That 90s Show

The Allman Brothers Band - Westwood One Radio Networks, Superstars In Concert (1994) {2CD Set, Westwood One ‎Show #94-51}
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© 1994 Westwood One | Show #94-51 | Superstar Concert Series
Rock / Jam Band / Blues Rock / Southern Rock

Recorded Live in Homedale New Jersey August 16 1994. The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and more redemption. During the early '70s, they were arguably the most influential rock group in America, thanks in no small part to At Fillmore East (a high-water mark for concert albums), that redefined the scope of rock's musical boundaries. Duane Allman and Dickey Betts pioneered the twin-lead guitar sound so prevalent during the decade that continued well into the 21st century.

By the time of "Welcome to the show", BJH were almost forgotten in their UK homeland, outwith their small but faithful band of followers. Their reputation in continental Europe, and Germany in particular, however meant that there was still a market for their albums. Consequently, this release was very much geared towards fans in that country…

The Liverbirds (sometimes spelled Liver Birds) were one of the more distinctive outfits in Liverpool (and anywhere else, for that matter) by virtue of the fact that they were a hard-rocking all-girl group, self-contained instrumentally and focused on rhythm & blues. They weren't too successful musically in Liverpool, but in 1963 they went to Hamburg, where they became one of the most popular acts ever to play the Star-Club. Irene Green (vocals), Sheila McGlory (guitar, vocals), Mary McGlory (bass, vocals), Pamela Birch (guitar, vocals), Valerie Gell (guitar, vocals), and Sylvia Saunders (drums) got together in early 1962 under the name the Debutones, before changing it to the more city-specific Liverbirds.

Although the Greatest Show on Earth (GSOE) were not the first bunch of rockers to incorporate a powerful brass and woodwind section, they are among the best and heaviest-sounding British bands to have emerged from the post-psychedelia of the late '60s and early '70s. GSOE were, in essence, the invention of EMI Records subsidiary Harvest, who were focusing in on new and progressive artists such as Pink Floyd and Deep Purple. When the group was initially signed in 1968, they were an R&B/soul revue whose forte was more along the lines of Stax or Motown, instead of trippy acid rock. After ditching their original vocalist, Ozzie Lane, they eventually settled on Colin Horton Jennings, a multi-faceted performer who would begin to compose originals that would allow the octet to incrementally abandon their Yankee soul leanings.

A t this stage, the "show" was relegated to a continental cult of listeners whose musical tastes belonged to a bygone era. And it was for them that BJH continued to release fresh works every year or so, covering familiar ground while availing themselves of what new bells and whistles they could lay their hands on. "Welcome To The Show" sounds modern by BARCLAY's outmoded standards, suggesting any number of artists whose prog sensibilities had long since succumbed to the allure of well-crafted albeit timid pop music (e.g., Mike + The Mechanics)…