Allman Brothers Band - The free spirits of southern rock

Anyone with a drop of blues in their blood cannot ignore the sound of the slide guitar. The likes of Robert Johnson, Blind Willie McTell, and Son House showed the way, but it was Duane Allman who, without a doubt, paved the road. His astonishing technique, combined with a sharp, precise tone, still serves as the benchmark of talent for countless guitarists. Even Eric Clapton was thunderstruck by Duane's guitar (after hearing him on Wilson Pickett's version of "Hey Jude"), so much so that he wanted him as a guest star on the 1970 masterpiece "Layla And Other Assorted Love Songs", released under the name Derek and The Dominoes. But a champion without a good team is bound not to go very far, and the members of the Allman Brothers Band provided the perfect counterpoint to the undisputed genius of their thoroughbred.

Two brothers

The Allman Brothers Band was born in March 1969, in a period of great musical ferment and renewal. Blues and rock were gradually giving way to burgeoning psychedelia. Bands like Grateful Dead, Jefferson Aiplane, Jimi Hendrix Experience, and The Doors dominated the scene. The Woodstock concert, not long after, would turn the "summer of love" into a global event, finally bringing LSD, free love, and flower-print clothes into the mainstream. Even unrepentant rockers like the Rolling Stones attempted an uneven, controversial lysergic journey with "Their Satanic Majesties Request". The Allman brothers, Duane (born November 20, 1946) and Gregg (born December 8, 1947), from Nashville, Tennessee, were on the other hand true-blooded Southerners. Blues and country ran through their souls, and it was a B.B. King concert at the Nashville Auditorium in 1959 that showed them which direction to take. From that day on, they decided to become musicians. They went back to Daytona Beach, Florida, where they had moved after their father's death, and started taking small after-school jobs to afford their first instruments to practice on. It was Gregg who, in 1960, bought the first guitar with which the Allman Brothers took their earliest steps. Duane's talent on the instrument blossomed almost immediately, as their appearances in various local bands multiplied.

In 1965 they formed their first real band: the Allman Joys. After countless live shows and a single to their name (a cover of Willie Dixon's "Spoonful"), the band broke up due to lack of success. Their entry into the record business came in 1967. With their second band, the Allman-Act (later renamed The Hour Glass), they landed their first record deal. Liberty Records allowed them to release two albums, "The Hour Glass" in 1967 and "Power Of Love" in 1968, but once again poor commercial returns and excessive pressure from the label led to the band's breakup.

A real curse for the Allman brothers. Nobody seemed to care about the blues anymore. Discouraged but not defeated, Duane and Gregg went their separate ways for a short while. Gregg moved to California, while Duane went looking for gigs. In this relentless search he built up enough credits and experience to become one of the most in-demand session musicians in America. He became the house guitarist at FAME Studios in Muscle Shoals, Alabama, and got the chance to play with the biggest names in soul music: from Wilson Pickett to Aretha Franklin, from Otis Rush to Percy Sledge. He laid down memorable solos for other artists, as on Boz Scaggs's "Loan Me A Dime" and the aforementioned Wilson Pickett's "Hey Jude". He also had the chance to meet and work with hugely talented musicians such as Dickey Betts and Berry Oakley of the Second Coming - and by then the time was ripe for the next step up.

The golden years

It was during these collaborations with the Second Coming that Duane Allman realized he had found the right musicians for the band he had long had in mind to put together. Dickey Betts (born West Palm Beach, December 12, 1943) quickly proved to be a talented guitarist, capable of matching Duane's most blistering solos, while Berry Oakley (born Chicago, April 4, 1948) immediately supplied the necessary glue through the deep notes of his powerful bass. The final confirmation came in March 1969, when an old friend of the Allman brothers, drummer Butch Trucks (born Jacksonville, May 11, 1947), organized a jam session at his house, to which Betts, Oakley, Allman, and other musicians were invited, including drummer/percussionist Jay "Jaimoe" Johanson (born Ocean Springs, July 8, 1944). The quality of the performance and the chemistry achieved stunned every member of the impromptu band, who from that moment decided to get serious.

