a theme they would return to a couple of more times before evening’s end. From the outset, it is obvious that every member of the group is giving 120%. Warren Haynes and Derek Trucks have created a trademark back and forth sound that can be copied, and often is- but never duplicated. For the next hour, it’s one scorcher after another. There’s no weepy self-important dialog with the audi- ence. There’s no dialog at all. That would eat into the time they had to play. “Don’t Want You No More” slammed into “It’s Not My Cross to Bear,” followed by another favorite of mine, “One Way Out,” featuring some super- fine bass runs from Oteil. The rhythm section never sounded better. Butch and Jaimoe, Marc and Oteil laid down a red carpet for Gregg and the boys to strut on. “Good Morning Little Schoolgirl” is just
awesome, played in a non-traditional style that is more in line with “Spoonful” than, say, the rocking Johnny Winter version, or the 12- bar blues version played by many. It’s a really cool groove. “Midnight Rider” brought screams of recognition from lifetime fans and newbies alike, and the boys never let up- “The High Cost of Low Livin,” “Hot ‘Lanta,” “Blue Sky,” (which sounded great with Warren on vocals, though in my heart of hearts, I har- bored a fantasy that Dickey would make a guest appearance on the last show, just for old times sake, and sing “Blue Sky,” Oh well. ) - song after song. Virtually every song you’d dream of hearing. Standouts included- well, all of them. But especially “Black Hearted Woman,” ‘Dreams,” “In Memory of Elizabeth Reed” (no horns!), “Mellisa,” and “Revival.” When “Mountain Jam” reprised itself, they boys inserted what appeared to be all of the verses to “Will the Circle Be Unbroken” right into the middle of the jam. All I could think was, it just doesn’t get any better than this. Right after an absolutely righteous “Whip-
ping Post,” Gregg, Jaimoe and Butch stepped to the front of the stage to deliver some heart- felt words about the history of the band and
to say thank you. The audience would not, could not stop cheering and clapping. Gregg announced that the band would play one more song - the first song they had ever played together way back in 1969, “Trouble No More.” Amazing. The last concert by The Brothers is one
every fan should have. It is sheer, peach fu- eled, stone ground and southern fried rock. They may have stopped touring, but the road goes on
FOREVER....Tommy Talton is back with his finest album yet, Until After Then, and I just can’t quit spinning it, man. Most of you know what a big fan I am of Tommy, from We The People to Cowboy and all his solo efforts, but this one takes the prover- bial cake. To begin with, I al- ways loved the Talton band lineup that featured drummer David Keith and bassist Brandon Peeples, and was thrilled that they are included on the album along with Kenny Head on organ and some special guests like Kelvin Holly (Little Richard band), Bill Stewart (Cowboy) and Billy Earheart, among others. Great players. The title track possesses a nice groove, and
Tommy’s lyrics are as brilliant as ever. “Mr. Love” is one of my favorite tracks. Very opti- mistic, with a sound reminiscent of the Beat- les. In fact, there seems to be a little Paul McCartney influence on “My, Oh, My” as well. Of course the title track is a toe-tapper with witty lyrics and all around awesome playing. I could listen to Talton play guitar all day and all night. He has that same sweet tone I loved in Duane Allman’s playing. The album fea- tures several top-drawer love songs, including “Distant Light,” “She Was There,” and “I Keep My Mind On You.” All good. Another out- standing track is “The Man From Down Near
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