1 	Whippin' Post 	4:41
2 	House Of Blues 	4:00
3 	Come Back And Help Me 	3:36
4 	Silence Ain't Golden Anymore 	3:33
5 	Rendezvous With The Blues 	3:53
6 	Wolf's A' Howlin' 	4:14
7 	Love The Poison 	3:29
8 	Don't Deny Me 	4:37
9 	Dark End Of The Street 	3:16
10 	Neighbor, Neighbor 	3:55
11 	I've Got News For You 	4:38
12 	Memphis In The Meantime 	3:44
13 	Startin' Over 	3:21

Gregg Allman 	Keyboards, Organ, Organ (Hammond), Piano,  Vocals
Gary Armstrong 	Trumpet
Jessica Boucher 	Vocals (Background)
Scott Boyer 	Guitar (Electric), Vocals (Background)
Mickey Buckins 	Congas, Maracas, Shaker, Tambourine
Vinnie Ciesielski 	Trumpet
Chalmers Davis 	Organ (Hammond)
Jimmy Hall 	Harp
Roger Hawkins 	Congas, Timbales
Kelvin Holly 	Guitar, Guitar (Rhythm)
David Hood 	Bass
Jim Horn 	Sax (Baritone)
Clayton Ivey 	Clavinet, Wurlitzer
Sam Levine 	Sax (Alto)
Robert Mason 	Cello
Mark McGee 	Guitar
Tommy Miller 	Bass
Jack Pearson 	Dobro, Guitar, Guitar (Acoustic), Guitar (Electric), Guitar (Rhythm), Slide Guitar
Topper Price 	Harmonica
Cindy Richardson 	Vocals (Background)
Charles Rose 	Cello, Horn Arrangements, Trombone
Carla Russell 	Vocals
Johnny Sandlin 	Engineer, Guitar (Rhythm), Producer
George Soulé 	Vocals (Background)
Harvey Thompson 	Sax (Tenor)
Derek Trucks 	Slide Guitar
Jay Wilson 	Piano 

In his initial solo recordings, Gregg Allman tried for a more eclectic pop approach than the Southern blues-rock of his day job with the Allman Brothers Band. His later solo work, done during breaks in the Brothers' career, was much closer to the traditional ABB sound. On his first solo album since the Allmans' reformation in 1989, he again makes what is essentially an Allman Brothers Band record without the other members, except new guitarist Jack Pearson, whose Duane Allman/Dickey Betts-style slide work is all over the disc. Allman signals the same-but-different approach by opening the album with an "unplugged" version of the Allmans' signature song, "Whipping Post," and though he adds horns to some tracks for a more R&B feel, the rest of the album finds him growling through standard-issue blues-rock, some of the songs originals, some covers, among them an excellent version of "Dark End of the Street" and an arrangement of John Hiatt's "Memphis in the Meantime" that makes it sound like a Betts country-rocker. Recovering from personnel changes, the Allman Brothers Band didn't release an album in 1997; this record should help tide their fans over. ---William Ruhlmann, AllMusic Review

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A1 	I'm No Angel 	
A2 	Anything Goes 	
A3 	Evidence Of Love 	
A4 	Yours For The Asking 	
A5 	Things That Might Have Been 	
B1 	Can't Keep Running 	
B2 	Faces Without Names 	
B3 	Lead Me On 	
B4 	Don't Want You No More 	
B5 	It's Not My Cross To Bear

Bass – Bruce Waibel
Drums – David "Frankie" Toler
Guitar – Dan Toler
Keyboards – Tim Heding
Percussion – Chaz Trippy
Vocals, Guitar, Organ – Gregg Allman

