Description
The Allman Brothers Band – Idlewild South – 180 Gram Vinyl Record
180-gram audiophile vinyl. Newly remastered from original analog tapes. DMM – Direct Metal Mastering
The Allman Brothers Band’s Idlewild South, released on September 23, 1970, was the group’s second studio album and the record that firmly established them as the pioneering force of Southern rock. While their self-titled debut (1969) had introduced their fusion of blues, rock, jazz, and soul, Idlewild South sharpened their sound and songwriting, laying the foundation for the band’s legendary live performances and their classic double album, At Fillmore East (1971). Produced by Tom Dowd—renowned for his work with Aretha Franklin, Cream, and Derek & the Dominos—the album is tighter, more polished, and brimming with songs that became cornerstones of the Allmans’ repertoire.
The title comes from the band’s nickname for the rural farmhouse outside Macon, Georgia, where they lived, rehearsed, and partied. That communal lifestyle infused the record with a sense of authenticity and collective energy. It also reflects the band’s ethos: a group of equals blending their influences into something uniquely their own.
One of the standout moments is “Midnight Rider,” written by Gregg Allman. With its haunting acoustic guitar, soulful organ, and lyrics about resilience and wandering, it became one of the band’s signature songs and later a hit in Gregg’s solo career. Equally important is “In Memory of Elizabeth Reed,” written by guitarist Dickey Betts. This instrumental masterpiece blends rock and jazz, featuring intricate guitar interplay between Betts and Duane Allman, as well as exploratory improvisation that pointed directly toward the band’s future as jam-band pioneers. It remains a staple of their live shows and one of the best examples of how they redefined the boundaries of rock in the early 1970s.
The album also features “Revival (Love Is Everywhere),” Betts’ first vocal contribution to the band. With its uplifting chorus and gospel-like harmonies, it captures the communal spirit of the era and shows the band’s ability to move beyond the blues into more expansive, melodic songwriting. In contrast, Gregg’s “Please Call Home” offers a tender, soulful ballad steeped in Southern melancholy. Duane Allman’s slide guitar, meanwhile, shines throughout the record, especially on tracks like “Don’t Keep Me Wonderin’,” where his bluesy licks intertwine with Gregg’s Hammond organ in a way that feels both raw and refined.
The closing track, “Leave My Blues at Home,” is a driving, funky number that demonstrates the rhythm section’s power: Berry Oakley’s fluid, melodic bass playing and the dual drumming of Butch Trucks and Jaimoe. Together, they provided the foundation that allowed Duane, Betts, and Gregg to stretch out musically without ever losing the groove.
CIdlewild South was well received, though it didn’t sell in huge numbers at first. It peaked modestly on the charts but earned strong word-of-mouth for its musicianship and songwriting. The release of At Fillmore East the following year would catapult many of these songs into legendary status, but Idlewild South is the record where the Allman Brothers Band truly found their voice—a fusion of blues grit, jazz sophistication, country soul, and rock ’n’ roll fire.
Idlewild South is not just a stepping stone to greater success but a classic in its own right. It introduced two of the band’s most enduring songs (“Midnight Rider” and “Elizabeth Reed”), showcased their groundbreaking approach to twin guitars and extended improvisation, and demonstrated their ability to balance raw Southern authenticity with technical brilliance. It remains one of the defining albums of the early 1970s and a blueprint for the entire Southern rock movement that followed.
Brand new, never played and still sealed in the factory plastic
Track Listing
Revival
Don’t Keep Me Wonderin’
Midnight Rider
In Memory Of Elizabeth Reed
Hoochie Coochie Man
Please Call Home
Leave My Blues At Home