Only one crucial piece was missing: the singer. Duane remembered he had a blond-haired brother with a voice as black as night. Without a second thought, he called him up to tell him about his new musical project. Gregg Allman was in Los Angeles at the time, fulfilling his contractual obligations to Liberty Records. His growing dissatisfaction with the label, combined with his brother's enthusiasm, convinced Gregg to leave California and join the new band as singer. On March 25, 1969, Gregg arrived from Los Angeles and immediately joined the group. During rehearsals, Gregg asked for and was given the chance to play the Hammond organ, an instrument that had always fascinated him, and despite his limited skill on it, he managed to draw from it a sound so full and rich that it was instantly recognizable - a sound that would become one of the band's trademarks.

Once the repertoire was set, the newly formed Allman Brothers Band made its stage debut on March 29, 1969, at the Jacksonville Beach Coliseum. From that moment on, there was no stopping them. Their shows grew ever more numerous and important, earning the band a reputation as the best live act in America.

In July of that same year they were invited to the Atlanta International Pop Festival, where they shared the stage with artists of the caliber of Canned Heat, Led Zeppelin and Creedence Clearwater Revival. The more than one hundred thousand spectators present were thus able to witness the Allman Brothers' astonishing performance, in which blues, jazz and long instrumental jams blended together seamlessly. The sound was grand and utterly new. Gregg Allman's voice and organ intertwined perfectly with the refined guitar dialogues of Duane Allman and Dickey Betts. Berry Oakley's bass rhythmically underpinned all of the band's musical digressions, backed by the torrential drumming supplied by the two drummers: Butch Trucks and Jay "Jaimoe" Johanson.

So much talent and technical skill did not go unnoticed for long. During one of their countless live shows, they were spotted by Phil Walden, owner of Capricorn Records, who lost no time signing them to a contract. With Capricorn Records, the band made its recording debut in November 1969, releasing The Allman Brothers Band.

The album opens with the instrumental "Don't Want You No More", in which the Allman brothers duet through their instruments, conjuring up fantastic interplay. On the second track, "It's Not My Cross To Bear", it's Gregg's dark, pleading voice that takes center stage. "Black Hearted Woman" offers tangible proof of the band's improvisational skills, while their take on "Trouble No More" is so compelling that it quickly became one of the group's classics. The funky "Hevery Hungry Woman" and the soft "Dreams" pave the way for the closing track, "Wipping Post", dominated by the interweaving guitar solos.

The album, essentially blues-based, revealed to the public Gregg Allman's unsuspected gift for songwriting - he wrote nearly all the tracks - along with the incredible talent of the two guitarists, Duane Allman and Dickey Betts, able to make their instruments sing like two voices.

Despite the commercial success, the band lost no time. Their live shows grew exponentially, coming close to 250 concerts over 1969 and 1970. During that period they played the most prestigious venues of the time, such as the Fillmore East in New York or the Ludlow Garage in Cincinnati, and took part in major music events, such as the second edition of the Atlanta International Pop Festival, performing in front of massive crowds.

Amid this whirlwind of activity, the Allman Brothers Band found the time, between February and July 1970, to record their second album: Idlewild South.

Released in September of that same year, the album marks Betts's first turn as a songwriter, with the jazzy, vaguely psychedelic "Revival" and "In Memory of Elizabeth Reed". Gregg Allman, besides his usual masterful vocal performance, supplies the vibrant blues of "Don't Keep Me Wonderin'" (notable for Tom Douchette's splendid harmonica and Duane Allman's swirling slide guitar), the two country-rock-flavored ballads "Midnight Rider" and "Please Call Home", and the funk of "Leave My Blues At Home". Berry Oakley, for his part, in addition to his pulsing bass, reveals decent vocal chops on the revisited Muddy Waters standard "Hoochie Coochie Man".

This was the album that cemented the Allman Brothers Band's status once and for all. Critics reacted enthusiastically, and public success sent the record rocketing to the top of the charts. The group's members entered rock's pantheon, to the point of being called on for major collaborations. Duane Allman, however, became convinced that no matter how hard they tried, the studio could never fully capture the energy unleashed during their live shows. He therefore planned to record an entire concert. The opportunity arose on March 12 and 13, 1971, when the Allman Brothers played two historic dates at the Fillmore East in New York. The band showed up for the occasion in blazing form. From the explosive opening of "Statesboro Blues" to the dreamy "Stormy Monday" and "Drunken Hearted Boy", all the way to the sprawling performances of "In Memory Of Elizabeth Reed", "Mountain Jam" and "Hot'Lanta", the band held nothing back for a single moment. The crowd was literally sent into raptures, and the rapport that formed with the audience stunned even the musicians themselves. It was immediately clear to everyone that they had witnessed a historic event. Duane Allman was the undisputed star of the two nights, thanks to the incandescent sound of his slide guitar and his absolute command of the stage. The recording managed to faithfully capture the magical atmosphere created over those two New York evenings, and in July of that same year, Live At Fillmore East was released, destined to go down in history as one of the finest live albums ever made.

