"One Way Out" / "Standback" Released: November 1972
Eat a Peach is a 1972 double album by American rock band the Allman Brothers Band, containing a mix of live and studio recordings. Following their artistic and commercial breakthrough with the July 1971 release of the live albumAt Fillmore East, the Allman Brothers Band got to work on their third studio album. Drug use among the band became an increasing problem, and at least one member underwent rehab for heroin addiction. On October 29, 1971, lead and slide guitarist Duane Allman, group leader and founder, was killed in a motorcycle accident in the band's adopted hometown of Macon, Georgia, making it the final album to feature him.
Eat a Peach contains studio recordings from September–December 1971 at Criteria Studios, Miami—both with and without Duane Allman—and live recordings from the band's famed 1971 Fillmore East performances. The album contains the extended half-hour-long "Mountain Jam", which was long enough to take up two full sides of the original double-LP. Other highlights include vocalist Gregg Allman's performance of his brother's favorite song, "Melissa", plus Dickey Betts' "Blue Sky", which went on to become a classic rock radio staple. The album artwork was created by W. David Powell and J. F. Holmes at Wonder Graphics, and depicts the band's name on a peach truck, in addition to a large gatefold mural of mushrooms and fairies. The album's title came from a quote by Duane Allman: "You can't help the revolution, because there's just evolution... Every time I'm in Georgia, I eat a peach for peace".[1]
On release Eat a Peach was an immediate commercial success and peaked at number four on Billboard'sTop 200 Pop Albums chart. The album was later certified platinum and remains a top seller in the band's discography.
Background
The Allman Brothers Band had struggled to achieve commercial success in their two and a half years on the touring circuit; their first two studio albums, The Allman Brothers Band (1969) and Idlewild South (1970), had debuted to only modest sales. Despite this, they had achieved significant acclaim due to their live performances, which included extended jam renditions of songs. The band's third release was a live album, titled At Fillmore East, and represented their artistic and commercial breakthrough: it immediately received solid sales upon its July 1971 release and went gold some months later. In about a "three-or-four-week period", the band quite literally went from "rags to riches", and were able to pay their debts to manager Phil Walden and record label Capricorn Records.[2]
Although suddenly wealthy and successful, much of the band and its entourage now struggled with substance abuse, which included instances of heroin addiction. Four individuals—group leader Duane Allman, bassist Berry Oakley, and roadies Robert Payne and Joseph "Red Dog" Campbell—checked into the Linwood-Bryant Hospital for rehabilitation in October 1971.[3] Their addictions had begun to affect their performances and matters seemed to only be getting worse, according to many involved.[4] The clinic was deemed a "joke" and a "nuthouse" by Payne and Red Dog, and was later described as more of a psychiatric ward, as true rehabilitation clinics were several years away.[5] All involved (including Duane) struggled to keep off the substance in the ensuing days.[6] Despite his struggles, Duane fueled the band's passion to get better and end their addictions: "Duane was so happy and full of positive energy. He was always like that unless he was just totally wasted. He was the leader, the great soul, and he kept saying, 'We are on a mission and it's time for this thing to happen,'" said Linda Oakley. "He was moving forward, and that energized everyone else. Everyone fed off of that."[7]
On October 29, 1971, Duane Allman, aged 24, was killed in a motorcycle accident a day after returning to the band's home of Macon, Georgia from an extended tour of concert gigs. Allman was exceeding a safe speed at the intersection of Hillcrest Avenue and Bartlett Street as a flatbed lumber crane approached.[8] The flatbed truck stopped suddenly in the intersection, forcing Allman to swerve his Harley-Davidson Sportster motorcycle sharply to the left to avoid a collision. As he was doing so, he struck either the back of the truck or the ball on the lumber crane and was immediately thrown from the motorcycle.[8] The motorcycle bounced into the air, landed on Allman and skidded another 90 feet (27m) with him pinned underneath, crushing several internal organs. Though he was alive when he arrived at the hospital, despite immediate emergency surgery he died several hours later from massive internal injuries. The loss devastated all who knew him, just as At Fillmore East climbed into the top 15 of the national album charts.[9]
Recording and production
We thought about quitting because how could we go on without Duane? But then we realized: how could we stop?
