Gregg Allman Band "Playin' Up A Storm" 1977***

Playin' Up A Storm seems like the wrong title for this album, especially when compared to the marathon blues rock workouts the Allman Brothers Band had gotten us used to. No denying that Gregg Allman is joined here by great musicians, but they never let loose: the arrangements are tight, while most of the songs are timed around 3:30', just the right timing for mainstream radio play. A lot had changed since GA's solo debut Laid Back: that album was recorded at the same time with the Allman Brothers' masterpiece Brothers And Sisters, featuring many of the same players. In the following years, the band became a huge draw on the festival circuit, but their albums lacked inspiration while the band members were overworked from the constant touring and experiencing drug-related problems. Gregg had distanced himself from the rest by spending most of his time in LA with celebrity wife Cher and her circle - during this period of his life he'd feature in gossip magazines much more often than music ones. The final blow came when he testified against a band "security guard"/drug dealer in exchange for a reduced sentence, something his hippie bandmates wouldn't forgive. Hence the move to Hollywood, combined with a different, more "sophisticated" style. No long-winding solos and jams for stoned hippie audiences, this is soul pop with funky grooves, late-night jazz and blues with a professional mainstream production by studio big-shot Lenny Waronker. It works well for jazz ballads "Brightest Smile in Town" and "Bring It on Back" where the lush strings and horns complement GA's impassioned vocal performance perfectly. "Cryin' Shame" seems tailored for black radio: funky grooves, nice backing vocals and a jazzy break on clavinet or some sort of synth. Another upbeat funky piece is "Let This Be a Lesson to Ya'", co-written with Dr. John. It's reminiscent of the good doctor's Right Place Wrong Time period and also features some great electric guitar. Dr. John and Little Feat's Bill Payne also play various keyboards in this record, although I think we should attribute most of the piano playing to Allman himself. "Sweet Feelin'" is a throwback to 60's rock'n'roll and R&B, "Matthew's Arrival" a jazz-funk instrumental and "It Ain't No Use" a slow blues with an emotive vocal. Opener "Come And Go Blues" is and old ABB favorite. This version has a relaxed and funky vibe, but misses the fire of the ABB original. Another Gregg Allman composition called "One More Try" closes the album, and it's a cross between his older blues rock style and the West Coast (think Eagles) sound. All in all a pretty good album, although it didn't meet with a lot of success. I guess it proved to be too smooth for ABB fans, but not commercial enough for those who knew Allman as one half of a celebrity couple. His next move (to make an album together with wife Cher under the moniker Allman And Woman) was universally panned and put an end to his L.A. adventure. Pretty soon he was divorced and back to the Allman Brothers fold, playing Southern Rock for those who knew him and respected him for who he was. This album, while not typical of his usual style, is a good display for his singing and keyboard playing, and a welcome diversion for those who want to focus on his more sensitive and understated side.

**** for Brightest Smile In Town, Cryin' Shame, Sweet Feelin', It Ain't No Use

*** for Come And Go Blues, Let This Be A Lesson To Ya', Bring It On Back, Matthew's Arrival, One More Try