While the saying 'the apple never falls far from the tree' is a cliché that has sometimes been overused over the years, when describing The Allman Betts Band it is a more-than-apt tag for the seven-piece blues/southern rock act. While both Devon Allman (son of the late Gregg Allman) and Duane Betts (son of Dickey Betts) have been playing with various bands and as solo artists over the years, in 2018 the two joined forces to form The Allman Betts Band - seen by many to be the legitimate heirs to the throne vacated by The Allman Brothers Band when they retired in 2014. Beings the sons of two of The Allman Brothers Band's founding and most significant members does not necessarily mean that either Allman or Betts are instantly worthy of recognition; but a handful of listens to their new band's 2019 debut release Down to the River earlier this year proved that both Allman and Betts are certainly the real deal. While some offspring replace their parent - Deacon Frey's involvement with the Eagles springs to mind - Allman and Betts have tried to forge their own path, which I respect. Both seem to be established and respected names in the blues and country scenes - but I have to say that the formation of The Allman Betts Band, and Down to the River, was my first exposure to either musician. Those who have ever enjoyed The Allman Brothers Band, or any of the many similar blues/country/southern/jam rock acts out there, will instantly latch onto what Allman and Betts are doing with their new band. Heartfelt, emotional songwriting is mixed throughout with soulful guitar playing and roaring Hammond organ to create a sound that is timeless yet somehow still fresh. The Allman Betts Band are not just copying the work done by The Allman Brothers Band over the years, and the material featured on Down to the River shows that the band are more than capable of standing on their own. They are clearly a band that is hungry and hardworking too as, just over a year after releasing their debut album, they have already released their second album Bless Your Heart into the world. As much as I liked Down to the River, I think that the band sound much more assured on their second release. While the album is perhaps a touch on the long side, and it may have been wise to hold a couple of songs back for album number three, it is packed with strong bluesy southern rock tracks that are sure to delight any fan of the genre. The six members of the band that made Down to the River all return on Bless Your Heart, with the addition of keyboardist John Ginty bolstering the band up to a seven-piece - as the keyboards on the previous album were handled by a session player. Having a full-time keyboard player possibly contributes to the more assured sound this time around, and Ginty's playing really compliments the three-way guitar attack of Allman, Betts, and slide specialist Johnny Stachela. Much of the album appears to have been recorded live in the studio on 2-inch tape too, with the vocals added later, which really helps to add to the old-school 1970s jam rock aesthetic that permeates through the thirteen songs here.
Allman and Betts share the lead vocals throughout the album, with the exception of one number that features the vocal talents of bassist Berry Oakley Jr. (son of the late Raymond Berry Oakley III, another Allman Brothers founder), but it is the former who gets the album underway by singing the first couple of numbers. Allman's voice is deep and soulful, something which is perfectly demonstrated throughout Pale Horse Rider - the album's opening song. The hiss of the 2-inch tape rolls the clock back to the early 1970s, while the song opens slowly with Allman's heartfelt vocals and some simple guitar chords. While The Allman Betts Band are certainly part of the wider southern rock canon, this is not a rip-roaring, hard rocking album - and Pale Horse Rider is a great example of the mournful sound that the band often exhibit. Allman and Betts trade bluesy guitar leads throughout, while Ginty's Hammond gives the song a huge sound. A simple chorus melody is made all the more powerful by the duelling guitar lines; with Stachela's slide occasionally adding extra depth. The song is a perfect introduction to what The Allman Betts Band are all about, with Allman's soulful vocals and the three-way guitar attack perfectly coming together to form a strong bond. Carolina Song is a little tougher, showcasing an occasional old-school Lynyrd Skynyrd vibe, but the song still fits perfectly within the core sound that the band established on their debut and have continued to polish here. Allman's vocals are full of swagger this time around to fit in with the slightly riffier surroundings; while Susan Marshall and Reba Russell harmonise nicely with him on the powerful chorus. Lashings of Hammond boost the chorus even further, while Stachela's slide accents parts of the verse and the song's intro perfectly. The Allman Betts Band have a big sound, and that is something that is demonstrated by these opening two numbers. Everything still comes together nicely however, and the songs never feel cluttered despite having three guitarists and a keyboard player all layering on top of each other. Perhaps the best moment of the song however is the guitar solo section that sees lots of interplay between Betts and Stachela - with the latter's slide section taking over nicely from Betts' bluesy runs. The spotlight remains on Betts throughout the next couple of numbers, as he takes over the microphone to showcase his country-tinged voice and songwriting style. He is very different vocally to Allman, but the mix of styles works really well throughout the album. King Crawler is the most upbeat of the album's opening trio, with Ginty often switching over to a piano for some boogie rhythms and session playing Art Edmaiston joining in occasionally on his saxophone. The track is a great feel-good piece of southern/country rock, based around strong grooves and party rhythms. The band's two drummers are put to good use here, the pair locking in perfectly with Oakley and Ginty to form the boogie base for the three guitarists to solo over. Ashes of My Lovers is almost the exact opposite, with the song returning to the haunting nature of Pale Horse Rider - but with Betts adding a certain country twang with his vocals and strong acoustic guitar presence. Some of the guitar melodies here, provided by Stachela, sound like something from a Ennio Morricone score, while famed singer-songwriter Jimmy Hall adds some mournful harmonica throughout. Allman's subtle lead guitar lines also help to add to the overall layered and atmospheric nature of the piece, but in truth this is the sort of song where nothing really stands out - as everything works perfectly together to form a deep and mature sound.
