- Gregg Allman -- vocals, keyboards, guitar

  supporting musicians (1973)

- Scott Boyer -- guitar, piano

- David Brown -- bass

- Buzzy Feiten -- guitar

- Eileen Gilbert -- backing vocals

- Carl Hall -- backing vocals

- Hilda Harris -- backing vocals

- Charlie Hayward -- bass

- Paul Hornsby -- organ, clavinet

- Emily Houston -- backing vocals

- Jaimoe -- congas

- Chuck Leavell  -- keyboards

- June McGruder -- backing vocals

- Helene Miles -- backing vocals

- Jimmy Nalls  -- guitar

- David Newman  -- sax

- Lydia November -- backing vocals

- Albert Robinson -- backing vocals

- Johnny Sandlin -- bass

- Maeretha Stewart -- backing vocals

- Bill Stewart -- drums

- Tommy Talton -- guitar, dobro, tambourine

- Butch Trucks -- percussion  

  line up 2 (1987) as The Gregg Allman Band

- Gregg Allman -- vocals, keyboards

- Tim Heding -- keyboards, backing vocals

- Dan Toler -- lead guitar

- David "Frankie" Toler -- drums, percussion

- Chaz Trippy -- percussion

- Bruce Waibel -- bass, backing vocals  

  supporting musicians (2011):

- Jim Bellerose -- drums

- Doyle Bramhall II -- guitar

- T Bone Burnett -- guitar

- Mike Compton -- mandolin, backing vocals

- Dennis Crouch -- bass

- Daniel Forenro -- trumpet

- Hadley Hawkensmith -- guitar

- Darrell Leonard -- horns

- Colin Linden -- dobro

- Thomas Peterson -- sax

- Mac Rebennack -- piano

- Joe Sublett -- sax

- Jim Thompson -- sax

- The Allman Brothers Band (Gregg Allman, Dan Toler, and David Toler)

- The Allman Joys

- Allman and Woman

- Gregg and Duane Allman

- Cowboy

- Hourglass

Genre: rock

Rating: 4 stars ****

Title:  Laid Back

Company: Capricorn

Catalog: 11661 91121
Year: 1973

Country/State: US

Grade (cover/record): VG+ / VG+

Comments: gatefold sleeve; minor ring wear

Available: SOLD

Catalog ID: SOLD

Price: SOLD $15.00

With The Allman Brothers Band tearing up the charts, it was probably only natural that Gregg Allman would have wanted to test his own capabilities by taking a stab at a solo career.  Though he'd apparently started recording the album shortly after brother Duane's death, it took more than two years for Allman to complete the effort.  Produced by Johnny Sandlin, musically 1973's "Laid Back" was a modest surprise in that it showcased a set that was far more diverse than his blues-rock repertoire with The Allman Brothers.  In fact, anyone expecting to hear blistering, twin lead guitar Southern rock was going to be left scratching their heads.  Mind you, Allman's voice remained instantly recognizable, though his patented Hammond B3 organ was largely absent from the proceedings.  And that's where the similarities ended.  While you couldn't label this a pop album, it's hard to imagine the Allman Brothers recording anything with intricate orchestral arrangements like 'Multi-Colored Lady' or 'All My Friends'.  Similarly, the upbeat cover of Oliver Sain's 'Don't Mess Up A Good Thing' was a far cry from Than Allman Brothers patented driving rock genre.   One other comment, with the exception of the Oliver Sain cover, virtually the entire set was soaked in a sense of loss and sadness.

- Originally appearing on The Allman Brothers' "Idlewild South" album, the solo version of 'Midnight Rider' wasn't a drastic departure from the original.  Opening up with some nice acoustic guitar and Allman's Hammond B3, this version stripped away the harmony vocals, but added in a mid-song horn segment.  I'll admit to missing the harmonies, but enjoyed the horn burst.  Still, the original gets the nod (if just by a thin margin).   rating: **** stars

- 'Queen Of Hearts' was a surprisingly breezy jazz-tinged number.  Nice sax solo from David Newman and one of the few guitar solos to be found on the album.   rating: *** stars

-  Though it was smothered under an overwhelming orchestral arrangement, 'Please Call Home' was basically a blues number.   This was also a remake of a track off of the "Idlewild South" collection.   rating: ** stars

