You've probably noticed that there are at least two other versions of the ABB March 1971 gigs at the Fillmore East. So how is this one different? First, be aware that there are NO previously unreleased tracks (including the fact that there are no alternate versions, taken from different shows).

This version contains the entire original AT FILLMORE EAST album from July 1971 (still available in a one-disc edition). Specifically, I mean these are the EXACT same performances (and mix, I believe) featured on the original. Of course, this new set adds the extra Fillmore material that was later released on EAT A PEACH, DUANE ALLMAN AN ANTHOLOGY 1 & 2, and the DREAMS box set. Again, these are all the exact same versions of these songs.

At first glance, the new "Deluxe Edition" looks similar to 1992's THE FILLMORE CONCERTS, with the notable addition of "Midnight Rider," taken from ANTHOLOGY 2. However, THE FILLMORE CONCERTS contains several alternate versions of songs, and is completely remixed (controversial among fans, but provides an interesting comparison). These alternate versions are not available elsewhere, though this may be an issue only for fanatics like myself. THE FILLMORE CONCERTS also had the benefit of original producer Tom Dowd, who recently died.

I have a few problems with the new "Deluxe Edition." First, the edits are shoddy. In some places, attempts are made to mix the songs together without the fade-outs between songs. In other places, the fade-outs are intact. I can't figure out this inconsistency. It seems like laziness to me, as if they just crammed together the existing mixes of the songs. Additionally, Dave Thompson's essay doesn't offer any new information, and seems rather short and lightweight. It's hard to not see the "Deluxe Edition" as some sort of cash-cow for the record company.

What are the pros? The photographs are fantastic. The prints of the front and back album cover are the best I have seen. Again, most of these photos can be seen elsewhere, but the prints are excellent. Aside from the price, I like that this gives an ABB neophyte the opportunity to hear all the songs together. After all, the performances left of the original LP are some of the finest of their career.

This new "Deluxe Version" of AT FILLMORE EAST is great for new fans and will be my recommendation when asked which Allman Brothers album to purchase first. For hardcore fans who have this material already, I think you will be let down overall. Those fans should pick up THE FILLMORE CONCERTS for a fresher perspective on these recordings. With five Fillmore shows on tape in the vaults, what the record company should have done was release each show, fully intact, perhaps in a box set. That would truly be a deluxe edition, but it would require much more work than was put into THIS set. So it gets knocked down to four stars for that reason.

I cut my teeth on jamming listening to Cream. So the Allmans' Live was not a revelation just a stunning album and purchased on release in Australia. I know it all by heart -just burnt into the synapses.

In 1992 Tom Dowd did a full concert remix and remaster as "The Fillmore Concerts". This is where the controversy starts cause it sounds different and so it should - Tom transferred the original 16 track master tapes to digital and remixed. Taking advantage of the wider dynamic and frequency range, he produced a mix with the bass guitar stronger and drums clearer and more dynamic. Unfortunately the guitar freaks found the relatively lower level guitar sound unacceptable but the bass freaks loved Berry's sound (more bottom end).

Now we have the SACD stereo, multi-channnel and Audio Stereo remaster release of the original 2 record set accurately split over 2 cds. It should fit on one but there is marketing to us baby boomers. But I gotta say they did perform split sets so it does reasonably capture the night.

And more controversy - the stereo CD layer is a remix closer to the original LP release. Drums are further back but the bass guitar bottom end is retained. The tracks are identical to the original release but not on the SACD layer with the Fillmore Concert's "Stormy Monday" used, which is the unedited version including the harmonica break, and a different edit to end "Whipping Post". On the SACD layer the tympany start to "Mountain Jam" is rapidly faded out and applause overdubbed which is annoying if you want the sonic continuity when following up with the jam from the "Eat A Peach" SACD.

