Idlewild South (Deluxe Edition Remastered) The Allman Brothers Band

• 1 Revival 04:06
• 2 Don't Keep Me Wonderin' (48kHz) 03:32
• 3 Midnight Rider (48kHz) 03:00
• 4 In Memory Of Elizabeth Reed 06:59
• 5 Hoochie Coochie Man 04:58
• 6 Please Call Home 04:03
• 7 Leave My Blues At Home 04:21
• (Session Outtake) – Previously Unreleased New Mix
• 8 Statesboro Blues (Session Outtake Remix) (48kHz) 04:10
• (Session Outtake) – Previously Unreleased New Mix
• 9 One More Ride (Session Outtake) 03:42
• (Alternate Mix) – Previously Unreleased
• 10 Midnight Rider (Alternate Mix) 03:43
• (Live at Ludlow Garage 1970)
• 11 Dreams (Live At Ludlow Garage/1970) (48kHz) 10:28
• (Live at Ludlow Garage 1970)
• 12 Statesboro Blues (Live At Ludlow Garage/1970) (48kHz) 08:38
• (Live at Ludlow Garage 1970)
• 13 Touble No More (Live At Ludlow Garage/1970) (48kHz) 04:52
• (Live at Ludlow Garage 1970)
• 14 Dimples (Live At Ludlow Garage/1970) (48kHz) 05:47
• (Live at Ludlow Garage 1970)
• 15 Every Hungry Woman (Live At Ludlow Garage/1970) (48kHz) 04:20
• (Live at Ludlow Garage 1970)
• 16 I'm Gonna Move To The Outskirts Of Town (Live) 09:16
• (Live at Ludlow Garage 1970)
• 17 Hoochie Coochie Man (Live At Ludlow Garage/1970) (48kHz) 05:33
• (Live at Ludlow Garage 1970) – Previously Unreleased
• 18 In Memory Of Elizabeth Reed (Live At Ludlow Garage/1970) (48kHz) 15:03
• (Live at Ludlow Garage 1970)
• 19 Mountain Jam (Theme From “First There Is A Mountain") (Live At Ludlow Garage/1970) (48kHz) 45:12
• Total Runtime 02:31:43

Info for Idlewild South (Deluxe Edition Remastered)

September 23rd marked 45 years since the release of the Allman Brothers Band's second studio album, Idlewild South, on Atco and Capricorn Records, which followed their 1969, self-titled debut. While that first album had little commercial success, the band's relentless touring behind it led to a buzz that led Eric Clapton to enlist Duane Allman to take part on his 1970 Derek and the Dominos album which produced "Layla." Produced by Tom Dowd, marking his first album with the band, Idlewild South was recorded in a variety of cities, including New York, Miami and Macon, GA, the band's adopted home, because of their hectic performance schedule. Most of the songs, including two of their most iconic – Gregg Allman and Kim Payne's "Midnight Rider" and Dickey Betts' "In Memory of Elizabeth Reed" – were road-tested before they were ever recorded. The album's title comes from the group's name for the run-down, isolated hunting cabin the band used for rehearsals and partying. The farmhouse, which they rented for the princely sum of $165 a month, was located on a manmade lake outside Macon, and people came and went with such frequency, the band compared it to New York's airport of the same name (later changed to John F. Kennedy International). Much of the material on the album was first created in that cabin, where the band's "brotherhood came to pass," according to Allmans roadie (and "Midnight Rider" co-writer) Kim Payne. The album didn't sell well at first, but eventually peaked at #38 on Billboard, setting the stage for their 1971 breakthrough, At Fillmore East.

Idlewild South has since gone on to become one of the Allman Brothers Band's most iconic releases. Rolling Stone named it one of the "40 Most Groundbreaking Albums of All Time" in 2014: "The Allman Brothers transmogrified from mere blues-rockers to an assemblage creating an entirely new kind of Southern music." Allmusic's Bruce Eder called it "the best studio album in the group's history, electric blues with an acoustic texture, virtuoso lead, slide and organ playing, and a killer selection of songs."

