Shades of Two Worlds

Through 1989-1990, the Allman Brothers were a band risen from the ashes. The years following the deaths of Duane Allman and Berry Oakley had pushed the band beyond endurance. They became locked in bitter personal, musical, marital and management disputes that tore them apart. They made a spirited attempt at patching things up in 1979 with the album ‘Enlightened Rogues’, but a further ten years were to pass before the dynamic within the band and the climate of the music business generally were favourable enough for a serious attempt at breathing life back into what was one of the premier bands of the 1970s.

Popular and critical acclaim greeted their 1990 comeback album Seven Turns, with special praise for Dickey Betts’ new guitar partner Warren Haynes who achieved what seemed impossible – to be spoken of in the same breath as Duane Allman, the Skydog himself. Haynes, who was warned by friends not to join the band lest he be typecast as a Duane clone, chose instead to walk in the footsteps of his hero; he plays slide as if a guiding hand were at work. He references Allman's tone and signature techniques yet animates his presentation with his own distinct personality. They toured the album through to February 1991 and then went to Memphis to record the follow-up album again produced by Tom Dowd.

While Seven Turns was a great album, it was also safe. The Allmans made sure they stayed well in their comfort zone, anxious to bed in the new band before they tried anything too experimental and edgy. Shades of Two Worlds took the band to the next level musically in their rebirth, but from another perspective, it brought out a dimension to the band that was almost hidden from public view – or at least subsumed within the mythology that had grown up around Duane Allman. Because this was the album that finally brought Dickey Betts out into the light. Betts had never really received the credit he was due for his contribution to the sound of the band: more of those great signature licks came from Betts’ flying fingers than many realised. As Rolling Stone observed, "some of Betts’ best work exists in people’s imaginations as Duane Allman’s music". In discussing the Shades’ centrepiece track ‘Nobody Knows’ Rolling Stone went on, "Betts's masterful soloing on 'Nobody Knows' may dispel that perception."

Number of Discs: 1

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