Dickey Betts:

Richard Betts:
 Highway Call: (1974)

During my period of Allman explorations around the age of 13/14, I picked up three Dickey Betts solo records. The first being Highway Call. A slice of Country Rock with some great players like Vassar Clements, and Chuck Leavell. This album captures Dickey perfecting the laid back country direction he would lead the Allmans into in the wake of Duane's passing.

Dickey Betts & Great Southern: (1977)

Think Allman Brothers lite, and that's Dickey Betts & Great Southern. There's some good guitar exchanges, but it's definitely a product of its times, and comes across as dated now. However if you're in the mood for Southern Rock, you could throw this on, and most would probably mistake it for a later Allman Bros. record, tapping their foot. Oh, and Don Johnson (a.k.a. Crockett) sings backup on this album.

Atlanta's Burnin' Down:(1978)

Of the two Great Southern albums I own, I like this one best. It seems more like a separate thing from Dickey's daytime gig (at that time) in the Allmans. The title track is a key track, even if it's a bit of an overdone Civil War ballad. Dealin' With The Devil has an element to it that reminds me of some Zappa tunes, albeit simplified Zappa with a Southern accent. 

The Allman Brothers Band:

At Fillmore East: (1971)

Unlike the Gregg Allman solo live record I was just talking about, this one is exciting from the moment you hear the MC announce, "OK, The Allman Brothers Band". Released just three months before Duane left this mortal shindig, this album captures a band at the hight of their collective powers. My love of the Allmans comes from my Dad, who saw them when they were Hour Glass, The Allman Joys, and numerous times as The Allman Bros. At that time in the South, they were the home team. I've heard this music more times in my life than I can count, and I still love it. In fact, I own two copies of this album just to never be without it. If you to explain the Allmans to someone who'd never heard them before, you might do well to just put on the 22 minute version of Whipping Post that occupies the fourth and final side of this album.

Eat A Peach: (1972)

Part studio album, part live album, all amazing. As a kid I got lost in the artwork, and music of this album. It is just captivating. This album would give the band some radio material to reach wider audiences in Melissa and Blue Sky, but the recording of it was plagued by heroin addiction, and death. Various members of the band underwent rehab stints, in fact, it was shortly after leaving rehab that Duane Allman had his infamous motorcycle crash that separate his spirit from his body. Finishing the album couldn't have been easy after that. The title comes from a Duane quote, "You can't help the revolution, because there's just evolution. Every time I'm in Georgia, I eat a peach for peace."

Beginnings: (1973)

Released in '73 to jump on the momentum the Allmans had gained, this album was a reissue of their first two albums in different packaging. If ever you were just wanting to get your toe wet in this music, this might be the album to pick up. Please Call Home is a track that gets me every time. 

Brothers And Sisters: (1973)

Popularity growing, and troubles mounting the band rolls into Brothers And Sisters with a new approach by buying a farm where everyone could hang, regroup, and figure out where the music was going to go with it's driving force gone. Then another death, this time bassist Barry Oakley. Damn, this band was hit hard. It's around this album where Dicky Betts seems to step up to be a leader. I love the instrumental Jessica.

Wipe The Windows, Check The Oil, Dollar Gas: (1976)

The Dicky Betts version of the Allmans is in full swing on this live album that assembled various performances from their mid 70's run. There's some good playing here, but it always seemed to lack the magic spark.

Enlightened Rogues: (1979)

Not an album I listen to much at all. It feels kinda forced, and the production is overworked. Like, we're the Allmans, we better put a slide here, and drum break here. While the band would continue until 2014, they never quite attained the power they had with Duane and Barry. Not that any of their albums were terrible, they just lacked that spark.