„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)

Gregg Allman, vocals, organ, piano
Duane Allman, slide guitar, lead guitar, acoustic guitar
Dickey Betts, lead guitar
Berry Oakley, bass, vocals on "Hoochie Coochie Man", and harmony vocals on "Midnight Rider"
Jai Johanny Johanson, drums, congas, timbales, percussion
Butch Trucks, drums, timpani
Additional musicians:
Thom Doucette, harmonica, percussion

Recorded February–July 1970 at Capricorn Sound Studios; Criteria Studios; Regent Sound Studios
Engineered by Howard Albert, Jim Hawkins, Ron Albert, Bob Liftin
Produced by Tom Dowd, Joel Dorn

Digitally remastered

Please Note: We offer this album in its native sampling rate of 44.1 kHz, 24-bit. The provided 192 kHz version was up-sampled and offers no audible value!

Allman Brothers Band They formed in 1969, but the road veterans continue to tour like they have something to prove. And they're already legends, with a secure place in history and a plaque at the Rock & Roll Hall of Fame. But THE ALLMAN BROTHERS BAND is also a vital contemporary phenomenon, as much a part of the present and future of music as any band can be.

In early 2003, the group released the critically lauded Hittin' The Note, their first new studio project in nine years (and 24th overall). Released March 18, 2003 on their own Peach label (via a new deal with Sanctuary), these 11 tracks prove the band's ability to adapt its classic sound to the energy and aesthetics of modern rock. The ALLMAN BROTHERS BAND underlined the success of Hittin’ The Note (including two Grammy nominations for the track “Instrumental Illness”) with a live DVD and CD recorded in New York during the group’s annual marathon of shows at the Beacon Theatre (which they have packed over 140 times, including 14 sell-outs in 2006). The group also continues to release music from their personal archives, which they’ve guarded closely over the years.

The Allman Brothers Band at the Beacon Theatre…just hearing the phrase conjures up images and sounds of well executed and passionately played live rock and roll. To capture the event for fans who might not necessarily have been lucky enough to get into the 2894-seat venue, the group recorded the shows, and released the Live At The2 Beacon Theatre DVD in late ’03, and it was quickly certified gold. One Way Out, a live album from the same Beacon stand, came out in March 2004.

2003 also brought further accolades for the ALLMANS. The band was recognized by Rolling Stone for featuring four of the top 100 guitarists of all time: the late Duane Allman was cited as #2, while current guitarists Warren Haynes and Derek Trucks came in at #23 and #81, respectively. Known as one of rock’s best live acts, the ALLMAN BROTHERS BAND were one of only two artists whose live albums ranked in the top 50 of Rolling Stone’s list of the “500 Greatest Albums of All Time.” The ALLMAN BROTHERS BAND was honored for At Fillmore East (while James Brown was saluted for Live At The Apollo). An expanded version of At Fillmore East and the previously unavailable Atlanta International Pop Festival (the July 1970 concert that they both opened and closed) were released to critical and fan acclaim. The group was selected as the first artist to introduce the “Instant Live” program, whereby fans were able to purchase CD copies of the ALLMAN BROTHERS BAND concert they just saw, immediately after the show.

Not many groups have been around as long as The Allman Brothers Band. Of those that have, most have either lapsed into a nostalgia-act coma or withered on a weary vine. If you're talking about a band that has both legs and heart, whose experience feeds an intensity that's rare even among the greenest music newbies, that narrows the field pretty much down to these psychedelic sons of the South. But passion doesn't come easily, which helps explain why it's taken them so long to record once again. In April 1997, frustrated by tensions within the group that were threatening to slow its creative momentum, Warren Haynes and bassist Allen Woody left to pursue Gov’t Mule (with whom he still tours and releases new music), and the focus of the group shifted exclusively to live performance. Though they still delivered killer shows, something was missing, and eventually it became clear that the only way to get it back was to make a change in the personnel. Visit: www.allmanbrothersband.com

This album contains no booklet.