Nearly ten years separate Gregg Allman's third and fourth solo albums (not counting Allman & Woman), which is quite a long stretch by anyone's standards. Of course, there were a number of reasons why Allman didn't release an album between 1977's Playin' Up a Storm and 1986's I'm No Angel -- various substance addictions, bad marriage, disappearing bands. By 1986, he had pulled it all together and crafted I'm No Angel, an album designed to be a comeback. After all, the title track alone was a statement of purpose, a declaration of his bad-boy ways. Since this album was released in the midst of the Reagan era, it's not only a little musically tame -- slick surfaces and keyboards dominate -- but the attitude is a little lax, too. On the title track, a song that justifiably became one of his signature tunes, the lyrics say "darn" instead of "damn," which is a little tame for someone like Allman. Still, what matters is the tune, and it's a corker -- so much so that it overshadows many of the other cuts on the record. However, I'm No Angel is, by and large, a solid and thoroughly enjoyable set of songs. The main problem is the production, which is a bit too much of its time. However, that's an easy flaw to overlook, especially for hardcore fans, because Allman rarely delivered a solo album as solid as this. ---Stephen Thomas Erlewine, AllMusic Review

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01. Move Me (Fred Beckmeier/Steve Beckmeier/J.Cameron/V.Cameron) – 2:53
02. I Found You, Love (Alan Gordon) – 3:54
03. Can You Fool (Michael Smotherman) – 3:16
04. You've Really Got A Hold On Me (Smokey Robinson) – 3:16
05. We're Gonna Make It (Gene Barge/Billy Davis/Raynard Miner/Carl Smith) – 3:08
06. Do What You Gotta Do (Jimmy Webb) – 3:24
07. In For The Night (Ed Sanford/John Townsend) – 3:28
08. Shadow Dream Song (Jackson Browne) – 3:40
09. Island (Gregg Allman/Tony Colton/J.Neel/Dan Toler) – 4:23
10. I Love Makin' Love To You (Richard Germinero/Evie Sands/Benjamin Weisman) – 3:46
11. Love Me (Jerry Leiber/Mike Stoller) – 2:46

- Chèr - lead vocals
- Gregg Allman - lead vocals
+
- Ricky Hirsch, John Leslie Hug, Fred Tackett, Scott Boyer - guitar
- Randall Bramblett, Harvey Thompson, Ronnie Eades - saxophone
- Harrison Calloway, Jim Horn - horn
- Ben Cauley - trumpet
- Dennis Good - trombone
- Mickey Raphael - harmonica
- Bobbye Hall - percussion
- Willie Weeks - bass
- Bill Stewart – drums

The perversely fascinating thing about this legendary, largely unheard disaster is that, in their Southern and Southern California conceptions of blue-eyed soul, Gregg Allman and Cher really are not that far apart. Allman, steeped in the sound of his blues heroes, emotes convincingly, of course, and Cher can act the part, so their duets aren't entirely without merit, at least when the material is as pedestrian as it is here. Although the music is mostly in Allman's Southern folk-blues-rock style, nobody is asking Cher to sing "One Way Out," and by following her husband's lead most of the time (a habit she no doubt learned with Sonny Bono), she doesn't get into too much trouble. (In fact, on Jackson Browne's "Shadow Dream Song," which wouldn't sound out of place on Allman's Laid Back solo album, you hardly notice her.) And Allman's grittiness frequently makes the songs sound more substantive than they are. Still, it's hard to get over the head-shaking unlikeliness of this musical union, and when they tackle a song standard such as "You've Really Got a Hold On Me" or (God help us!) "Love Me," you can tell how far below Allman's usual standards they actually are. ---William Ruhlmann, allmusic.com

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1.Floating Bridge 
2.Little by Little 
3.Devil Got My Woman 
4.I Can't Be Satisfied 
5.Blind Man 
6.Just Another Rider 
7.Please Accept My Love 
8.I Believe I'll Go Back Home 
9.Tears, Tears, Tears 
10.My Love Is Your Love 
11.Checking on My Baby 
12.Rolling Stone

Gregg Allman – Guitar (Acoustic), Hammond B3, Vocals
Jay Bellerose – Drums, Percussion
Doyle Bramhall II – Guitar
T-Bone Burnett – Guitar, Producer
Mike Compton – Mandolin, Vocals (Background)
Dennis Crouch – Bass (Acoustic)
Vincent Esquer – Guitar
Daniel Fornero – Trumpet
Hadley Hawkensmith – Guitar
Judith Hill- Vocals (Background)
Darrell Leonard – Conductor, Horn Arrangements, Trumpet, Trumpet (Bass)
Colin Linden – Dobro
Lester Lovitt - Trumpet
Thomas Peterson – Sax (Baritone)
Tom Peterson – Sax (Baritone)
Mac Rebennack – Arranger, Piano
Joseph Sublett – Sax (Tenor)
Jim Thompson – Sax (Tenor)
Tata Vega – Vocals (Background)
Jean Witherspoon – Vocals (Background)