The band completed Eat a Peach following Duane Allman's death in late 1971
Several weeks before the gold certification of At Fillmore East and their rehabilitation, the band headed to Miami's Criteria Studios to work on their third studio album. Once again they'd be working with producer Tom Dowd, whom had been instrumental in the successful recording and production of At Fillmore East. The band laid down the initial tracks for "Blue Sky".[11] The band saved money on studio time by writing and debuting songs on the road.[11] The band worked on three songs: "Blue Sky", an instrumental titled "The Road to Calico" (which would eventually develop into "Stand Back", with added vocals) and "Little Martha", the only song solely credited to Duane Allman.[12] The band laid down these three songs and went back on the road for a short run of shows, and at this point several checked into rehab.[3] After Duane's death, the band held a meeting on their future; it was clear all wanted to continue, and after a short period, they returned to the road.[13] Drummer Butch Trucks later said, "We all had this thing in us and Duane put it there. He was the teacher and he gave something to us—his disciples—that we had to play out."[10]
Following Duane's death, which severely impacted younger brother, organist/lead vocalist/songwriter Gregg Allman, lead guitarist Dickey Betts gradually took over as group leader.[13] The band returned to Miami in December to complete work on the album.[14] Twiggs Lyndon, the band's former head roadie, joined them; he had just completed a stay in a psychiatric hospital stemming from his 1970 arrest for the murder of a concert promoter at one of the band's shows. Lyndon became the band's production manager.[14] The band recorded three more tracks with Dowd, including "Melissa", "Les Brers in A Minor", and "Ain't Wastin' Time No More".[14] Allman's death provided the band with motivation: "We were all putting more into it, trying so hard to make it as good as it would have been with Duane. We knew our driving force, our soul, the guy that set us all on fire, wasn't there and we had to do something for him," said Trucks.[15] The heroin addictions had taken their toll on the band members; Gregg Allman later said, "We were taking vitamins, we had doctors coming over and sticking us in the ass with B12 shots every day. Little by little by little, we crawled back up to the point where we were standing erect."[16]
The other material on Eat a Peach comes from live recordings. Dowd later said, "When we recorded At Fillmore East, we ended up with almost a whole other album's worth of good material, and we used [two] tracks on Eat a Peach. Again, there was no overdubbing".[17] Dowd started the mixing process for Eat a Peach but had run overtime and was called to commitments with Crosby, Stills and Nash; longtime Allman friend and colleague Johnny Sandlin took over for the remaining mixes.[18] Sandlin later said of the mixing process, "As I mixed songs like "Blue Sky," I knew, of course, that I was listening to the last things that Duane ever played and there was just such a mix of beauty and sadness, knowing there's not going to be any more from him".[18] He was particularly proud of his mixing work on the album, but was angry because he did not receive credit, only a "special thanks".[18]
Completing the recording of Eat a Peach raised each members' spirits. Said Allman, "The music brought life back to us all, and it was simultaneously realized by every one of us. We found strength, vitality, newness, reason, and belonging as we worked on finishing Eat a Peach".[19] "Those last three songs... just kinda floated right on out of us... The music was still good, it was still rich, and it still had that energy—it was still the Allman Brothers Band."[19]
Composition
Much of the music on Eat a Peach that was recorded after Duane's death directly dealt with the tragedy.[14] "Ain't Wastin' Time No More" was written by Gregg Allman for his brother immediately following his death.[14] The song was composed when Duane was still alive, on a 110-year-old Steinway piano in Studio D of Criteria,[16] but the lyrics deal with his passing, as well as veterans coming home from the Vietnam War.[19] The song relates to the theme that "death is an inescapable inevitability—that every day is precious."[20] "Les Brers in A Minor" is an instrumental written by Dickey Betts, and its title is "bad French" for "less brothers".[14] When rehearsing the song, all in the band felt something was familiar about it—which turned out to be a solo of Betts's from live renditions of "Whipping Post" that resurfaced many years later on a bootleg recording.[15] Recording of "Les Brers" began in the newly constructed Studio C of the recording complex at Criteria, but the band disliked the sound captured in the room and moved to Studio A. As a result, the recording contains a slight pitch variation due to the difficulty of matching the original speed of the instruments when the intro was spliced onto the master tape.[20]
