Review: The Gregg Allman Band ‘One Night in DC., May 15, 1984’

Review: The Gregg Allman Band ‘One Night in DC., May 15, 1984’

By Hal Horowitz

The future of The Allman Brothers Band was very much in question when this show from Gregg Allman’s outfit was recorded.

The reformed group, which had reunited in 1979 after their initial breakup, had released three increasingly disappointing albums. And after 1981s ‘Brothers of the Road,’ generally regarded as their nadir and accurately described by one reviewer as “tepid,” they threw in the towel. Singer/songwriter Gregg had only recorded two studio collections under his own name (we’ll ignore that duo release with Cher), so there wasn’t much original solo material to choose from.

He employed the brothers Toler (Dan, lead guitar and Frankie on drums) from the final ABB lineup, hired four more seasoned musicians, and hit the road for years of touring. The Allmans reformed again in 1990 for the impressive ‘Seven Turns.’

This titular Washington, DC performance finds Gregg’s band in muscular shape; well rehearsed and with a taut, tight fire that keeps eleven of the dozen tunes within six or seven minute boundaries. The nearly 19 minute instrumental “Matthew’s Arrival” (including extended drum and percussion solos) is the lone exception.

Not surprisingly Allman taps into the ABB catalog generously for lively, sometimes slightly rearranged covers of key tunes from their classic period. Eight selections fit that bill including the opening “Dreams,” a zippy “Hot ‘Lanta” and a similarly sped up set closing of Elmore James’ “One Way Out.” Dan Toler may not be up to Dickey Betts’ or Duane’s talents, but he’s not far behind and more than justifies his abilities. Pianist Tim Heding takes Chuck Leavell’s spot with more than credible playing and drummer Toler pushes the band with sturdy beats;less jazz oriented, yet harder edged than Jaimo or Butch Trucks.

Allman’s ‘I’m No Angel’ album was still three years away, yet two new originals from that release make the cut. “Yours for the Asking” and “Faces Without Names” (the latter one of his more popular tracks) are previewed from that disc. Both benefit from the rawer effect of live interpretations, contrasted with the rather slick sheen of their subsequent studio versions. Oddly, only “Midnight Rider” appears from Gregg’s solo debut ‘Laid Back.’ That along with the ever-present but always welcome “Melissa” satisfies a brief 10 minute two song acoustic section.

Allman is in upbeat, often cheerful spirits. His distinctive grainy growl is particularly effective on the grinding slow blues of Little Willie John’s “Need Your Love So Bad.” That’s the sole inclusion from ‘Enlightened Rogues featuring emotional singing that is every bit as resounding as on “Stormy Monday” from ‘Live at the Fillmore East.’

Whether the extended “Matthew’s Arrival” that gobbles up nearly a quarter of the rather short 75 minute show is necessary, especially when there were many terrific selections from 1977s ‘Playing Up a Storm’ (only “Sweet Feelin’” gets the nod) that are ignored, is open for discussion.

Regardless, ‘One Night in DC’ is a well-recorded document of a typically robust Allman gig, his first posthumous concert release, and hopefully a taste of more to come.

“Dreams”