The great darkness

As success grew, so did the problems. Already in March 1971 (right after the Fillmore East shows), some members of the band were arrested for drug possession and use. The growing addiction to heroin and alcohol began to take its toll, but despite everything, the group kept up its relentless live activity, playing concerts all across the United States. Memorable were the shows at Boston Common in May 1971 and at Stony Brook University four months later. At this point, a break became more than necessary. After two intensely lived years, the Allman Brothers Band temporarily withdrew from the scene to calmly work out the new material for their highly anticipated fourth album. It was during a break from recording, on October 29, 1971, that Duane Allman died tragically in a motorcycle accident in Macon, Georgia. While riding his Harley Davidson, he tried to pass a truck, which cut across his path. He crashed violently into the back of the vehicle and died instantly. The coroner stated that there were no traces of drugs or alcohol in his blood. It was sheer bad luck. A tragic, horrible stroke of fate.

The blow to the band was devastating. With heavy hearts, the remaining members completed the album they had been working on, dedicating it, naturally, to their fallen guitarist. The record came out in February 1972 under the title Eat A Peach, a tribute to something Duane had said to a journalist just days before his death: asked what he was doing to further the era's pacifist revolution, he replied, "Every time I'm in Georgia, I eat a peach for peace". Inside the cover, alongside a splendid psychedelic illustration, appears the moving inscription: "Dedicated to a brother: Duane Allman".

Musically speaking, the great guitarist's absence weighs heavily on the record. Dickey Betts tries to fill the void, both instrumentally and compositionally, supplying much of the original material and playing all the guitar parts. The tender "Melissa", the vigorous "Les Brers In A Minor" and the delicate "Blue Sky" (on which he sings for the first time) confirm the worth of a musician too often overshadowed by his charismatic bandmate. Gregg Allman, understandably short on inspiration, contributes "only" two tracks: "Ain't Waistin' Time No More", an energetic ballad, and "Stand Back", an angry blues number. The remaining tracks are drawn from the Fillmore East concert recordings, such as "One Way Out", the aforementioned "Mountain Jam" and "Trouble No More". The album closes with "Little Martha", a fantastic display of bluegrass-style guitar prowess, and Duane Allman's first and only composition for the group. His spiritual testament.

To escape the pain, the Allman Brothers Band threw themselves into work. They resumed touring and planned a new release. They played at the Macon City Auditorium right after the release of "Eat a Peach", and in October began recording sessions for the new album. They brought in keyboardist Chuck Leavell (born Birmingham, April 28, 1952) to add depth to the band's sound, and shut themselves away at Capricorn Sound Studios to work on the record, titled Brothers And Sisters. It was precisely during the making of this album that another tragedy struck the Allman Brothers Band. On November 11, 1972, bassist Berry Oakley died in a motorcycle accident eerily similar to the one that had claimed Duane Allman's life the year before. Just three blocks from the site of Duane's accident, Berry Oakley lost control of his motorcycle and crashed into a bus. Still alive after the crash, Oakley died a few hours later in the hospital from a cerebral hemorrhage. It was a knockout blow for the band. The upcoming album was completed with the help of new bassist Lamar Williams (born Gulfport, January 14, 1949 - died Gulfport, January 21, 1983) and was dedicated to their recently departed bandmate.

Musically, this work marks a substantial shift in the band's style. Dickey Betts takes full artistic control of the group, steering the Allman Brothers' sound toward country. He writes and arranges most of the tracks on the record; he sings on the album's biggest hit single, "Ramblin Man"; his long instrumental suite "Jessica" climbs the charts; and he bolsters the record with the vigorous "Sothbound" and the acoustic "Pony Boy".

Gregg Allman, increasingly distanced from the band's inner workings, limits himself to completing the vocal parts and contributing two tracks that clearly run counter to the rest of the band: the two blues numbers "Come and Go Blues" and "Wasted Words".

