THE ALLMAN BROTHERS BAND: Idlewild South (ROCK): review / opinion to read on Music Waves

Despite all its qualities, the eponymous first album of the Allman Brothers Band has seen its sales remain relatively confidential. But more is needed to discourage a band that never stopped performing in an intensive way, multiplying the stage performances while continuing to compose and to propose new titles live in order to test them before potentially recording them. But if the sextet can finally benefit from the services of Tom Dowd to make its new opus, it turns out to be particularly complicated to organize the studio sessions, the small team having to juggle between its numerous concerts, but also the multiple outdoor performances of a very solicited Duane Allman, in particular by a certain Eric Clapton who has completely flashed on the talent of the guitarist and leader of the group. It is thus in an episodic way that is recorded the new opus entitled "Idlewild South", the name of a farm that the group rents in order to rehearse there and to organize some parties of which it holds the secret.

Despite, or thanks to the chaotic character of its production, this album keeps the level of excellence displayed by its predecessor. The mix of influences is always delicately balanced, oscillating between swaying and racy blues-rock ('Don't Keep Me Wonderin' ') and long jams with jazzy accents within instrumental tracks stretching out over almost 7 minutes ('In Memory Of Elizabeth Reed'). Combining the delicious harmonies of the guitars and the successions of soli as classy as tasty, this last title also has the merit to emphasize the complementarity of the two drums for an orgasmic final result. The other highest point is reached on 'Midnight Rider', a future unforgettable classic whose lyrics were written by the roadie Robert Payne. In barely three minutes, the perfection of rock seems to be revealed at the same time as an uncontrollable desire to get on your bike and ride the road overwhelms you.

Once again, this opus does not suffer from any dead time, transporting the listener once again in a journey within the South of the United States seen by the Allman Brothers Band whose identity definitely asserts itself. It all begins with the introductory 'Revival' which starts as an upbeat instrumental and shifts to a more gospel-like identity given by choirs, clap-hands and organs with sounds ringing straight out of a church. The result is upbeat and the chorus is haunting, communicating an enthusiasm that will be impossible to get rid of until the final 'Leave My Blues At Home', a kind of blues-funky hyper catchy with a relentless groove. In the meantime, Muddy Waters' 'Hoochie Coochie Man' will have been revisited on a more sustained tempo with Berry Oakley on vocals for a hyper catchy result reinforced by a new sublime solo from Duane. Finally, the small touch of softness will be brought by 'Please Call Home', a ballad with an imploring and unforgettable chorus. It is worth noting that this track is the only one produced by Joel Dorn, the band being in New York at the time of recording while Tom Dowd was not available. This probably explains the jazzy feeling of this track.

Although not benefiting from the surprise effect of its predecessor, "Idlewild South" is nevertheless a new jewel in the beginning of the Allman Brothers Band's recording career. Without any weak point and confirming the unique and free identity of the sextet, this new opus is a must for the amateurs of this unique marriage of Rock, Blues, Jazz and Country-Folk offered by an appealing band and building its legend with patience and determination. - Official website

THE ALLMAN BROTHERS BAND

IDLEWILD SOUTH

CAPRICORN

ROCK