- Side one's biggest surprise came in the form of  Allman's bouncy cover of Oliver Sain's 'Don't Mess Up A Good Thing'.  I'd be hard pressed to pick another song where he sounded as happy and pleased with himself..  It would have made a great single.  For anyone curious, the keyboards weren't Allman, rather were provided by future Allman Brothers Band recruit Chuck Leavell.     rating: *** stars

- The thought of Allman doing  a Jackson Browne cover set off alarm bells in my head (damaged Southern rocker covers damaged West Coast singer/songwriter), but the concerns were unwarranted given Allman turned in a cover that was beautiful and aching and mournful slice of self-doubt and regret.  Always loved the closing lines "Please don't confront me with my failures, I'm aware of them."  I'm normally not a big pedal steel fan, but here was one of those rare exceptions.  The performance stood as a highlight across Allman's entire career and simply beat the crap out of Browne's own version.   rating: ***** stars

- Cut from the same stock as 'These Days', the Allman original 'Multi-Colored Lady' was another measured ballad.  Quite pretty, my only complaint on this one stemmed from the extensive backing arrangement.  The full strings only served to distract you from the song's pretty melody and another world weary Allman performance.   rating: **** stars

- Written by guitarist Scott Boyer, 'All My Friends' was a pretty, heavily orchestrated, country-tinged ballad.  While I liked the song quite a bit, slapping three ballads back-to-back served to bring the album to a near standstill.   rating: *** stars

- Though it started out sounding like a funeral dirge with Allman almost sounding like he was whining, 'Will The Circle Be Unbroken' improved as it moved along.  By the end the track had morphed into an old-fashioned Gospel-tinged shout out.  Not exactly my thing, but I can see why some folks found it an album highlight.  rating: ** stars

The album was tapped for a pair of singles:

- 1974's 'Midnight Rider' b/w 'Don't Mess Up a Good Thing'  (Capricorn catalog number  CPR 0035)

- 1974's 'Don't Mess Up a Good Thing' b/w 'Please Call Home' (Capricorn catalog number  CPR 0042)

Backed my strong reviews and an extensive American tour (documented for his next release), the album sold well, peaking at # 14 on the US charts.  All told, probably still my favorite Allman solo venture.

"Laid Back" track listing:
(side 1)

1.) Midnight Rider   (Gregg Allman - Kim Payne) - 4:28

2.) Queen Of Hearts   (Gregg Allman) - 6:17

3.) Please Call Home    (Gregg Allman) - 2:48

4.) Don't Mess Up A Good Thing    (Oliver Sain) - 4:13

(side 2)
1.) These Days   (Jackson Browne) - 3:56

2.) Multi-Colored Lady    (Gregg Allman) - 4:55

3.) All My Friends   (Scott Boyer ) - 4:32

4.) Will The Circle Be Unbroken   (traditional arranged by Gregg Allman and Johnny Sandlin) - 4:49

Genre: rock

Rating: 2 stars **

Title:  I'm No Angel

Company: Epic

Catalog: E 40531
Year: 1986

Country/State: Nashville, TN

Grade (cover/record): VG+ / VG+

Comments: original lyric inner sleeve

Available: 1

Catalog ID: 6239

Price: $8.00

I love Gregg Allman's blues drenched voice, but I've always had a love and hate relationship with 1987's "I'm No Angel".   Produced by Rodney Mills, the album was billed as kind of a comeback, celebrating Allman's having survived a nightmarish personal and professional partnership with Cher and various personal setbacks including some nasty drug and alcohol issues.  Interestingly the album found Allman decided to return to a band construct with the collection being credited to The Gregg Allman Band (keyboardist Tim Heding, former Allman Brothers lead guitarist Dan Toler, drummer David Toler, percussionist Chaz Trippy, and bassist Bruce Waibel).  On one hand I guess you couldn't blame  Allman for wanting to cash-in on the public's seemingly insatiable demand for corporate AOR.  To that end these ten tracks weren't really bad in a Journey, Pablo Cruise, REO Speedwagon kind of way.  Smooth and radio ready, it was the kind of stuff that you could play in your office cubicle (or an elevator) without disturbing anyone.  The downside was that while Allman's voice remained in good form, with the possible exception of the title track (an admitted guilty pleasure), 'Empty Faces' and a remake of The Allman Brothers' 'It's Not My Cross To Bear', this collection was largely plodding and pedestrian.  This was music as a product with Allman having elected to abandon his musical soul for a quick payout.  Naturally it didn't work out that way with the album generating critical disdain and mediocre sales.

