits like "Midnight Rider" (1973) and "I'm No Angel" (1978), but it's more of a collector's item than a definitive overview - too many alternate and live versions. The single-disc A Decade Of Hits 1969-1979 is a good primer, but the more expansive double-disc The Road Goes On Forever (not, by the way, a live album) is even better. Admirably remastered and expanded in 2001, its reissue makes it an easy (and strong) recommendation - for my money, the best-ever collection. Stand Back: The Anthology (2004) is another two-disc affair, this one skimming the band's entire career to date, wisely focusing on the first ten years.

After his death, two excellent double albums, An Anthology Vol. 1 and Vol. 2, were compiled in tribute to Duane Allman. They include tracks from the Allman Brothers plus highlights of his scorching studio work with Derek & The Dominos ("Layla"), Boz Scaggs ("Loan Me A Dime"), and Aretha Franklin ("The Weight") among others. For diehards, the solo debuts from Gregg Allman (Laid Back) and Dickey Betts (Highway Call) are both worth chasing down. Also, fans of rock/jazz fusion will enjoy Sea Level, an offshoot featuring Allman Brothers keyboardist Chuck Leavell.

Finally, as for the band's prodigious later work, several decent compilations are available. One, Hell & High Water: The Best of the Allman Brothers, surveys the band's middle period on Arista Records, while another, Mycology: An Anthology, covers their later years recording for Epic. Frankly, I'll reserve judgment. Get the Allman Brothers' inarguably wonderful early albums, then proceed at your own pace. [top of page]