Gregg Allman recorded "Melissa" primarily as a tribute to his brother, who adored the song; the song was written in 1967 while staying in a hotel in Pensacola, Florida, and was one of the first he saved after dozens of writing attempts.[15] Allman had previously not shown it to other members of the band ("I thought it was too soft for the Allman Brothers," he said), and was saving it for a possible solo album he assumed he would one day record.[15] "One Way Out" was recorded on June 27, 1971, the final night of concerts at the Fillmore East, which the band, a favorite of the famed venue's promoter Bill Graham, headlined; "Trouble No More" and "Mountain Jam" were culled from the band's March performances there.[15] "Mountain Jam" was always intended for inclusion on the band's next album; the band teased its appearance by including the opening seconds on the fade-out of the final song on At Fillmore East.[17] The band considered it a signature song of the group, but they deemed the performance that was recorded relatively mediocre.[17]
Artwork and title
Eat a Peach gatefold art
The album's artwork was created by W. David Powell at Wonder Graphics. He had seen old postcards at a drugstore in Athens, Georgia, one depicting a peach on a truck and a watermelon on a rail car.[18] Believing them perfect for an Allman Brothers album, he purchased them and "bought cans of pink and baby-blue Krylon spray paint and created a matted area to make the cards on a twelve-by-twenty-four LP cover."[18] He envisioned the album having "an early-morning-sky feel". He hand-lettered the band name and photographed it with a small Kodak camera, developing the photos at the drugstore. He then cut and pasted the letters on the side of the truck, underneath the peach.[18]
The album includes an elaborate gatefold mural featuring a fantasy landscape of mushrooms (referencing the psychedelic drug, a band favorite in its early days) and fairies, drawn by Powell and J. F. Holmes. There was very little planning involved in the piece, which was created when the duo were in Vero Beach, Florida.[21] When one would be drawing or painting the image, another would be swimming in the ocean. "We swapped off this way with virtually no conversation about the drawing, just fluid trade-offs," said Powell.[21] The art was created on a large illustration board, "on a one-to-one scale—it was the size of the actual spread," according to Powell.[21] Holmes' work is featured largely on the left, with Powell's on the right. Both were "profoundly influenced" by Early Netherlandish painterHieronymous Bosch on the piece.[21]
At the time the artwork was finalized, Duane Allman was still alive and the title had not been finalized.[18] As a result, the album lacks a title on the cover, which was an unusual approach for bands at the time. Powell later said, "When we showed it to someone at the label, he said, 'They are so hot right now, we could sell it in a brown paper bag'".[22] Atlantic initially intended to title the album The Kind We Grow in Dixie, the label of the postcard series Powell had seen in Athens,[18] but the band refused. Trucks suggested they name the album Eat a Peach for Peace, after a quote from Duane Allman. When the writer Ellen Mandel asked him what he was doing to help the revolution, he replied:
I'm hitting a lick for peace—and every time I'm in Georgia, I eat a peach for peace. But you can't help the revolution, because there's just evolution. I understand the need for a lot of changes in the country, but I believe that as soon as everybody can just see a little bit better, and get a little hipper to what's going on, they're going to change it. Everybody will—not just the young people. Everybody is going to say, 'Man, this stinks. I cannot tolerate the smell of this thing anymore. Let's eliminate it and get straight with ourselves.' I believe if everybody does it for themselves, it'll take care of itself.[23][22]
Drummer Butch Trucks considered Allman's comment a sly reference to the poem "The Love Song of J. Alfred Prufrock" by T. S. Eliot, one of Allman's favorite poets.[22] An untrue story persisted for many years after the album's release that it was named after the truck Allman crashed into, purported to be a peach truck.[24] The album art was later selected by Rolling Stone magazine in 1991 as one of the 100 greatest album covers of all time.[25]