- Allman didn't write it and while 'I'm Not Angel' lacked anything even remotely similar to the soul of his first couple of solo sets, to say nothing of his Allman Brothers Band catalog, it was catchy and commercial in a vapid, throwaway fashion   The accompanying video was pretty hideous as well. C'mon, tough cowgirls downing shots ...  Surprised the old guy sitting outside the bar didn't tell Allman and company to shove it when they 'told' him to change their flat tire.  And what the world was with percussionist Chaz Trippy prancing around ?   For anyone interested, here's a link to a YouTube clip of the video: http://www.youtube.com/watch?v=NWNKHi2joJE 

 rating: *** stars

- The Allman-penned 'Anything Goes' was a perfect example of what went wrong with this project.  Overlooking the sophomoric lyrics, both the basic tune and Allman's vocals were quite strong, but the overly slick production, including punchy horns and formulaic Dan Toler lead guitar solo effectively drained the set of whatever energy it had.  With a starker, rock-oriented arrangement this one could have been a killer.   rating: ** stars

- With Allman sharing lead vocal duties with actor Don Johnson (I'm not making that up), to my ears the power ballad 'Evidence of Love' sounded like a slice of warmed over Michael Bolton.  Buried in a horrible '80s, synthesizer heavy sheen, this one had as much soul as a chewing gum commercial.  Dreadful by any stretch of the imagination.    rating: * star

- Under any other circumstance I probably wouldn't have paid much attention to the mid-temp 'Yours for the Asking', but surrounded by the rest of this collection, the track actually showed traces of Allman's blues-rock roots.   rating: *** stars

- Another Allman original, 'Things That Might Have Been' was pretty, but largely anonymous.  Five minutes after hearing it you won't remember a thing about the song.   rating: ** stars

- Penned by Michael Bolton, the AOR 'Can't Keep Running' was a guilty pleasure (I actually remember buying the single).  Complete with female backing singers, lots of 'synthesizers and other '80s production effects, the song actually reminded me a bit of Christopher Cross (not necessarily a good thing).   Once again, Allman's gruff vocals were the song's only saving grace.   rating: *** stars

- If there was one song that came close to finding an artistic compromise between Allman Brothers blues-rock and a more commercial attack, it was probably the mid-tempo 'Face without Names'.  Spotlighting one of Allman's best vocals, the song boasted a pretty melancholy melody and a nice multi-tracked Toler solo.   The album's hidden gem ...     rating: **** stars

- 'Lead Me On' slowed things down and was one of the few tracks with a blues-tinged.  In spite of a nice Allman vocal, the performance was largely negated by the high sheen production, including needless percussion and another formulaic AOR guitar solo from Toler.   rating: ** stars

- The album closed with a remake of a medley found on The Allman Brothers' debut album - the instrumental  'Don't Want You No More' and the Allman original 'It's Not My Cross To Bear',  Lifted off "The Allman Brothers", the opening instrumental segment gave the remake a modest, pseudo-jazz feel.  Toler stole the show with a beautiful and understated solo.   rating: *** stars

- The only track to even come close to his Allman Brothers blues-rock roots, 'It's Not My Cross To Bear' showcased what Allman was capable of.  Toler also took advantage of the song to crank out one of this best performances.   rating: **** stars

Epic tried to support the album with a pair of singles:

- 1986's "I'm No Angel' b/w 'Lead Me On' (Epic catalog number 34-06998)

- 1986's "Can't Keep Running' b/w 'Anything Goes' (Epic catalog number 34-07215)

Personally I wouldn't start my exploration of solo Allman's catalog with this one, but that's just my opinion.

