1.	"Firing Line" (G. Allman/W. Haynes) – 5:17
2.	"High Cost of Low Living" (G. Allman/W. Haynes/J. Anders/R. Burgin) – 7:52
3.	"Desdemona" (G. Allman/W. Haynes) – 9:20
4.	"Woman Across the River" (B. Crutcher/A. Jones) – 5:51
5.	"Old Before My Time" (G. Allman/W. Haynes) – 5:23
6.	"Who to Believe" (W. Haynes/J. Jaworowicz) – 5:38
7.	"Maydell" (W. Haynes/J. Neel) – 4:35
8.	"Rockin' Horse" (G. Allman/W. Haynes/A. Woody/J. Pearson) – 7:23
9.	"Heart of Stone" (M. Jagger/K. Richards) – 5:06
10.	"Instrumental Illness" (W. Haynes/O. Burbridge) – 12:17
11.	"Old Friend" (W. Haynes/C. Anderson) – 6:12

Personnel
    Gregg Allman: Hammond B-3 Organ, Piano, Clavinet & Lead Vocals
    Butch Trucks: Drums
    Jai Johanny Johanson: Drums
    Warren Haynes: Lead, Slide, Acoustic, & Acoustic Slide Guitars (Left Side),
 Lead & Background Vocals
    Marc Quiñones: Congas & Percussion
    Oteil Burbridge: Bass
    Derek Trucks: Lead, Slide, & Acoustic Slide Guitars (Right Side)

There have been many tales of terror, nervousness, and depression -- as well as raw excitement and anticipation -- since the Allmans went into the studio to make their first album of new material in a decade, and the band's first record ever without guitarist Dickey Betts, who wrote and sang the last of the band's true hits in the 1970s. The result weighs on the latter side of the equation -- nervousness and fear that the old-road dogs didn't have it in them to make new music are completely unfounded. Hittin' the Note is the band's finest studio outing since Brothers and Sisters over 20 years before. The level of songwriting, inspiration, and execution is more than admirable; it's downright bone-chilling in places. The Allman/Haynes collaboration "Desdemona," while centered in Southern soul and earthy blues, is a rock & roll powerhouse with glorious jazz overtones à la "In Memory of Elizabeth Reed" in the instrumental break. Haynes, whose ringing, stinging tone cuts through the mix like a fine-edged stiletto, is complemented beautifully by Derek Trucks. Trucks displays the round-toned beauty that adds warmth and dimension to the twin-guitar interplay that is very much built on the Duane Allman/Betts model, but creates shadowy chord figures that come more from jazz than blues, adding another shade to the tonal palette. But it's the sheer melodic power and soul feel that comes right through a studio soundboard that is most astonishing. It feels like the Allmans live, which is the thing they most wanted to get across.

Instrumentally, the band's fiery exuberance is in abundance -- the organ-guitar duel in "Woman Across the River," which features a fine Haynes vocal, is given more thudding intensity by drummers Jaimoe and Butch Trucks and percussionist Marc Quiñones. The bass chair is held down by newcomer Oteil Burbridge, who, like Derek Trucks, adds a younger, more ambitious feel to the rootsy sound of the brothers, with his popped and thumped basslines that pay often just behind the beat to add space to the framework of a given track. The sprawling "Instrumental Illness" displays the awesome guitar power that the Allmans have at their disposal, as well as their ability to improvise off cues and feelings in a way that would make some jazz musicians jealous. "Old Before My Time," a Haynes/Allman collaboration, is the most haunting song on the record. Allman sings with all the world-weariness that has truly been his lot as a road dog who has endured his share of tragedy. It begins as a folk song, with Haynes' acoustic under Allman's voice before the band enters with slide guitar; staggered in 4/4 time and littered with hand drums and a swell that transforms it into a country song of regret, remorse, and resignation, it literally stops the listener in his or her tracks. There's little time to think about the tune, however, before the spooky, dark, bluesed-out funk of "Who to Believe" comes uncoiling from the speakers like a crawling king snake from the swamp. A wonderful surprise on this set is an absolutely riveting cover of the Rolling Stones' "Heart of Stone," transformed into a rock & roll version of a Ray Price honky tonk song as if it were reinterpreted by Albert King. In sum, Hittin' the Note does exactly what its title claims -- 11 tracks' worth and it burns on every one. This album is in-the-pocket, deep-grooving Allman Brothers Band blues-rock at its best.---Thom Jurek, Rovi

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01.Statesboro blues
02.Ramblin' man
03.Midnight rider
04.Southbound
05.Melissa
06.Jessica
07.Ain't wasting time no more
08.Little Martha
09.Crazy love
10.Revival
11.Wasted words
12.Blue sky
13.One way out
14.In memory of Elizabeth Reed
15.Dreams
16.Whipping post

Duane Allman 	Guitar (Acoustic), Guitar (Electric), Slide Guitar
Gregg Allman 	Organ, Piano, Vocals
Dickey Betts 	Guitar (Acoustic), Guitar (Electric), Vocals
Jaimoe 	Drums, Percussion
Berry Oakley 	Guitar (Bass)
Butch Trucks 	Drums, Percussion 