Before the release of Eat a Peach, industry talk suggested the demise of the group after the death of Duane Allman.[21] The record's promotional campaign was coordinated by Dick Wooley, the former head of promotion for Atlantic Records. He had recently quit his position there and was contacted by Walden to help Capricorn in its efforts.[21] (Capricorn Records had recently separated from Atlantic Records as well; Eat a Peach would be among the first Capricorn albums released under a new distribution deal with Warner Bros. Records.) "They needed help because the buzz in the record business and on the street was that the ABB was finished as a band and would never survive without Duane," said Wooley.[21] After being played some songs from Eat a Peach by Sandlin, Wooley was "blown away" and accepted the offer at half his usual salary.[21] He arranged to have the band's New Year's Eve performance at New Orleans' Warehouse live simulcast on radio. "I took a gamble and cobbled together a network of radio stations in the Southeast via Ma Bell phone lines," said Wooley.[30] The stunt helped launch Eat a Peach, which was issued by Capricorn in February 1972 and became an instant success.[21] The album shipped enough copies to be certified by the RIAA as gold and peaked at number four on Billboard'sTop 200 Pop Albums chart. "We'd been through hell, but somehow we were rolling bigger than ever," said Gregg Allman.[31]
Rolling Stone'sTony Glover wrote that, even without their leader, "the Allman Brothers are still the best goddamned band in the land... I hope the band keeps playing forever—how many groups can you think of who really make you believe they're playing for the joy of it?"[32] In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau called side three "a magnificent testament", but was relatively unimpressed by the rest of the album, especially the low-tempo "Mountain Jam" sides: "I know the pace of living is slow down there, but this verges on the comatose. And all the tape in the world isn't going to bring Duane back."[27] In a retrospective review, Stephen Thomas Erlewine of AllMusic called the record a showcase of "the Allmans at their peak".[26] David Quantick of BBC Music also considered it their "creative peak", praising the album's "well-played, surprisingly lean bluesy rock".[33] The album is mentioned as the band's top studio recording in the 2008 book 1,000 Recordings to Hear Before You Die (2008), with author Tom Moon praising the record's "sedate, beautifully contemplative studio material".[34]
"Melissa" was the album's most successful single, peaking at number 65 on the Billboard Hot 100. "Ain't Wastin' Time No More" and "One Way Out" were also singles, charting at numbers 77 and 86, respectively.[35]
Touring
Biographer Alan Paul notes that the band's members "all profoundly felt the absence of their guiding light" during the touring cycle for Eat a Peach.[30] Dickey Betts had to convince the band members to tour, since all other members were reluctant.[30] Despite rumors, the band did not replace Duane Allman, and simply toured as a five-piece.[36] The Allman Brothers Band played 90 shows in 1972 in support of the record. "We were playing for him and that was the way to be closest to him," said Trucks.[30] Allman and Oakley took turns introducing songs, which was traditionally Duane's role.[36] Betts learned Duane's slide guitar parts, but put his own spin on them.[36] Oakley had a downward spiral following Duane's death and was significantly inebriated for many shows on the tour. "He wasn't playing like he used to—instead, he'd hit maybe every fifth note," recalled Allman.[37] Occasionally, the band would have bassist Joe Dan Petty, later of Grinderswitch, cover for Oakley for the show.[37] After nearly a year of severe depression, Oakley was killed in a motorcycle accident not dissimilar from his friend's in November 1972.
Many label mates on Capricorn opened for the band, including Wet Willie, Cowboy, and Dr. John.[38]
The Allman Brothers Band was an American rock band formed in Jacksonville, Florida, in 1969 by brothers Duane Allman and Gregg Allman, as well as Dickey Betts, Berry Oakley (bass), Butch Trucks (drums), and Jai Johanny "Jaimoe" Johanson (drums). Subsequently, based in Macon, Georgia, they incorporated elements of blues, jazz and country music and their live shows featured jam band-style improvisation and instrumentals.
At Fillmore East is the first live album by American rock band the Allman Brothers Band, and their third release overall. Produced by Tom Dowd, the album was released on July 6, 1971, in the United States by Capricorn Records. As the title indicates, the recording took place at the New York City music venue Fillmore East, which was run by concert promoter Bill Graham. It was recorded over the course of three nights in March 1971 and features the band performing extended jam versions of songs such as "Whipping Post", "You Don't Love Me" and "In Memory of Elizabeth Reed". When first commercially released, it was issued as a double LP with just seven songs across four vinyl sides.
Howard Duane Allman was an American rock and blues guitarist and the founder and original leader of the Allman Brothers Band, for which he was posthumously inducted into the Rock and Roll Hall of Fame in 1995.