"I'm No Angel" track listing:
(side 1)

1.) I'm No Angel  (Tony Colton - Phil Palmer) - 3:42

2.) Anything Goes   (Gregg Allman) - 4:12

3.) Evidence of Love   (Steve Diamond - Chris Farron) - 4:34

4.) Yours for the Asking   (Gregg Allman - Dan Toler) - 3:16

5.) Things That Might Have Been   (Gregg Allman - Dan Toler) - 4:26

(side 2)
1.) Can't Keep Running   (Michael Bolton - Martin Briley) - 4:02

2.) Face without Names   (Gregg Allman - Dan Toler) -3:39

3.) Lead Me On   (Gregg Allman - Dan Toler) - 4:44

4.) Don't Want You No More (instrumental)   (Spencer Davis - Eddie Hardin) - 2'31

5.) It's Not My Cross To Bear   (Gregg Allman) - 5:37

Genre: rock

Rating: 4 stars ****

Title:  Low Country Blues

Company: Rounder

Catalog: 11661 91121
Year: 2011

Country/State: Nashville, TN

Grade (cover/record): NM / NM

Comments: double album set; gatefold sleeve; includes download card

Available: 1

Catalog ID: not listed

Price: $40.00

I guess I'm like a lot of folks in that I didn't think physically or creatively Gregg Allman had another album in him.  Between his major league medical issues, personal demons (there's a movie script waiting to be made), and his devotion to carrying the Allman Brothers torch, another solo album seemed unlikely.  For goodness sakes, the man hadn't released a solo album in 14 years - and how many folks actually ever heard 1997's instantly obscure "Searching for Simplicity" ...   Well just goes to show you what I know.

To be totally honest, seeing Allman teaming up with producer d'jour T-Bone Burnett for "Low Country Blues" didn't exactly instill excitement in my heart.  I know, I know, Burnett is currently the go-to guy for reviving careers, but I can't say I've been knocked out by large chunks of his work. His affection for stripped down, old school sounds has won him legions of admirers, but to my ears the results are frequently on the bland side with lots of those award projects sounding interchangeable.  That said, on about a third of this collection Burnett done Gregg Allman right.  The results weren't perfect.  I wish Allman had pushed harder to include at least a few more contemporary tracks like 'Just Another Rider' and with one or two exceptions his keyboards are all but lost in the mix.  Those complaints aside, for a 60+ year old guy who many expected to be history by now, Allman came off as surprisingly strong and relevant on this collection.  His voice remained instantly recognizable, if a couple of shades darker, and because he always had kind of a rugged delivery, the years didn't seem to have done measurable damage to his talents (not the case for many of his compatriots).  Supported by a first-rate collection of sidemen (drummer Jim Bellerose, bassist Dennis Crouch, guitarists Doyle Bramhall II and Hadley Hawkensmith, dobro player Colin Linden, and Mac Rebennack on piano), producer Burnett gave the album a somewhat raw, under-produced, and live feel.  It made for one of those collection where with a good pair of headphones it almost felt like you were sitting in the control room with the band.  As alluded to above, musically the album included one new Allman original ('Just Another Rider' - my pick for standout performance), a couple of classic blues numbers (B.B. King, Amos Milburn, Muddy Waters), and a host of lesser known numbers that were apparently suggested by Burnett and approved by Allman.  That meant lots of obscure country-tinged blues (a couple of times I found myself flashing back to the Burnett-produced "O Brother Where Art Thou" soundtrack), and a slightly strange (check out Dennis Crouch's acoustic bass), kind of early-1950s analog feel which may have made for a very hip sound, but occasionally caused the album to suffer from the dreaded 'sounds the same' disease.

- Allman's cover of Sleepy John Estes' 'Floating Bridge' left me wondering what I'd gotten into.  While Allman's voice remained in good form, my first impression was that the song itself was pretty standard county-blues.  The funny thing is that Allman's terse and hypnotic delivery, coupled with some stinging lead guitar riffs (Burnett ?), ultimately won me over.  I'm still humming the damn thing a couple of weeks later.   rating: **** stars

- Opening up with some jazzy Allman organ chords, 'Little By Little' found him in prime blues territory.  I'll readily admit that the Allman's blues catalog occasionally bored me to tears, but on this one Allman sounded pretty impressive.  Guitarist Doyle Bramhall II turned in a tasteful solo that would have made the late Duane Allman proud.   rating: *** stars

- A stark country-blues number (initially just Allman and acoustic guitar), 'Devil Got My Woman' was one of those songs that I normally probably would have listened to once and then skipped over.  For some reason Allman's desperate growl turns it into a mesmerizing tale of woe and despair.   rating: *** stars