The Curtain Falls

The commercial success of "Brothers and Sisters" was enormous. The band was invited to perform, alongside The Band and Grateful Dead, at the Watkins Glen Festival, in front of 600,000 paying spectators. They delivered a performance of over three hours, running through all the highlights of their remarkable career. Meanwhile, the centrifugal forces within the band, caused by irreconcilable artistic differences especially between Betts and Allman, grew ever more acute. In 1974 Gregg Allman and Dickey Betts embarked on their respective solo careers, which progressively drew them away from the old band. Meanwhile, admirers of the historic name kept multiplying; among them the newcomers Lynyrd Skynyrd, who dedicated the gorgeous "Freebird", on their debut record, to the late Duane Allman himself.

The constant demand for new material meant that the group found itself back together for a new studio project. In June 1975, the Allman Brothers entered the studio to begin work on the album Win, Lose Or Draw. The recording sessions, however, were plagued by numerous interferences. During that same period, Gregg Allman relocated to Los Angeles to marry his fellow musician Cher, effectively drifting away from the rest of the group. The Allman Brothers worked on the record at Capricorn Sound Studios in Georgia, while the singer recorded his parts separately at Record Plant Studios in California. Drummers Butch Trucks and Jay "Jaimoe" Johanson, for their part, were replaced by two session players on some of the album's tracks due to personal commitments.

This separated-under-one-roof situation, combined with the growing interest the tabloid press showed in the Cher-Allman couple, further heightened the tensions within the band. Released two months later, the record bore the marks of the unstable climate in which it was made, even though sales remained excellent. Even the prolific Dickey Betts loses his spark here. Of the three songs he wrote for the album, "Just Another Love Song", "High Falls" and "Louisiana Lou and Three Card Monty John", only the latter made the charts. Gregg Allman, by now increasingly a foreign body within the group, contributes the lackluster title track "Win, Lose Or Draw" and the forgettable "Nevertheless". The remaining tracks are two covers: "Can't Lose What You Never Had" by Muddy Waters and "Sweet Mama" by Billy Joe Sharver.

Capricorn Records made sure to keep the band riding the wave by releasing, around the same time, the first official compilation, The Road Goes On Forever, which sold well.

The irreconcilable differences, musical and otherwise, among the various members, combined with heavy drug addiction, meant that by the start of 1976 the band had effectively ceased to exist. On top of that, Gregg Allman's first legal troubles arrived. The Federal Bureau launched an investigation into a suspected drug-trafficking operation that implicated him alongside some pharmacists from Macon. The singer was offered immunity in exchange for his testimony at trial, needed to convict pharmacist Joe Fuchs and the band's road manager, John "Scooter" Herring. At the trial, Allman testified against Herring, getting him sentenced to 75 years in prison. This act sparked resentment among his bandmates, who officially disbanded the group, refusing from that moment on to play with him.

The Brief Return

A few months after the breakup, Capricorn Records, determined to exploit the vast amount of material the band had left behind, released a live album featuring recordings made between 1972 and 1975. The quadruple Wipe The Windows, Check The Oil, Dollar Gas came out in November 1976 and, despite a few interesting moments (such as an excellent rendition of "Ramblin Man"), passed largely unnoticed. The former members scattered into various personal projects. Dickey Betts founded Dickey Betts & Great Southern, a band firmly oriented toward country-rock, while Leavell, Williams and Johanson joined Sea Level. Gregg Allman, meanwhile, went through a period of deep personal and musical crisis. Marital problems caused by his wife Cher's superstar lifestyle, along with the release of poorly received albums (see "Two The Hard Way", credited to "Allman and Woman", very much in the style of Al Bano and Romina), plunged him into severe depression. He tried to pull himself out of it with one last-ditch effort. In November 1977 he told Capricorn Records' manager of his intention to reform the Allman Brothers Band. Despite initial resistance due to old grudges and solo careers that were by then well established, his old bandmates eventually let themselves be convinced to get back together.

The chance to revive past glories came in July 1978 when, during a Great Southern concert, the band's historic members played together again after two years apart. The classic lineup showed up almost in full; only Leavell and Williams turned down the offer, choosing instead to focus on their solo projects. Once they had recruited two replacements, guitarist Dan Toler (already a member of Betts' Great Southern) and bassist David Goldflies, the Allman Brothers set to work on their new record. Enlightened Rogues came out in February 1979 and boasted some truly first-rate songs.