Sound of both layers is excellent with SACD preferred because you can adjust the bottom end via the sub control. The surrounds give some reverb and audience noise - "Play all night". The centre has plenty of bass guitar, some drums and some of Greg's vocals (reinforcing the original centre-left positioning of the vocals). I would have preferred the drums a bit higher in the centre.

I can feel the SACD Deluxe "Fillmore Concerts" is on its way - the wallet is already feeling lighter.

I just wanted to share with the reader an additional testament to this fine recording. I have just recently bought my third copy (first in CD).

While fellow reviewers are correct in spotlighting the guitarists' (Duane Allman and Dicky Betts)artfulness and composure during these blazing, 20- to 40-minute cuts, and Gregg's wonderful vocals and organ undercurrents, the album contains absolutely bracing jams throughout the collection with the group as a whole. Each time I single out one cut as a favorite, subtle and timely flavors from an unexpected piece come suddenly through. The mood is always steady, purposeful and synchronized, and the listener --every time he or she returns to the double album set--is ready to go, and eagerly in it for the long-haul.

There is more to say about the bass and drum work of Jai Johnny Johannsen, Butch Trucks and Berry Oakley--basically they were the tightest rock and blues band I've ever heard, bar none, and they were physically able to keep up with the amazing rigors of Duane's sets--no small task.

The listener will hear, for instance, at the conclusion of the classic "Whipping Post"--ending after approximately 20 minutes (a full side!) of intense, all-out and spirited work by all members of the band--the sudden but expected lash of praise from the audience...and then just ONE BEAT later, just prior to 'fade out', we hear a very telling and wonderful pick on the master tape, a delightfully soft and warm riff from Duane's guitar, leading the band off and running into another jam. Amazingly, THAT little clip is the beginning of a much longer piece ( "Mountain Jam", his rendition of Donovan's hit), cut from the same live master, not released on this set, but later included on EAT A PEACH. This jam runs TWO sides on that release...sometimes I wonder if "Whipping Post" was more an allegory of exhausted band-members jamming to Duane on a roll than anything deeper or more introspective!

One terrific production effort by Tom Dowd (later a big cat at Atlantic Records) tops it off, making a wonderful series of nights at the old Fillmore East theatre more than a group of very memorable shows. These recordings are THE best live covers by any band before or since. They embrace and capture every nuance of the performances : the love of the musicians for their art, the spiritual ease with which they related and communicated with one another on stage, and the natural exuberance of the sell-out crowds, who were so appreciative to be in the building.

And I appreciate owning this album again. It is nothing short of a masterwork to me, with absolutely no short-comings, and has been a great companion throughout my life.

One of the best live albums of all time, I was hoping for more when they released this as a Hybrid 5.1 SACD.

1) Its now 2 cds again. And you would think they would have 2 seperate holders for the cds. They just piled them on top one another.

2) The surround sounds don't use the backs enough. I think the quality of the recording hinders the effectiveness of surround sound. I never feel like I am at the concert, unlike other surround sound discs.

Update:

I had a problem with the back speakers on my stereo.

Now, it sounds like the audience is behind you.

I now feel like I am at the concert. It's amazing

Legend has it that record producer Tom Dowd assured the Allman Brothers Band that they had all the material they needed for a top-flight live album after the third set of their four-set weekend at the Fillmore. So the boys went out for the final set feeling relaxed and confident and triumphant. And turned in one of the most blistering performances of their legendary career (most of which found its way onto this record).

That swaggering confidence is immediately evident in the opener, "Statesboro Blues." At the time the Allmans were clearly the best white blues players, and their respect for the blues comes through especially on their tasteful and restrained "Stormy Monday."

Their ambitious interpretation of "You Don't Love Me" ("Play all night!") and the jazzier sequence of "Hot Lanta" and "Elizabeth Reed" show their virtuosity. Duane Allman's solo in "Liz Reed" is one of the most breathtaking electric guitar playing ever recorded.

All that, and an historic 22-minute version of their greatest song, "Whipping Post."

Man, there is nothing that comes close to this record.