Driven by Sonic Obsession

‘Hittin’ The Note’ was the first and only studio album The Allman Brothers Band recorded without either of their legendary founding guitarists. Duane Allman died way back in late 1971 and Dickey Betts was asked to leave the band in 2000. For a guitar-oriented band like The Allman Brothers Band, this could be disastrous. With replacements like Derek Trucks and Gov’t Mule frontman Warren Haynes, however, there was nothing to worry about. Especially with Haynes, who also acts as co-producer, tightening up the songwriting significantly. As a result, ‘Hittin’ The Note’ rivals ‘Shades Of Two Worlds’ as the band’s best post-reunion release.

Musically, ‘Hittin’ The Note’ sounds notably more focused than its meandering predecessor – by no less than nine years – ‘Where It All Begins’. Since this is The Allman Brothers Band, the music is still rather jam-heavy, but the songs feel less like mere vehicles for extended jams. Betts’ departure also means that the music is notably less country-oriented. Of course this was not Betts’ only trick, but as main songwriters, Haynes and singing keyboard player Gregg Allman are obviously more strongly inspired by blues and soul. Even the acoustically-based ‘Old Before My Time’ and ‘Old Friend’ sound folky and bluesy respectively.

At times, it can become fairly obvious that the main songwriter on the album – Haynes co-wrote all the non-covers on ‘Hittin’ The Note’ – is a member of Gov’t Mule. The dry, funky blues of opening track ‘Firing Line’, the fierce and tight ‘Maydell’, the gritty blues rock of ‘Rockin’ Horse’ and the relatively low-key, rumbling soul blues of ‘Who To Believe’ could easily have been Gov’t Mule songs had they had slightly different arrangements. Those arrangements are relevant though. At least half of the Allman Brothers’ sound is about their unique rhythm section (drummers Jaimoe and Butch Trucks and percussionist Marc Quiñones) and how well the musicians play off each other.

Nowhere is this musical interaction as obvious as on the twelve minute ‘Instrumental Illness’. The Allman Brothers Band has a history of fantastic instrumental tracks and this one is no different. Its playful, jazzy vibe conjures up memories of Betts’ masterpiece ‘In Memory Of Elizabeth Reed’, but ‘Instrumental Illness’ is more tightly composed and arranged. There are more parts, which appear to be designed to let every musician shine without diverting your attention away from the stellar playing behind the solos. ‘Desdemona’ has a middle section like that as well. It starts as a fantastic slow blues with a heartfelt vocal delivery by Allman, broken up by what almost feels like a slower take on the jam in ‘Whipping Post’.

In short, ‘Hittin’ The Note’ is exactly what one would expect from The Allman Brothers Band, just done somewhat better than usual. It is definitely one of my favorite three studio albums of the band and I think that is mainly due to the fact that the focus is on strong songwriting in which to incorporate spirited jamming rather than making the jams the center of the album. Whatever the case, anyone who is into bluesy rock music should hear this album, if only to hear that even without Duane Allman and Dickey Betts, the band was capable of some mind-blowing work.

Recommended tracks: ‘Rockin’ Horse’, ‘Instrumental Illness’, ‘Maydell’