The album features the usual mix of original material and covers typical of their earlier work. Once again Dickey Betts steals the show, contributing five of the eight tracks: the powerful boogie rhythms of "Crazy Love" and "Can't Take It With You", the long instrumental piece "Pegasus", the furious gallop of "Try It One More Time" and the excellent ballad "Sail Away". Gregg Allman's compositional contribution is minimal, limited to the decent "Just Ain't Easy", but his vocal performances are worthy of his best days. Rounding out the tracklist are two fine covers, "Need Your Love So Bad" by Mertis John Jr. and "Blind Love", a B.B. King classic.

The record sold well, briefly restoring the Allman Brothers' name to prominence, but times were changing fast.

The public turned its back on Southern rock, and even the excitement stirred up by the sensational reunion faded quickly. Capricorn Records went under due to serious financial troubles, and the band was forced to sign with Arista Records. Although they released two albums with the new label, the Allman Brothers would suffer a sharp decline in popularity.

Reach For The Sky, released in August 1980, was panned by critics, managing to chart only with "Angelina", once again penned by Betts. The Allman Brothers tried to remedy the situation with dizzying lineup changes aimed at refreshing their by-then outdated sound. Joe "Jaimoe" Johanson was let go and replaced by drummer David "Frankie" Toler and keyboardist Mike Lawler. The efforts were in vain, and even their second album for Arista Records, Brothers Of The Road, released in August 1981, was a total failure. The only successful track was "Straight From The Heart", once again courtesy of Dickey Betts.

The public's tastes had changed for good. There was no longer any room for slide guitars, Hammond organs and instrumental jams. The age of synthesizers and electronic drums had arrived; the Allman Brothers suddenly seemed light years behind. They acknowledged the situation (and their own lack of fresh ideas) and, in January 1982, each went their separate way.

On the road again

The path taken by the band's members during the Eighties was certainly not an easy one. Although always busy with their respective bands, none of them managed to replicate the success achieved with the Allman Brothers Band. Dickey Betts kept touring and recording solid rock albums with his Great Southern. Gregg Allman carried on with the Gregg Allman Band, going through divorces, remarriages and attempts at getting clean. More than twenty years of shared experiences and life together, however, could not simply be wiped away. The two souls of the greatest Southern-rock band that ever existed tried every way they could to play together again. In 1989 the right opportunity arose. Mercury Records released the monumental box set Dreams, which traced the entire career of the Allman Brothers Band: from their beginnings with the Allman Joys and the Hour Glass, through their triumphs with Capricorn Records, right up to the most recent songs by the Gregg Allman Band and Dickey Betts' Great Southern. The result was sensational. The band's name was suddenly back in vogue, and the founding members did not hesitate to reunite in pursuit of their old glory. They were joined by new musicians, such as guitarist Warren Haynes (born Asheville, April 6, 1960), bassist Allen Woody (October 3, 1955 - August 25, 2000) and keyboardist/harmonica player Johnny Neel (born Wilmington, June 11, 1954), all of them coming from the Dickey Betts Band. They signed a contract with Epic Records and in October 1990 released Seven Turns.

The best material comes, as usual, from Dickey Betts, such as the epic ballad "Seven Turns," the wild rock of "Good Clean Fun" and the thoroughly enjoyable "It Ain't Over Yet." The rest of the tracks settle into standards more fitting for the Allman Brothers Band, like the piano-and-slide-guitar blues of "Low Down Dirty Man," "Let Me Ride," "Gambler's Roll" and "Shine It On." It's the first album written entirely by the band, though Gregg Allman's contribution to the songwriting is minimal at best (he only co-writes "Good Clean Fun").

The reception from critics and audiences alike was fairly good. The Allman Brothers found, at least for a time, a stable lineup and kept working together while juggling their respective solo projects. In July 1991 they released Shades Of Two Worlds, an album that confirmed the band's happy run of form. Gregg Allman returns to songwriting, contributing to the choral "End Of The Line" and offering up the anguished blues of "Get On Whit Your Life." Warren Haynes's involvement is significant, as he co-writes nearly every track. Dickey Betts reverts to old habits, delivering the long, vaguely jazz-tinged "King Of Birds." Still, the band gives its best in the muscular "Bad Rain," "Nobody Knows," "Desert Blues," as well as in the splendid cover of Robert Johnson's "Come On In My Kitchen."