Gregory LeNoir Allman was an American musician, singer and songwriter. He was known for performing in the Allman Brothers Band. Allman grew up with an interest in rhythm and blues music, and the Allman Brothers Band fused it with rock music, jazz, and country at times. He wrote several of the band's most popular songs, including "Whipping Post", "Melissa", and "Midnight Rider". Allman also had a successful solo career, releasing seven studio albums. He was born and spent much of his childhood in Nashville, Tennessee, before relocating to Daytona Beach, Florida and then Macon, Georgia.
"Mountain Jam" is an improvised instrumental jam by The Allman Brothers Band, based on Donovan's 1967 hit song "There Is a Mountain". The first known recording of a performance was done on May 4, 1969, at Macon Central Park. "Mountain Jam" was originally released in 1972 on the album Eat a Peach, as recorded at the Fillmore East concert hall in March 1971. It is this rendition that is best known.
"Melissa" is a song by American rock band the Allman Brothers Band, released in August 1972 as the second single from the group's fourth album, Eat a Peach. The song was written by vocalist Gregg Allman in 1967, well before the founding of the group. Two demo versions from those years exist, including a version cut by the 31st of February, a band that featured Butch Trucks, the Allman Brothers' later drummer. Allman sold the publishing rights later that year, but they were reacquired by manager Phil Walden in 1972.
John Lee Johnson, frequently known by the stage names Jai Johanny Johanson and Jaimoe, is an American drummer and percussionist. He is best known as one of the founding members of the Allman Brothers Band and, with the death of Dickey Betts on April 18, 2024, he is the last surviving original member of the band.
The Allman Brothers Band is the debut studio album by American rock band the Allman Brothers Band. It was released in the United States by Atco Records' subsidiary Capricorn on November 4, 1969, and produced by Adrian Barber. Formed in 1969, the Allman Brothers Band came together following various musical pursuits by each individual member. Guitarist and bandleader Duane Allman moved to Jacksonville, Florida where he led large jam sessions with his new band, one he had envisioned as having two guitarists and two drummers. After rounding out the lineup with the addition of his brother, Gregg Allman, the band moved to Macon, Georgia, where they were to be one of the premiere acts on Capricorn.
Idlewild South is the second studio album by American southern rock band the Allman Brothers Band. Produced by Tom Dowd, the album was released on September 23, 1970 in the United States by Atco Records and Capricorn Records. Following the release of their 1969 debut, the Allman Brothers Band toured the United States extensively to promote the album, which had little commercial success. Their performances, however, did create positive word of mouth exposure that extended to more famous musicians, such as Eric Clapton, who invited group leader Duane Allman to contribute to his 1970 album Layla and Other Assorted Love Songs.
Brothers and Sisters is the fourth studio album by American rock band The Allman Brothers Band. Co-produced by Johnny Sandlin and the band, the album was released in August 1973 in the United States by Capricorn Records. Following the death of group leader Duane Allman in 1971, the Allman Brothers Band released Eat a Peach (1972), a hybrid studio/live album that became their biggest-selling album to date. Afterwards, the group purchased a farm in Juliette, Georgia, to become a "group hangout". However, bassist Berry Oakley was visibly suffering from the death of Duane, excessively drinking and consuming drugs. In November 1972, after nearly a year of severe depression, Oakley was killed in a motorcycle accident, making it the last album on which he played.
"Ramblin' Man" is a song by American rock band the Allman Brothers Band, released in August 1973 as the lead single from the group's fourth studio album, Brothers and Sisters (1973). Written and sung by the band's guitarist, Dickey Betts, it was inspired by a 1951 song of the same name by Hank Williams. It is much more grounded in country music than other Allman Brothers Band compositions, which made the group reluctant to record it. Guitarist Les Dudek provides guitar harmonies, and it was one of bassist Berry Oakley's last contributions to the band.
Enlightened Rogues is the sixth studio album by American rock band the Allman Brothers Band. Produced by Tom Dowd, the album was released in February 1979 in the United States by Capricorn Records and PolyGram Records elsewhere. The Allman Brothers Band had broken up in 1976 following internal turmoil, amplified by escalating drug use. The band members splintered into different acts — among those Great Southern, Sea Level, and the Gregg Allman Band. Guitarist Dickey Betts approached his bandmates in 1978 with the prospects of a reunion. It is the first to feature guitarist Dan Toler and bassist David Goldflies. Living together in Sarasota, Florida, they rehearsed and wrote the material for their next album in fall 1978.