With his long hair, beard and battered features, Gregg Allman is the archetypical survivor, a hero with the Allman Brothers Band in the 70s, and a man whose famously wild career has involved induction into the Rock and Roll Hall of Fame, six marriages and a liver transplant. Amazingly, both his distinctive voice and his Hammond keyboard work have remained intact, as shown on his first solo album in 14 years, in which he's helped by an impressive backing band that includes the album's producer T-Bone Burnett on guitar, and Dr John on piano. This is, for the most part, a no-nonsense blues set, with tributes to early heroes from Skip James to Muddy Waters, BB King and Otis Rush, and it succeeds both because of Allman's vocals and Burnett's varied, uncluttered production work. So the Sleepy John Estes song Floating Bridge is treated to a tight, slinky treatment that's as insistent as a JJ Cale song, Skip James's Devil Got My Woman is a rumbling acoustic workout with Allman supplying impressively high and plaintive vocals, BB King's Please Accept My Love is upbeat and melodic, and Amos Milburn's Tears, Tears, Tears is a soulful, brass-backed weepie with a fine piano solo from Dr John. No great surprises, maybe, but it's good to find he can still deliver. --- Robin Denselow, guardian.co.uk

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CD1:
01 – Don’t Keep me Wonderin
02 – I’m no Angel		play
03 – Tears, Tears, Tears
04 – Just Another Rider
05 – Going Back to Daytona
06 – I can’t be Satisfied
07 – Dreas

CD2:
01 – Before Bullets fly
02 – Melissa
03 – Whipping Post
04 – Midnight Rider
05 – Stage Banter
06 – Sweet Feelin’
07 – Statesboro Blues		play

Bass – Jerry Jemmott
Drums – Steve Potts (2)
Guitar – Scott Sharrard
Keyboards – Bruce Katz
Percussion, Vocals – Floyd Miles
Saxophone – Jay Collins
Vocals, Keyboards, Piano, Guitar – Gregg Allman

In the Blues Tent of the New Orleans Jazz Fest 2011, the most valuable player of Friday's (May 6) closing set had to be Gregg Allman's new liver. After all: No it, no him. And no deeply satisfied Blues Tent.

Looking fit and singing strong for a man of his mileage, Allman fronted a brawny, horn-driven band that sounded more Memphis or Muscle Shoals than Macon, typical of his solo work. The old liver, a victim of Hepatitis C, was swapped out about a year ago. Long may the new one run. Friday, multiple ovations met solos and song endings. A few Allman Brothers Band favorites made the playlist, but only "Melissa" would remind anyone of the version they first heard, on 1972's "Eat a Peach." The Allman Brothers favorite "Whipping Post," best known as a slinky 6/8 jam on disc and endless classic-rock-radio plays, was unleashed as a 4/4 stomp.

In addition to his new plumbing, Allman has been revivified by the reception won by his album of blues-chestnut covers released earlier this year, "Low Country Blues" (produced by T Bone Burnett, some keyboards by Dr. John). Friday, he was additionally bolstered by stellar guitar soloing by Scott Sharrard. Big, big shoes to fill for that guy, but he was up to it. Jay Collins' work on multiple horns, including flute, also earned earnest audience appreciation. They were the standouts in an excellent, supple, crowd-pleasing band.

The Blues Tent was a crowded as I've ever seen it, at least leading up to the set. There was gradual outflow, but everybody who stayed to the end enjoyed an inspiring performance by a slugger making the most of his extra innings. --- Dave Walker, The Times-Picayune

The New Orleans Jazz & Heritage Festival, often known as Jazz Fest, is an annual celebration of the music and culture of New Orleans and Louisiana. Use of the term "Jazz Fest" can also include the days surrounding the Festival and the many shows at unaffiliated New Orleans nightclubs scheduled during the Festival event weekends.

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