The Allman Brothers Band â€“ Keep On Wondering (TheGodfatherecords GR 606)

Goody's Speed/Pitch-adjusted Edition

SUNY @ Stony Brook, Stony Brook, NY, USA
July 26th, 1970


01 Please Donâ€™t Keep Me Wonderin' 3:52
02 Stormy Monday 9:25
03 In Memory Of Elizabeth Reed 11:32
04 You Donâ€™t Love Me 6:04
05 Dreams 9:55
06 Mountain Jam 36:56
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Runtime: 1:17:45


Only 1 year & 4 months after the band had formed the Allman Brothers were one of the biggest bands in America â€“ Their second album â€œIdlewild Southâ€  would have soon been released to more critical & public acclaim than itâ€™s predecessor by turning down the gruff, moodiness that layered it, becoming a little lighter in tone & cutting shorter the lengthy jams that were part of the bands live specialties ( It might have worked for the Beatles but releasing a 7 minute song for the radio was only ever going to be gift afforded the royalty of Rock & only then of a marginal basis. )

The recording here, originally released as â€œJamming In Midnightâ€ by The Polar Bear Records (PB â€“ 099/100) as a two CD set, ( This version omits â€œWhipping Postâ€ but retains the lengthy â€œMountain Jamâ€ ) is a strong, bassy soundboard recording with only a little too much power for itâ€™s own good. Itâ€™s not a broad stereo mix as instruments & voices all seem to come from the one place but this only bolsters its power. The small quibble with Allman fans might be that everyone seems to contest the recording date â€“ The SUNY concert was reportedly on the 10th of July & not the 26th as it has been printed as before.

â€œPlease Donâ€™t Keep Me Wonderingâ€ boogies along like a hypnotizing snake with a flash of power in its eyes. it doesnâ€™t take long for the band to break out the steam either â€“ Greggâ€™s lusty voice spills out & beyond the mass of the music & itâ€™s not long until Duaneâ€™s liquid guitar flashes in to view meandering through the rampant pulse on stage with an electric fury. â€œStormy Mondayâ€ â€“ A cover of the T-Bone Walker track â€“ is pinpointed by Greggâ€™s keyboard part â€“ the instrument that he became fluent on & pined upon playing after listening to Jimmy Smith on Nashville Radio station WLACâ€™s jazz broadcasts â€“ and the instrument that he used to write the first album upon â€“ Gregg said recently â€œWhen my brother called me to join the Allman brothers on March 26, 1969, he said â€œI need you to play a Hammond.â€ One day they had a blindfold with â€˜em, and said. â€œWe gotta take you somewhere.â€ They took me into this room in Berry Oakleyâ€™s house, ripped off the blindfold, and there was a brand new 1969 B-3 Hammond, a 122 RV Leslie, and about 8 joints rolled on the bottom keyboard. And they said â€œWeâ€™ll see you in a couple of weeks!â€ When I got to the Allman Brothers, I had a heyday. I wrote the first album within, like, a week and a halfâ€ â€“ The blues is written hard in this version although the optimism in Greggâ€™s Hammond shines through. Duaneâ€™s exacting soloing creates a busy spiraling launch while Berry Oakleyâ€™s fastidious & melodious â€œTractorâ€ bass lines adds a splendid & rooted backbone to proceedings.

The Dickey Betts written â€œIn Memory Of Elizabeth Reedâ€ is the band's second â€œIdlewild Southâ€ track this evening. One of the highlights of the Allmanâ€™s live experiences it has space for each member of the band to flourish & improvise in whichever way they wish to. Multiple phases pass through the fleeting 11 minutes of the track ( One of the shorter renditions as the song would be drawn out to epic lengths reaching almost 30 minutes long some nights .. ) which has been compared by Duane as close to playing as Miles Davis in the jazz- rock field â€“ â€œthat kind of playing comes from Miles and Coltrane, and particularly Kind of Blue. Iâ€™ve listened to that album so many times that for the past couple of years, I havenâ€™t hardly listened to anything elseâ€. Shifting patterns litter the path where the band played before the tempo increases to a brilliant fury & the band crash to a dead stop.

With hardly a breather the band move on to a â€œSong that Junior Wells played long time ago ..â€ â€“ â€œYou Donâ€™t Love Meâ€. A desperately funky groove follows full of splashing drums and an urgent phrase on the Hammond before Duane zips in on guitar to peel out a few more blistering chords.

â€œDreamsâ€ from the Allman Brothers bandâ€™s eponymous album is a slow burner â€“ all the hallmarks are there of an Allman track & that the Hammond takes the first place puts fact to the track being written firstly on the instrument. The reason that it takes it time though is that its un-fettered of guitar until around the minute mark while the band take their time to venture in to the whole miasma of the journey. The sublime, syncopated drumming of messieurs Johanson & Trucks form an unerring & brilliantly professional backbone that keeps its edge throughout. This slowly creeps towards â€˜space-jamâ€™ territory as springing feedback & wiggling histrionics are formed from out of nowhere by Duane. As the closing chorus is sung and the band fuel up, Gregg clears out all the stops with a screaming blues howl & the band turn up the tempo just enough to wind up with.

The monumental â€œMountain Jamâ€ follows. Clocking in at a glorious 35:48 the true extent of the whole should rightly be exhaustive but no matter the length of the rendition, the swooning improvisation always seems to pique interest. The song itself is based around Donovan Leitchâ€™s 1967 track â€œThere Is A Mountainâ€ & features work from each of the band opening out the tune to all their strengths. Reaching through many different phrases â€“ Classic rock, heavy metal, Jazz, Spanish classical guitar the whole melds together seamlessly. A dual drum solo at 7:13 is just one of many highlights â€“ as Gregg put it â€œI went â€œTwo full sets of drums?â€ I thought, train wreck, woah!â€ â€“ Itâ€™s simply the thought of the cataclysmic mess that it could all turn in to that youâ€™re waiting for but this pair are just so close in mind that not a single tic clashes & the closeness & approximation to a real jazz groove is so point perfect you could have tuned to jazz in itâ€™s purist form before the near heavy metal chords strike up to a near â€˜Boleroâ€™ styled work out. The track then soars throughout tempos â€“ gracefully bare then funky onslaught before settling in to deep bar blues.

The packaging is the standard Godfather trifold digi-pack featuring a b&w photo of the band sat on railway tracks with a bright orange version of the brothers logo super imposed over the top. The inside folds feature multiple pictures of Duane either live relaxing or at the â€œHey Judeâ€ session that he played at with Wilson Pickett. The back features Duane in session with a clear Biba-esque font listing the tracks.

Notes:
The speed of the source ran rather fast at various degrees along the way, resulting in pitches ranging between approximately 34-54 cents sharp.
Text updated for this edition 4/20/24
Goody

