Biography
The two Hour Glass albums might never have resurfaced were it not for the involvement of Duane and Gregg Allman, who assembled the group after the collapse of their earlier full-time outfit, the Allman Joys. The band’s roster also included drummer Johnny Sandlin and keyboardist Paul Hornsby, both of whom later became prominent producers at Capricorn Records. Beyond that historical connection, the Hour Glass stood out as a capable white soul ensemble—far removed from the scale of the Allman Brothers Band on record, yet still a commanding unit.
Originally called the Allman-Act, a playful nod to “almanac,” the musicians secured an audition at Liberty Records through the Nitty Gritty Dirt Band and landed a deal, which prompted the name change to the Hour Glass. Liberty’s interest centered chiefly on Gregg Allman’s voice, however, and the label buried the group’s performances beneath dense production that included brass sections and backing vocalists. The debut album therefore bore little resemblance to the band’s live identity, even though its glossy Southern soul occasionally echoed the style Elvis Presley would explore two years later on From Elvis in Memphis. Tracks such as “Silently” leaned instead toward the dreamy psychedelic pop prevalent in 1967.
Because of the heavy studio gloss, little of the Hour Glass’s actual sound reached the finished record, and sales remained negligible. By the sessions for the follow-up, Power of Love, bassist Mabron McKinney had been replaced by Pete Carr, a Pensacola, Florida acquaintance of Sandlin’s. The musicians gained more say over repertoire, resulting in a stronger blues orientation, though they still lacked authority over arrangements and tracking. Despite those constraints, traces of their identity emerged, and Gregg Allman contributed original material, including “It’s Not My Cross to Bear,” which later appeared on the Allman Brothers Band’s first album. The group’s most compelling work occurred not in the studio but during extended sets at the Whisky a Go Go.
Seeking greater autonomy, the musicians cut demos for a projected third album at Fame Studios in Muscle Shoals, Alabama, and also recorded several tracks there, most notably a B.B. King medley that showcased Duane Allman’s guitar more prominently than any prior release. Liberty showed no interest in the tapes or in financing another record, and the two earlier albums had already failed commercially, so the band dissolved shortly afterward. Duane and Gregg briefly joined their friend Butch Trucks in the 31st of February, after which Gregg returned to California while Duane stayed in Florida.
Although Liberty declined to issue the Muscle Shoals material, those recordings ultimately proved pivotal. Duane Allman’s contributions caught the attention of Fame Studios, which offered him session work alongside Wilson Pickett, Aretha Franklin, and King Curtis. Manager Phil Walden heard the results, encouraged Duane to form a new group, and thereby set in motion the events that followed.
Originally called the Allman-Act, a playful nod to “almanac,” the musicians secured an audition at Liberty Records through the Nitty Gritty Dirt Band and landed a deal, which prompted the name change to the Hour Glass. Liberty’s interest centered chiefly on Gregg Allman’s voice, however, and the label buried the group’s performances beneath dense production that included brass sections and backing vocalists. The debut album therefore bore little resemblance to the band’s live identity, even though its glossy Southern soul occasionally echoed the style Elvis Presley would explore two years later on From Elvis in Memphis. Tracks such as “Silently” leaned instead toward the dreamy psychedelic pop prevalent in 1967.
Because of the heavy studio gloss, little of the Hour Glass’s actual sound reached the finished record, and sales remained negligible. By the sessions for the follow-up, Power of Love, bassist Mabron McKinney had been replaced by Pete Carr, a Pensacola, Florida acquaintance of Sandlin’s. The musicians gained more say over repertoire, resulting in a stronger blues orientation, though they still lacked authority over arrangements and tracking. Despite those constraints, traces of their identity emerged, and Gregg Allman contributed original material, including “It’s Not My Cross to Bear,” which later appeared on the Allman Brothers Band’s first album. The group’s most compelling work occurred not in the studio but during extended sets at the Whisky a Go Go.
Seeking greater autonomy, the musicians cut demos for a projected third album at Fame Studios in Muscle Shoals, Alabama, and also recorded several tracks there, most notably a B.B. King medley that showcased Duane Allman’s guitar more prominently than any prior release. Liberty showed no interest in the tapes or in financing another record, and the two earlier albums had already failed commercially, so the band dissolved shortly afterward. Duane and Gregg briefly joined their friend Butch Trucks in the 31st of February, after which Gregg returned to California while Duane stayed in Florida.
Although Liberty declined to issue the Muscle Shoals material, those recordings ultimately proved pivotal. Duane Allman’s contributions caught the attention of Fame Studios, which offered him session work alongside Wilson Pickett, Aretha Franklin, and King Curtis. Manager Phil Walden heard the results, encouraged Duane to form a new group, and thereby set in motion the events that followed.
Albums
