Recording information: Atlantic South-Criteria Studios, Miami, Florida (02/1970); Capricorn Studios, Macon, Georgia (02/1970); Regent Sound Studios, New York, New York (02/1970); Atlantic South-Criteria Studios, Miami, Florida (03/1970-05/1970); Capricorn Studios, Macon, Georgia (03/1970-05/1970); Regent Sound Studios, New York, New York (03/1970-05/1970); Atlantic South-Criteria Studios, Miami, Florida (07/1970); Capricorn Studios, Macon, Georgia (07/1970); Regent Sound Studios, New York, New York (07/1970).
Photographers: Twiggs Lyndon; Jimm Roberts.
Arranger: Phil Walden.
If you're going to listen to the Allman Brothers, make sure you have the first four records. The band made The Allman Brothers Band, Idlewild South, At Fillmore East, and three-fourths of Eat a Peach with its original lineup, before Duane Allman's fatal motorcycle accident in 1971. The Tom Dowd-produced Idlewild South, their second album, comes off with a little less ferocity than their debut -- which is perhaps the result of reaching for new sounds the second time around. "Revival," the album's opener, introduces Dickey Betts as a composer. The countrified flavor of his songs gives an indication of where the band will head in the post-Duane era. Betts' other contribution to Idlewild South is the instrumental "In Memory of Elizabeth Reed," a centerpiece of the Fillmore East recordings. Gregg's "Please Call Home" and "Midnight Rider" are built around piano and acoustic guitar, respectively, and have a different feel than the band's usual twin Les Paul-and-Hammond sound. That sound is showcased in the balance of Gregg's tunes, however: the funky blues of "Don't Keep Me Wonderin'" (with Thom Doucette on harmonica) and "Leave My Blues at Home." The album is also notable for the rollicking version of Willie Dixon's "Hoochie Coochie Man," with the only vocal bassist Berry Oakley (who died in a motorcycle accident one year after Duane) ever recorded with the group. Though overall it packs less punch than The Allman Brothers Band, Idlewild South is all the more impressive for its mixture of chunky grooves and sophisticated textures. ~ Rovi Staff
Rolling Stone (12/24/70, pp.51-2) - "...The Allmans offer briefer, tighter, less `heavy' numbers this time around. `Revival' gets things off rousingly, with tambourine and gospel chorus..."
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