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4.7 out of 5 stars
34
4.7 out of 5 stars


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on 15 June 2017
Utterly brilliant album from an utterly brilliant band!
Never mind Eat a Peach, this IS A PEACH!
How good were they, eh?
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on 8 October 2013
This SACD sounds great in 5.1. The album is classic Allman Brothers, studio/live Southern rock as good as it gets, close to their best albums.
The live tracks are almost equal to the "Fillmore East", as they are outtakes from the same concert. The studio tracks sounds great, "Little Martha" and "Blue Sky" are top numbers. If you like Allman Brothers Band and Southern Rock, this is album a must. Maybe the bass is a little too high in the 5.1 mix, otherwise very well worth the money.
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on 11 July 2010
This classic Allmans offering was originally issued as a double album in a gatefold sleeve in early 1972. This Super Audio CD issue is a hybrid disc offering a surround and stereo mix with menu on SACD players and a stereo only mix on CD players.

The fast-paced RnB number "Trouble No More", the 33 minute epic "Mountain Jam" complete with obligatory lengthy drum solo and "One Way Out" were all recorded live at the Fillmore East in 1971 and include Duane Allman (to whom the album was dedictated). All other tracks were recorded at Criteria Studios, Miami and bar "Ain't Wastin' Time No More", "Les Breres in A Minor" and the slow bluesy drawl of "Melissa" (a single at the time) also feature Duane.

The surround mix is superb throughout, which is especially good for the live tracks as live surround mixes often just feature the band in the front with audience noise and a bit of echo in the rear.

If you like the Allmans or southern rock this is well worth buying even if you already have the vinyl and CD as I do. Get it quickly before it vanishes forever like most other DVD Audios and SACD surround mixes have done.
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on 28 May 2007
By 1972, The Allman Brothers' ever-increasing popularity and renown was overshadowed by the untimely death of lead guitarist, Duane Allman, less than a year earlier. Despite the tragedy, the remaining members of the band soldiered on and found solace in their music, releasing 'Eat a Peach': the most apt tribute to Duane fathomable.

The first three tracks were reordered shortly after Duane's death, with the rest all featuring Duane in inexpressibly sensational form. The obvious standout track on here is the instrumental jam, 'Mountain Jam', recorded live in 1971. It clocks in at an astonishing thirty-three minutes, yet it never once relinquishes its hold upon your attention. Much of this is ascribable to the duelling guitar jamming provided by Duane and Dickey Betts, who have clearly attained a higher level of mutual understanding and, consequently, an intangible musical oneness with each other. The complex and intense soloing featured throughout this mammoth track are fitting reminders of Duane Allman's prodigious ability when wielding the guitar, and corroborates The Allman Brothers Band's position as one of the most adroit jam bands of their generation.

However, this album is not reliant upon one epic track. The terrifically laid-back 'Blue Sky' features some lovely vocal work, and more flabbergasting guitar segments, once again courtesy of Duane and Dickey. Moreover, the post-Duane Allman 'Les Brers In A Minor', is a slightly less extravagant instrumental vis-à-vis 'Mountain Jam', but one which displays Betts' ability to solo breathtakingly even after his band-mate's sad demise. In fact, I don't think there's one track on here that could be singled out as weaker than the rest, and this is surely indicative of the Allman Brothers' indisputable brilliance.

A legendary album!
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on 26 March 2017
Another classic from the AAB. It stands the test of time.
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on 24 April 2017
Thanks!!!
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on 15 February 2017
very good CD service good
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on 25 October 2011
The last album that the band made with their main slide guitar player, Duane Allman, the Skydog, was their best. The perfect goodbye for a guitar player like Duane, who records his last song "Little Martha", one of the most beautiful melodies ever produced in all rock music. Blues, Country, Rock, some Jazz (in "Les Brers in A Minor"), you'll find it all in this album. The band plays some old blues songs, but that doesn't mean they are bad. In fact, most of those versions are better than the original ones. If you like good classic rock, listen to this album, a true masterpiece from the south of USA. Recommended!
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on 16 March 2006
For me this album is a mixed bag. The studio tracks are brilliant. Les Brers is not very accessable but Wasting No More Time is great and Mellisa is haunting and beautiful, my favourite Allman Bros song along with Jessica From the Brothers and Sisters album. We then get the live cuts. In all honesty these dont compare with anything from the Live Fillmore East album. Mountain Jam has some searing guitar work in the the first 6 or 7 minutes but after that it falls away. At 30 plus minutes it would take some sticking with.
The final 3 studio tracks are brilliant. Stand Back is superb. Blue Sky with its cheerful, happy go lucky lyrics and upbeat guitar solos is wonderful and the short acoustic instrumental Little Martha is around 2 minutes 30 secs of musical bliss.
In short this album is well worth it for the studio work. If you like the live cuts great, if not dont let it put you off getting the Fillmore East live album. You will not be dissapointed.
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on 17 July 2006
Eat A Peach's best moments are matched in volume only by the tragedy that surrounded its release. After the death of the bands leader and virtuoso guitarist, many bands would have called it a day. Thankfully, The Allman Brothers Band didn't, and this is what they ended up having to show for it.

For me, Eat A Peach, in its original form, comprises of three different batches of songs. Studio songs recorded after Duane's passing, studio songs recorded before Duanes passing, and the live material from before his death. Each of them has their strong points. I was particularly impressed with the post Duane material. 'Ain't Wastin' Time No More'is a piano led motivational anthem, with a fantastic Gregg Allman vocal and Dickey Betts doing an admiral job filling Duane's slide guitar boots. However, the pinnacle of the post Duane work has to be 'Les Brers In A Minor'. Initially I was worried, the intro lasts about three and a half minutes and is fairly uninspired noise (including perhaps the only recorded instance of the Allmans using...monkey skulls?). However, I should have known better to doubt the compositional genius of Dickey, and the song eventually becomes a groove laden organ/guitar duel culminating with a rousing coda.

It is a literally impossibility to mention this album's live section without talking about 'Mountain Jam'. Totalling over half an hour, many listeners find this meandering, directionless and unfulfilling. I however, absolutely love it, and revel in Duane and Dickey's euphonic guitar dueling. The drum solo is admittedly lengthy but doesn't lose interest in the same way as something like Led Zeppelin's 'Moby Dick' does. Other live songs on the disc include 'One Way Out' which has rightly become an Allman concert staple, and 'Trouble No More' which is a solid if uninspiring blues cover.

Duane Allman, of course, shines in all of the studio material recorded before his accident. 'Stand Back' is another fairly standard blues number, but greatly enhanced by Duane's searing slide guitar. It is the final two tracks however, that are most interesting to listen to. 'Blue Sky', written by Betts is a feel good, mellow country guitar jam. Duane and Dickey both pull off some really emotive soloing in this, but the unecessarily long passages the solos occupy, coupled with the clichéd lyrics make for an ultimately unfulfilling song. 'Little Martha', in contrast is a beautiful, Duane penned acoustic instrumental that sounds melodically similar to a lullaby. A poigniant end to the disk.

The extra disk of live material from the final Filmore East concert adds little to the album as a whole. If you have Live At The Filmore then the renditions of songs such as 'You Don't Love Me','Whipping Post'and particularly a sluggish 'In Memory Of Elizabeth Reed' will seem sloppy and lacking in the passion which made their earlier performances so exhilarating. It's not that the Allman's necessarily played badly at this show, it's more that their standards had been set implausibly high by previous shows.

Overall, the first disk of this set is varied and thoroughly rewarding. However, it is probably wise to just purchase the regular edition of the album if you already have Live At The Filmore East
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