Live shows always remained the band's strong suit, as they kept touring relentlessly across the States. Their incendiary performances made them one of the most followed ensembles ever, with legions of devoted fans. Recording techniques made huge strides, managing to capture that legendary sound down to the very last note.

In 1992 came An Evening With The Allman Brothers Band: First Set, an entirely live album featuring reworkings of classic tracks alongside hits drawn from Seven Turns and Shades Of Two World, rendered in an almost exclusively acoustic key. After two years of silence and relative calm, the Allman Brothers Band were ready for a new album of original material. Were It All Begins came out in May 1994 and featured, for the first time, that hallucinogenic mushroom chosen as the band's symbol more than twenty years earlier, back on the cover. It's an extremely commercial album. The songs lose their rock-cavalcade nature and take on a shape better suited to radio airplay. "No One To Run With," with its pulsing rhythm, and the catchy "Back It Where It All Begin" get an outsized amount of radio spins. The rough blues of the early days softens in tracks like "All Night Train" and "Everybody's Got a Mountain To Climb," while traces of the old grit can still be found in "Mean Woman Blues" and "Sailin' Cross The Devil Sea."

The track that proves most popular among fans is the splendid "Soulshine," written by Haynes alone. Gregg Allman returns to a leading role within the band, writing four of the ten tracks, while Betts limits himself to composing "only" five songs.

Critics did not warm to the record, but its commercial success surpassed that of the previous Shades Of Two Worlds. Epic Records wasted no time releasing, just a few months later, the live album An Evening With The Allman Brothers Band: 2nd Set, which gathers the band's recent hits reworked in acoustic form. Shortly after, the Allman Brothers Band were rightfully inducted into the Rock And Roll Hall Of Fame.

The success and glory achieved weren't enough to ease the tensions. The restless temperament of the band's various members inevitably resurfaced, and in 1997 the Allman Brothers had to contend with yet another lineup change. Warren Haynes and Allen Woody left the band to devote themselves entirely to Gov't Mule. Finding reliable musicians wasn't easy. After numerous auditions, the band settled on Marc Quinones (New York, 1964) on percussion, Oteil Burbridge (Washington, August 24, 1964) on bass, and Jack Pearson on guitar. After just two years, Pearson left the group, but was replaced by "family": the young, gifted Derek Trucks (Jacksonville, June 8, 1979), nephew of the band's longtime drummer Butch Trucks. With Derek Trucks on board, the Allman Brothers Band's sound returned to its former glory. Concrete proof of this turning point came in March 2000. The band held a series of concerts at the Beacon Theatre in New York during which they truly caught fire. The guitar duels between Betts and Derek Trucks's slide playing brought fans back to the days of Duane Allman. An album, Peakin At The Beacon, was drawn from those Beacon Theatre nights and released in November of that same year.

During these triumphant shows, the never-fully-settled tensions between Gregg Allman and Dickey Betts erupted into a fresh dispute, and Betts left the band. The true reason behind Betts's departure from the Allman Brothers Band was never made clear. The difference in outlook and musical choices between the two had likely grown so deep as to become irreconcilable. On top of that, the ongoing drug and alcohol problems still plaguing the guitarist had become an unsustainable issue for the rest of the band. Warren Haynes was brought back in his place, and together they returned to the studio to record Hittin' The Notes. Released in 2003 on the new label Sanctuary Records, the album was showered with praise by critics. Hailed as the band's best work since Eat A Peach, it nevertheless failed to find commercial success, due to scant radio play.

All in all it's an excellent record, dominated by a Gregg Allman and a Derek Trucks in top form. Here we find the long instrumental suites typical of the band's early-'70s work, such as "Desdemona" or "Instrumental Illness," alongside the powerful blues of "Firing Line," "Maydell" and "Rocking Horse."

Worth noting are the two acoustic gems "Old Before My Time" and "Old Friend," the latter performed by Haynes and Trucks alone, the very first track ever recorded without any of the band's original members. The infusion of young blood seems to have given fresh life to these rock legends, who still find the energy to keep hitting stages all over the world.

The double live album One Way Out, released in 2004, traces more than forty years of hits, bearing witness, if any were needed, to the importance of a band that left an indelible mark on the history of contemporary music and continues to influence entire generations of musicians.

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