Thom "Ace" Doucette is an American blues harmonica player from the Sarasota, Florida region. He is best known for having played with The Allman Brothers Band in the 1970s and later, although he was never an official member.
"In Memory of Elizabeth Reed" is an instrumental composition by the American group The Allman Brothers Band. It first appeared on their second studio album, Idlewild South (1970), released on Capricorn Records. The jazz-influenced piece was written by guitarist Dickey Betts, among his first writing credits for the group. Betts named it after a headstone he saw for Elizabeth Jones Reed Napier in Rose Hill Cemetery in the band's hometown of Macon, Georgia. Multiple versions of the composition have been recorded, with the version performed on the group's 1971 live album At Fillmore East generally considered the definitive rendition.
The Road Goes On Forever was The Allman Brothers Band's first compilation album, a two-LP set released in 1975. It featured songs from the Allmans' first five albums. In 2001, an expanded edition was released featuring 13 more tracks. The album's title is a line from "Midnight Rider."
The Allman Brothers Band was an American rock band formed in Jacksonville, Florida, in 1969 by brothers Duane Allman and Gregg Allman, as well as Dickey Betts, Berry Oakley, Butch Trucks (drums), and Jai Johanny "Jaimoe" Johanson (drums). The band incorporated elements of Southern rock, blues, jazz, and country music, and their live shows featured jam band-style improvisation and instrumentals.
Gold is a two-CD compilation album by the Allman Brothers Band. It contains songs selected from their first eight albums, which were released by Capricorn Records — The Allman Brothers Band (1969), Idlewild South (1970), At Fillmore East (1971), Eat a Peach (1972), Brothers and Sisters (1973), Win, Lose or Draw (1975), Wipe the Windows, Check the Oil, Dollar Gas (1976), and Enlightened Rogues (1979). It was released by Island Records on October 11, 2005. It is a reissue of the 2001 expanded compilation The Road Goes On Forever: A Collection of Their Greatest Recordings.
"Whipping Post" is a song by The Allman Brothers Band. Written by Gregg Allman, the five-minute studio version first appeared on their 1969 debut album The Allman Brothers Band. The song was regularly played live and was the basis for much longer and more intense performances. This was captured in the Allman Brothers' 1971 double live album At Fillmore East, where a 22-minute, 40-second rendition of the song takes up the entire final side. It was this recording that garnered "Whipping Post" spots on both the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list and Rolling Stone's list of "The 500 Greatest Songs of All Time", which wrote, "the song is best appreciated in the twenty-three-minute incarnation on At Fillmore East."
"Blue Sky" is a song by the American rock band The Allman Brothers Band from their third studio album, Eat a Peach (1972), released on Capricorn Records. The song was written and sung by guitarist Dickey Betts, who penned it about his girlfriend, Sandy "Bluesky" Wabegijig. The track is also notable as one of guitarist Duane Allman's final recorded performances with the group. The band's two guitarists, Duane Allman and Dickey Betts, alternate playing the song's lead: Allman's solo beginning 1:07 in, Betts joining in a shared melody line at 2:28, followed by Betts's solo at 2:37. The song is notably more country-inspired than many songs in the band's catalogue.
"Ain't Wastin' Time No More" is a song by the American rock band the Allman Brothers Band. It was the lead single from their third studio album, Eat a Peach (1972), released on Capricorn Records. The song, written by Gregg Allman, largely concerns the death of his brother, Duane Allman, who was killed in a motorcycle crash in 1971.
References
Paul, Alan (2014). One Way Out: The Inside History of the Allman Brothers Band. St. Martin's Press. ISBN978-1-250-04049-7.
Freeman, Scott (1996). Midnight Riders: The Story of the Allman Brothers Band. Little, Brown and Company. ISBN978-0-316-29452-2.
Poe, Randy (2008). Skydog: The Duane Allman Story. Backbeat Books. ISBN978-0-87930-939-8.
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