The record industry's blatantly greedy ploy of remastering and "upgrading" CDs is shameful. The sonics are usually improved, but the CDs could have been mastered properly the first time. But then fans wouldn't buy the same titles twice. The Allman Brothers Band's indispensable compilation A Decade of Hits 1969-1979 was reissued in 2000, just nine years after the original release. The remastered 2000 edition still features the same 16 songs, but the packaging and liner notes include an essay by Guitar World journalist Alan Paul, photos, and detailed recording credits. It would be easy to argue that individual albums like Idlewild South, Live at Fillmore East, Eat a Peach, or Brothers and Sisters are more cohesive artistic statements, but no self-respecting rock & roll fan should be without a copy of A Decade of Hits 1969-1979, which includes the cream of those albums. It's impossible to go wrong with one CD featuring Gregg Allman's harrowing "Whipping Post" and gorgeous "Midnight Rider," Dickey Betts' soaring "Ramblin' Man," and the lovely instrumentals "Jessica" and "In Memory of Elizabeth Reed," let alone the blues covers "Statesboro Blues" and "One Way Out," which many people probably don't realize are covers because the band embodies them so much. Fans shouldn't have much of a problem recognizing the 2000 version. The cover featuring the band logo stitched on the denim jacket is still intact, but the white lettering is laid out a little differently on both the front and back covers. Plus, the shrink-wrap has an identifying sticker. Better still, just look at the copyright date. The first pressing's liner notes include a typographical error; there's a noticeable gap within the essay text where the Enlightened Rogues title is missing. ---Bret Adams, AllMusic Review

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1 	Revival 	4:03
2 	Don't Keep Me Wonderin' 	3:28
3 	Midnight Rider 	2:57
4 	In Memory Of Elizabeth Reed 	6:15
5 	Hoochie Coochie Man 	4:54
6 	Please Call Home 	3:57
7 	Leave My Blues At Home 	4:16

Duane Allman 	Guitar, Guitar (Acoustic), Slide Guitar
Gregg Allman 	Organ (Hammond), Piano
Dickey Betts 	Guitar
Thom Doucette 	Harmonica, Percussion
Jai Johanny Johanson 	Congas, Drums, Percussion, Timbales
Berry Oakley 	Bass, Group Member, Vocals
Butch Trucks 	Drums, Group Member, Timpani

If you're going to listen to the Allman Brothers, make sure you have the first four records. The band made The Allman Brothers Band, Idlewild South, At Fillmore East, and three-fourths of Eat a Peach with its original lineup, before Duane Allman's fatal motorcycle accident in 1971. The Tom Dowd-produced Idlewild South, their second album, comes off with a little less ferocity than their debut -- which is perhaps the result of reaching for new sounds the second time around. "Revival," the album's opener, introduces Dickey Betts as a composer. The countrified flavor of his songs gives an indication of where the band will head in the post-Duane era. Betts' other contribution to Idlewild South is the instrumental "In Memory of Elizabeth Reed," a centerpiece of the Fillmore East recordings. Gregg's "Please Call Home" and "Midnight Rider" are built around piano and acoustic guitar, respectively, and have a different feel than the band's usual twin Les Paul-and-Hammond sound. That sound is showcased in the balance of Gregg's tunes, however: the funky blues of "Don't Keep Me Wonderin'" (with Thom Doucette on harmonica) and "Leave My Blues at Home." The album is also notable for the rollicking version of Willie Dixon's "Hoochie Coochie Man," with the only vocal bassist Berry Oakley (who died in a motorcycle accident one year after Duane) ever recorded with the group. Though overall it packs less punch than The Allman Brothers Band, Idlewild South is all the more impressive for its mixture of chunky grooves and sophisticated textures. ---AllMusic Review

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01 - Don't Want You No More 03:07       play
02 - It's Not My Cross To Bear 05:13 
03 - Ain't Wastin' Time No More 05:47 
04 - Every Hungry Woman 05:57 
05 - Please Call Home 04:31 
06 - Stand Back 05:45 
07 - Black Hearted Woman 06:31 
08 - Leave My Blues At Home 05:07 
09 - Seven Turns 04:49                  play
10 - High Falls 27:29

Personnel:
* Gregg Allman – organ, piano, acoustic guitar, vocals
* Dickey Betts – guitar, vocals
* Derek Trucks – guitar
* Oteil Burbridge – bass
* Butch Trucks – drums, percussion
* Jaimoe – drums, percussion
* Marc Quiñones – conga, percussion, vocals

Peakin' at the Beacon is a live album by the rock group The Allman Brothers Band. It was recorded at the Beacon Theatre in New York City in March, 2000, and released later that year.

