ALLMAN BROTHERS BAND - In Memory Of Elizabeth Reed (Live At Fillmore East 1971)
- 12 anni fa
"In Memory of Elizabeth Reed" is a jazz-influenced instrumental composed by Dickey Betts that became one of the best-known works ever recorded by The Allman Brothers Band, especially the version on their 1971 live album At Fillmore East.
The song is named after a headstone Betts saw at the Rose Hill Cemetery in Macon, Georgia, a place frequented by band members in their early days for relaxing and writing songs. Considerable legend has developed about what Betts was doing at the time, some originated by a possibly put-on interview Duane Allman gave Rolling Stone. The cemetery was later memorialized by the band as the final resting spot of both band leader Duane Allman and bassist Berry Oakley.
In this performance, Betts opens the song with ethereal volume swells on his guitar, giving the impression of violins. Slowly the first theme begins to emerge, and Duane Allman's guitar joins Betts in a dual lead that sometimes doubles the melody, sometimes provides a harmony line, and sometimes provides counterpoint. The next section has the tempo pick up[10] to a Santana-like, quasi-Latin beat, with a strong second-theme melody being driven by unison playing and harmonized guitars.......
The song is named after a headstone Betts saw at the Rose Hill Cemetery in Macon, Georgia, a place frequented by band members in their early days for relaxing and writing songs. Considerable legend has developed about what Betts was doing at the time, some originated by a possibly put-on interview Duane Allman gave Rolling Stone. The cemetery was later memorialized by the band as the final resting spot of both band leader Duane Allman and bassist Berry Oakley.
In this performance, Betts opens the song with ethereal volume swells on his guitar, giving the impression of violins. Slowly the first theme begins to emerge, and Duane Allman's guitar joins Betts in a dual lead that sometimes doubles the melody, sometimes provides a harmony line, and sometimes provides counterpoint. The next section has the tempo pick up[10] to a Santana-like, quasi-Latin beat, with a strong second-theme melody being driven by unison playing and harmonized guitars.......