- Allman's slinky acoustic cover of Muddy Waters 'I Can't Be Satisfied' was nice enough, but after a side of bluesy material, with the exception of Bramhall's slide guitar, simply didn't make that great of an impression.     rating: *** stars

- 'Can't say I cared much for 'Blind Man'.  Yeah it was bluesy, but with the horn arrangement was distracting and just ended up making it sound like a period piece number.   rating: ** stars

- The lone Allman original, 'Just Another Rider' was also my pick for standout performance.  Literally a growling blues-rocker with a stunning lead guitar solo, the song sported the album's most commercial and mainstream melody and Allman's most dynamic vocal.  I wouldn't compare it to The Allman Brothers catalog, but it comes closer than anything else on this set.  Seriously, one of the best solo efforts he ever recorded.  Damn, wish their had been a couple more rock-oriented tracks like this one.   rating: **** stars 

- 'Please Accept My Love' had a '50s doo-wop feel.  Frankly, I didn't expect much from this one, but have to admit that it's become a guilty pleasure.    rating: *** stars 

- 'Out of Bad Luck' ended side two ended with a pedestrian blues number.  The song highlights came in form of Bramhall's guitar and Mac Rebennack piano.   This was one of two bonus tracks on the vinyl release.   rating: ** stars 

- Another surprising personal favorite, 'I Believe I'll Go Back Home' had a very country feel (mandolin for goodness sake), but rocked out with more conviction than a busload of hair bands.  Catchy hook too boot.    rating: **** stars 

- Another big band blues number, Allman's cover of Amos Milburn's 'Tears, Tears, Tears' was suitably authentic, but if I wanted to hear a period piece, I'd probably turn to the original source material.   Once again Rebennack's keyboards stole the spotlight.   rating: ** stars 

- Allman's cover of Lowell Fulsom's 'Reconsider Baby' was given another horn-propelled arrangement.  Didn't like the arrangement much, but I'll admit that the combination of gut-wrenching Allman's vocals and Rebennack's tasteful keyboards ultimately won me over on this one.   Maybe it was just my ears, but for some reason Allman's vocals reminded me a bit of George Soule.  This was the second vinyl-only bonus track.   rating: *** stars 

- Yeah the female backing singers didn't do much for me, but 'My Love Is Your Love' was a nice blend of traditional blues and updated sound.     rating: *** stars 

- Normally a track like Allman's cover of the Otis Rush classic 'Checking On My Baby' probably wouldn't have done a great deal for me, but this is one of those rarities - a rather pedestrian blues number that 100% redeemed by Allman's soulful vocal.    rating: *** stars 

- Even better was Allman's cover of Muddy Waters 'Rolling Stone'.  How many hundreds (thousands) of times has this one been covers ...  That said, this performance actually benefited from Burnett's less-is-more recording approach.  The arrangement  was about as stripped down as you could get, but propelled by Allman's world weary vocal and some fantastic slinky dobro from Colin Linden, this was another keeper.

If you're expecting to hear an Allman Brothers Band release, you'll be disappointed, but if you've always liked Allman's bluesier edge, it'll be a major addition to your collection.  Added bonus, I stumbled across a vinyl copy of the release - double album set with a pair of bonus tracks (Out of Bad Luck'' and 'Reconsider Baby') ...  how cool is that !!!

"Low Country Blues" track listing:
(side 1)

1.) Floating Bridge   (John Adams Estes) - 

2.) Little By Little   (Melvin London) - 

3.) Devil Got My Woman   (Nehjamiah Jones) - 

4.) I Can't Be Satisfied  (Muddy Waters) - 

(side 2)
1.) Blind Man   (Don Robey - Joseph Wade Scott) - 

2.) Just Another Rider   (Gregg Allman - Warren Haynes) - 

3.) Please Accept My Love   (B.B. King - Sam Ling) - 

4.) Out of Bad Luck   (Samuel Maghett - Al Benson) - 

(side 3)
1.) I Believe I'll Go Back Home  (arranged by Gregg Allman - T. Bone Burnett) - 

2.) Tears, Tears, Tears   (Amos Milburn) - 

3.) Reconsider Baby   (Lowell Fulsom) - 

(side 4)
1.) My Love Is Your Love   (Samuel Maghett) -

2.) Checking On My Baby  (Otis Rush) -

3.) Rolling Stone   (Muddy Waters) -