When Gregg Allman was asked why Dickey Betts was kicked out of the Allman Brothers Band in the spring of 2000, he is reported to have suggested the answer lay in the tapes from the group's two-week stand at the Beacon Theatre in New York. That makes it surprising that the Allmans would turn to those tapes to assemble their first new album release in five and a half years, Peakin' at the Beacon. Happily, however, there is no evidence of Betts' alleged shortcomings on the disc, though it must be admitted that, since he is one of two lead guitarists (the other being Derek Trucks, making his recorded debut with the band), it isn't always easy to tell who is playing.

There is plenty of guitar work, and it is up to the Allmans' usual standard. Following the instrumental opener, Gregg Allman sings lead on seven straight songs, all of which come from the band's first three studio albums. Betts finally appears as a vocalist on the ninth track, the 1990 folk-country tune "Seven Turns." Finally, there is a 27-and-a-half-minute version of the 1975 Betts instrumental "High Falls," a typical extended workout complete with jazzy interludes and a lengthy percussion section. The Allmans may not have been due for another live album (two of their last three releases being concert recordings), but the series of Beacon shows has become an annual event, and the disc serves as a souvenir from the March 2000 shows. Fans who attended those shows, or who just want to be reassured that the Allmans sound much the same as ever, may enjoy the album; less devoted listeners probably shouldn't bother. -- William Ruhlmann, AllMusic Reviews

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1.	"Wasted Words" (Gregg Allman) - 4:20
2.	"Ramblin' Man" (Richard Betts) - 4:48
3.	"Come and Go Blues" (Gregg Allman) - 4:54
4.	"Jelly Jelly" (Trade Martin) - 5:46
5.	"Southbound" (Richard Betts) - 5:11
6.	"Jessica" (Richard Betts) - 7:31
7.	"Pony Boy" (Richard Betts) - 5:51

Personnel
    Gregg Allman – lead and background vocals, organ, rhythm guitar
    Richard Betts – lead vocals, lead and slide guitar, dobro
    Berry Oakley – bass (first two tracks)
    Lamar Williams – bass (remaining tracks)
    Chuck Leavell - piano, electric piano, background vocals
    Jaimoe – drums, congas
    Butch Trucks – drums, percussion, tympani, congas
+
    Les Dudek – co-lead guitar on "Ramblin' Man", acoustic guitar on "Jessica"
    Tommy Talton - acoustic guitar on "Pony Boy"

Brothers and Sisters, the Allman Brothers Band's first new studio album in two years, shows off a leaner brand of musicianship, which, coupled with a pair of serious crowd-pleasers, "Ramblin' Man" and "Jessica," helped drive it to the top of the charts for a month and a half and to platinum record sales. This was the first album to feature the group's new lineup, with Chuck Leavell on keyboards and Lamar Williams on bass, as well as Dickey Betts' emergence as a singer alongside Gregg Allman. The tracks appear on the album in the order in which they were recorded, and the first three, up through "Ramblin' Man," feature Berry Oakley -- their sound is rock-hard and crisp. The subsequent songs with Williams have the bass buried in the mix, and an overall muddier sound. The interplay between Leavell and Betts is beautiful on some songs, and Betts' slide on "Pony Boy" is a dazzling showcase that surprised everybody. Despite its sales, Brothers and Sisters is not quite a classic album (although it was their best for the next 17 years), especially in the wake of the four that had appeared previously, but it served as a template for some killer stage performances, and it proved that the band could survive the deaths of two key members. ---Bruce Eder, allmusic.com

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01. Crazy Love (Dickey Betts) - 3:42		play
02. Can't Take It With You (Dickey Betts, Don Johnson) - 3:32
03. Pegasus (Betts) - 7:30
04. Need Your Love So Bad (John Mertis) - 4:01
05. Blind Love (Dickey Betts, Don Johnson) - 4:41
06. Try It One More Time (Dickey Betts, David Goldflies) - 5:02
07. Just Ain't Easy (Gregg Allman) - 6:05
08. Sail Away (Dickey Betts) - 3:31		play

Personnel:
- Gregg Allman - organ, Fender rhodes, clavinet, lead & backing vocals
- Dickey Betts - electric, acoustic & slide guitars, lead & backing vocals
- "Dangerous" Dan Toler - electric & acoustic guitars
- David "Rook" Goldflies - bass
- "Jaimoe" Johanny Johanson - congas, drums
- Butch Trucks - congas, drums, backing vocals
+
- Joe Lala - percussion (03,05,06)
- Jim Essery - harmonica (02,04,05,07)
- Bonnie Bramlett - backing vocals (01)
- Mimi Hart - backing vocals (08)
- Tom Dowd – producer

The Allman Brothers Band's best studio album since Brothers and Sisters is a loud, brash, hard-rocking collection of consistently solid if not first-rate songs. The singing is some of the best since Idlewild South, and although they would do better once they brought in Warren Haynes, the dual-guitar lineup of Dickey Betts and Dan Toler is a reminder of what the group had been missing since Duane Allman's death. The music isn't earth-shattering, but it is exciting through and through. --- Bruce Eder, AllMusic Review

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