page 8
daily nebraskan
tuesday, december 9, 1980
Allman Brothers return with professional show
By Pat Higgins
The Allman Brothers Band returned
to Lincoln's Pershing Auditorium for
the first time since their legendary 1972
performance and demonstrated that
their musical obituary has been writ
ten prematurely.
Sunday night's concert was not the
countercultural event that their first
appearance was, but it was a highly
professional, enjoyable show. Pershing
was more than half full, which was a
tribute to the fans as even Eric Heiden
would have had a difficult time making
the scene.
The Allman Brothers Band played a
14-song set, chiefly concentrating on
their classics of the past mixed with a
few from the new LP. Reach for the
Sky. Their set began with "I Don't
Want You No More" and "It's not my
Cross to Bear," the first two cuts on
their very first album, which was re
leased in 1969. They quickly showed
that the spark is still there and they are
no mere exercise in nostalgia.
Photo by Mitch Hrdlicka
Gregg Allman performed with the Allman Brothers Band Sunday night at
Pershing Auditorium.
The Allman Brothers Band, in the
early 1970's. had more respect and
credibility in the youth culture than any
other American rock band. The reasons
for the. Allman's success were the guitar
pyrotechnics of Brother Duane and
Dicky Betts and the blues influenced
vocals of Gregg Allman. Duanc Allman
was probably second only to Jimi Hen
drix as the modern guitar hero and
Gregg is one of the most soulful white
singers this side of Willie Nelson, liven
after Duane Allman's death, the Broth
ers continued quite successfully.
Carter fundraiers
At WatkinsGlen. N.Y.. they put on a
show that drew more people than
Woodstock. In 1976. they were key
fund raisers in making then-obscure
Jimmy Carter the nominee for presid
ent, which led many to speculate that
Gregg Allman would be appointed
to head the Food and Drug Adminis
tration. But the band collapsed during
the Bicentennial as Gregg succumber to
various demons which led him to be
come a nationwide laughingstock.
The Allman Brothers have returned
almost in obscurity at a time when the
whole Southern Rock sub-species has
become outmoded and irrelevant. The
best Southern band Lynard Skynard,
was the most underrated band of the
70s. They wrote great songs that artic
led the populist realities of their work
ing class and suburban audience much in
the same manner as Bruce Springsteen
or the young Bob Seger.
The Allman Brothers, while never as
good of songwriters as Skynard, were
the godfathers of the Southern Rock
movement, most of whose members
are totally indistinguishable form the
other. The chief identifying character
istics were cowboy hats, beards and a
penchant for mindless boogie.
Outlaws were banal
The opening act. The Outlaws, are
a prime example of this form of corpor
ate rock. Onstage they looked like a
passal of hippies including (if it can be
believed) a headband sported by the
lead singer. The Outlaws mix wimpy
Fagles harmonies with Allman's-style
guitar for a pleasant, if banal effect.
I he songs are all extended marathons
that are chiefly an excuse for endless
rifting on giitar. The Outlaws played
their FM hits like "There Goes Another
Love Song" and "Green Grass and High
Tide" and the audience ate it up.
The highlight of the Allman's set was
guitarist and vocalist Dicky Betts, who
played a blisteringly hot blues rock
guitar that recalled glorious days of the
past. Gregg Allman was rather subdued
and low key. but his patented slurred
whiskey vocals were quite impressive.
The remaining members of the band
were proficient on their instruments,
but totally faceless.
Old favorites like "Whipping Post"
and "One Way Out" were powerful
reminders explaining the legend of the
Allman Brothers Band. The only real
drawback was the ever tedious drum
solo which lasted an interminable
length of time. "Blue Sky" one of their
tew AM hits ended the show with a
flourish.
The Allman Brothers are totally pro
fessional nowadays putting on a comp
etant. if perhaps mechanical, perform
ance. Anybody listen to Live at '
more l ast lately ?
Outlaws shift to rock but keep country image
By Casey McCabe
Sitting in the hotel room before their upcoming
show Sunday evening. Dave Dix and Rick Cua of the
Outlaws took time to relax, cheer the Atlanta Falcons
on to an upset of the Philadelphia Fagles, and try to
explain the current status of Southern rock.
