On the cover of the latest live release from the archive of the late, great Gregg Allman, the blonde-tressed midnight rider is outfitted casually in a leather jacket, with an Allman Brothers Band T-shirt peeking out from beneath his folded, tattooed arms. It’s an image that aligns well with the timing of the recording- a mid-May date in 1984 in the nation’s capital- as it’s squarely between the fade-out of the Brothers and the gestation of the Gregg Allman Band’s 1987 hit album, I’m No Angel. As such, this concert appearance hints at things to come on a few original entries, while also nodding to Allman’s illustrious past, spotlighting a unique GAB lineup that dazzles with a handful of flammable twin-guitar outbursts.

Four decades ago, Allman was back in the clubs, following the Allman Brothers Band’s then-last hurrah as an arena touring mainstay; unfortunately, more a gassed-out remnant of its fiery, blues-driven days as the biggest band in the country. In the wake of the Brothers’ dissolution, Allman took along latter-years ABB alum- siblings Dan and Frankie Toler, on guitar and drums, respectively- and teamed them with an ensemble, including guitarist Bruce Waibel (who would later shift to GAB bassist), that would solidify his solo intentions and remain tight through the ‘80s. With a mission to recapture the heat, Allman and his six hit the road, without an album to support, debuting new songs amongst the classics.

At The Bayou in DC, Allman wasted no time appealing to the sold-out house, launching with a brawny “Dreams,” then peppered in other Allman Brothers Band faves along the way. Still, shouldered next to “Hot ‘Lanta,” “Melissa,” or “Statesboro Blues,” there was a “Yours for the Asking,” or “Faces Without Names”- the latter two cuts eventually showing up on I’m No Angel. Whether fresh or famed, Allman set alight the repertoire with his immortal, highway-tested vocal, aided well by the gymnastic six-string work of Toler and Waibel. No better an example of the group’s developing interplay is “Matthew’s Arrival,” that stretches out in every direction, showing off the deft skill of the sextet backing Allman. It’s a wonder that Waibel would move to the bass chair, as his playing here is particularly captivating, and a motivating factor, among many, to add this historic performance to any collection.