The longest track on the album, Savannah's Dream, is up next. Written by Betts, the song is an instrumental in the style of many of the great jams that characterised those early Allman Brothers albums. At over twelve minutes long, there is a lot going on here. It is not the most explosive of instrumental pieces from a technical standpoint, but it really helps to create a strong mood that fits perfectly within the context of the album. Oakley's bass constantly drives the piece, while Ginty's Hammond creates many of the riffs and melodies that the soloing and harmonies interact with. Allman, Betts, Stachela, and Ginty all get a moment in the spotlight here - their individual soloing styles all contributing to the laid-back, bluesy nature of the piece, which is rooted in R. Scott Bryan and John Lum's shuffling drum grooves. Airboats & Cocaine sees Allman and Betts sharing the lead vocals; with the song itself being a raw slab of bluesy southern rock. The slide guitar and the boogie piano really dominate the track, with Allman and Betts teaming up for tough guitar rhythms as well as vocally. There are not many songs on the album that see the pair singing together, and their voices work well together despite being quite different. I would be interested to see more of this going forward as, while I like them singing individually, this dual-vocal approach leads to a great, harmonised sound that could certainly be expanded upon. Southern Rain shifts all the spotlight onto Allman once again, with his deep, husky voice taking the lead over what is quite a laid-back bluesy track. Oakley's prominent bass playing gives the song a great bluesy basis, while chiming guitar lines help to create an atmospheric sound. The songs that Allman takes the lead on vocally tend to be much more soulful and mournful than the ones which Betts sings, but I like the variety that this allows the album to have. I think I prefer Allman as a vocalist, but I still like Betts' style and the country influence that he brings. Betts, however, is probably the better of the two from a guitar standpoint, and the lengthy solo that he lays down part way through the song showcases his talents. The Allman Betts Band is truly a band that is greater the sum of its parts, and everyone involved knows when to step up and show off; and when the hang back. Rivers Run is more of an acoustic-based song that is less focussed on creating a big seven-piece rock sound than most of the other tracks here - but it allows Betts to showcase his country influence. Ginty prefers a Mellotron to his usual Hammond to help create a whimsical, old-school feel; while subtle electric guitar harmonies from Stachela counter the main gentle acoustic guitar and walking bass backing. While I prefer the band's bigger sounding tunes, this little trip into gentler territory is very enjoyable, and it provides a nice mid-album change of pace. Magnolia Road sees Allman and Betts singing the song as a duet, with the latter taking the first verse and the former taking over later on. It is one of the few harder rocking tracks here, with strong southern rock grooves and copious, dirty slide guitar lines. The Allman Betts Band are not a true southern rock band in the way that that term is usually understood, but this song comes pretty close to that traditional sound. There is plenty of boogie to be found here, and Betts' lengthy solo is filled with playful bluesy licks. A catchy chorus is the icing on the cake, and it is probably the album's most instantly-memorable hook.
Should We Ever Part is somewhat similar, although the blues side of the band's sound is really pushed to the fore. Allman sings the song, but the stars of the show here really are Betts and Stachela. The amount of excellent lead and slide guitar moments during the song's intro really sets the tone, and there are many more similar moments like this to be found throughout. While parts of the verses are quite low key, a slide lick or a soaring lead are never too far away; and the bright sound of the guitars contrast nicely with Allman's soulful vocal delivery. The song really showcases the best of The Allman Betts Band's core sound for me; as what is on display here is very representative of the band overall. Everything that is great about the band can be found within this track, with old-school bluesy leads and soulful vocals perfectly melding together to make a rocking, yet mournful, track. The Doctor's Daughter is the one song here that is sung by Oakley, and he has swapped his bass for a piano to take centre stage throughout a number that he co-wrote. In many ways, this is Oakley's showcase piece. Vocally, he has a strong and very musical voice that is quite different to both Allman and Betts' voices - but he really suits the piano-based ballad that he has helped create. Stachela's slide guitar melodies provide the main counter to the vocals and the piano; with Allman and Betts both taking a bit of a backseat this time around - focusing on the bass and acoustic guitar respectively. This is the first Allman Betts Band song that Oakley has sung and co-written, and after this effort I hope to hear more from him going forward. Much Obliged is subtly dark and bluesy, and features possibly my favourite Allman vocal of the album. His voice is quite deep anyway, but he sings even deeper than usual here - which gives off Jim Morrison vibes. It is quite a light-sounding song, but the vocal performance and the weighty drum pattern gives the song its somewhat dark vibe. It sounds like nothing else on the album, so it stands out for that reason, but I still think it fits in with the overall sound. Stachela's slide guitar is the glue that holds the whole song together, his melodies almost ever-present throughout, but the star is Allman and his very emotional vocal performance. All of his vocal performances on the album are great, but there is something special about this one - as the vibe just perfectly fits the stomping beats and raw slide. The album comes to a close with the piano-based ballad Congratulations. Allman again takes the lead vocally, while Ginty's stark piano lines form a sombre backing. Acoustic guitars and percussion help to make the song sound nice and big, and in fact it is amazing just how much is going on here for what, on the surface, sounds like a pretty simple piano ballad. It works well a closing piece, and the reflective nature of the song helps the album end on a poignant note. Overall, Bless Your Heart is an excellent album that is packed full of varied and strong songs. In my opinion it is much better album than Down to the River, and it is amazing how much more assured and confident the band sound this time around. I liked the first album a lot, but Bless Your Heart is a real classy slab of bluesy/southern rock that I can see finding a big audience if it is marketed correctly.
The album was released on 28th August 2020 via BMG Rights Management (US) LLC. Below is the band's promotional video for Pale Horse Rider.
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