"The term 'Southern rock' itself has become passe,"
said drummer Dix, a Tampa, Fla. native who now lives
in Atlanta.
"It has become mainstream," adds bassist Cua. "We
think of ourselves as a rock n' roll band from the
South, as opposed to a Southern rock band."
Cua and Dix arc the newest members of the Out
laws, a band which made its presence known in 1975
with a highly-successful debut album. Dix, who joined
in 1977. had played with the group in its earliest stages
some 10 years ago.
Cua, the most recent addition, hails from Syracuse,
N.Y. .a good trek north of the Mason-Dixon line. On
stage he is the well-groomed guitarist next to his
somewhat shaggier counterparts ilughie Thomasson
and Billy Jones.
For their Lincoln show, the Outlaws shared concert
hilling with the Allman Brothers, one of only seven
pairings of the two groups on this tour, advertised as "a
double dose of Southern rock." Both bands are accus
tomed to headlining, and Dix still remembers that the
Outlaws' last Pershing appearance set a house record.
Yet they expressed no remorse in opening for the All
man's a band which laid the groundwork for all the
Southern rock bands that emerged in the 70s.
Allmans' influenced
"When we were just getting started, they (the
Allman Brothers) were the first Southern band coming
out." recalls Dix. "They were very definitely an in
fluence." "I think the crowd's response to both bands is real
good," Cua says. "I know that the first time we played
with them, most of us stuck around. Just seeing them
come on stage and start is kind of thrilling because
they were one of the pioneer bands from the South."
The thought of receiving equal billing with the
Allman Brothers wouldn't have occurred to the 1970
incarnation of the Outlaws.
"We were playing fratparties 10 years ago and they
(Allmans) were making albums." says Dix. "Ten years
ago we never would have thought we'd be opening for
the Allmans. If someone would have told us that, we'd
just say. 'Well, that's something to look forward to.' "
N'ow that the Outlaws have arrived, they also see the
reverse happening. Cua points out that Alvin Lee. who
was very popular in the Woodstock days with Ten
Years After, opened for the Outlaws in a recent tour.
Cua says Lee's music is as strong as ever, but says the
guitarist's backslide is due mostly to just a change in
the times. This is a fate the Outlaws are hoping to
avoid.
"Well have to wait and see how well the new album
does before getting back into the studio," Dix says.
"Our last album did not do so well. When that
happens, you've got to get on the ball, get material,
and get hack into the studio."
Hits would help
"Looking for airplay is something that definitely is
going on in our minds when we record," Cua says. "It
would really help if we had a couple of AM hits, w hich
I think we might have on the new album (their seventh,
entitled (ihosi Riders)."
The band's studio and live personas are not
mutually exlusive eithei .
"We love to perfoim. we love to play, and it helps
sell records," Cua says.
Both Cua and Dix feel the band currently is uoinu
through a Iwulthy rebirth, with new people and new
material.
"We work on a group sound, but it comes from each
individual." Dix says. "Fver thing's gone to rock: The
band doesn't have the country overtones it once had."
Still catering to the overall Outlaw image, the band
retains some of its Old West imagery through its name,
subject matter, and album cover art. This. according to
Dix. serves as a uood focus for the hand.
While the Outlaws Joll t mliMl.l 1, inn.
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tnat link them to the Southern m,-L ,-,t.nr ...Yti-,
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wain ui avoiu me stereotypes.
Cua admits to admiring the Police, and Dix gives up
after listing Steely Dan and the Doobie Brothers as cur
rent favorites, saying. "There are just a lot of really
good bands out there." The notion that some fans
might expect them to keep their allegiances to the
South are met by doubtful smiles from Dix and Cua.
"You should hear what we play on the bus when we
get done working." Cua says. "Everything from jaz ,o
---whatever. ICs really diverse."
And Dix adds: "I suppose a lot of people expect us
tO Eet on the hll an.l n..f it . . r
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