Customer Reviews

Idlewild South

5 star:		(22)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This recording is a big improvement over their debut as the Brothers explore a few more styles. Revival has a nice gospel feel with a nice shuffling beat. This version of Hoochie Coochie Man really cooks as the drummers lay down a driving rhythm. The vocals and guitar playing are awesome on this song as well. And How can you forget about the haunting Midnight Rider and the multi-themed In Memory of Elizabeth Reed. The only significant problem is that the disc at 31 minutes is not long enough. This is topquality stuff.

A great record but don't buy it. Get it on Beginnings, which includes this record with their debut, which is even five stars, and it isn't that expensive.

From the melodic opening lines of "Revival" to the closing strains of "Leave My Blues Alone" this is one of the best albums The Allman Brothers Band ever created. The band has, of course, created other masterpieces but this is the first album where everything comes together from the top notch playing by Duane and Dickey to Greg's bluesy growl. Most of the tracks from this album have became the bedrock of the band's concerts (and a good portion of this album formed the basis for the classic and seminal live album "Live at the Fillmore East").

"Idlewind South" has been remastered a number of times for CD but the best versions to purchase are the early edition mastered by Dennis Drake where Drake doesn't futz with the sound but presents the music naturally without compression or altering the sound of the original mastertape. Drake's remaster can usually be found used. If you see the "Capricorn Remasters" on the inlay card of the CD, this isn't the one remastered by Drake. You'll find a copy of Drake's remaster used in all probablility and its one of the original issues of the CD.

The best version, however, is the newly released version from Mobile Fidelity (which is back in business with new owners after going out of business in the early part of the 21st century). Mastered by Shawn R. Britton the album has never sounded this warm, rich or good on CD. If you can find the Britton remaster (google Music Direct or go to the Mobile Fidelity website)which was released in a limited, numbered edition in a replica of the original album sleeve, I'd snatch it up. It's possible some independent retailers are carrying it (sadly amazon.com is not and I'm not quite sure why perhaps its is sold out). Britton also did the marvelous remaster of Linda Ronstandt's "Dont Cry Now" and is also doing a remaster of a seminal Little Feat album).

Pick up this classic album you won't be sorry. If you can't find the Britton remaster go for the marvelous Drake (Drake also did early versions of "Beginnings" the album that combines this album with their first). Enjoy!

What a masterpiece this is! If you enjoy a combination of rock, soul, blues, jazz then this will appeal to you.

Although this is a short album, the brief nature of it works well...it leaves you wanting more. The duel guitar playing was so tremendous that it made the solos sound like vocals rather than self indulgent notes.

It starts with "Revival" which is perfectly titled. The song starts out as a jazzy, instrumental but then turns into a wonderful call and response tune. It is very uplifting and one of my favorite Allman Brother songs.

"Don't keep me wondering" is a scorching rocker with great, greasy, slide guitar. Dune Allman employs a terrific fat tone.

"Midnight Rider" is a classic song that epitomizes the Southern Rock sound. Check out the interplay between the guitars of Dickie Betts and Duane Allman.

"In memory of Elizabeth Reed" is an instrumental. It is jazzy yet it also remains in a true song structure rather than an excuse to play a lot of notes. The Allman Brothers never noodle on the guitar. Every note counts

"Hoochie Coochie man" is another blazing rocker featuring Duane Allman's slide.

Besides the awesome guitar you also get Greg Allman's soulful, whiskey throated vocals and classic Hammond organ sounds.

The duel drumming rocks, Berry Oakely's bass playing is stellar and most of all, this was an incredible work for such a young band.

For anybody not familar with this band, this is an excellent starting point. I do not believe in compilations for this band b/c they were too good and have way too much depth. You cannot reduce a monumental band like this to a compilation. "Idlewild South" reflects a great period of this band when they were building maturity and confidence that would be more fully demonstrated on the next album, "Eat a Peach"

this album is so awesome because it has probably the best instrumental rock song in history, In Memory Of Elizabeth Reed takes you on a journey thats so inspiring that you can't even begin to imagine how great musicians this guys were. Dickey Betts guitar is incredible not to mention the sounds that came from the late great duane allman is out of this world,this song or intrumental piece has a lot to offer it even has a mini drum solo! believe me if you haven't heard this song before try it you won't regret it. As for the other songs, like said before midnight rider is cool and revival ain't bad either listen to it and you'll discover how beautiful this album is, great southern rock!

I have to admit that my opinion here isn't too objective; mainly because I am an Allman Brothers fan from way back.
This was Duane's last album with the Allman Brothers before tragedy struck. Maybe for that reason alone, it deserves a place in any rocker's collection. Duane Allman's slide guitar reaches those high notes, and bro Gregg cooks too. I love those harmonizing guitars.
I cannot be even slightly critical of this album, because each and every song delivers the ultimate sound these guys were famous for.
Their version of "Hoochie Coochie Man" is a good example of how tight and together they played. I wouldn't have it any other way.
I still have the original vinyl album, and don't have the CD yet, but after reading the other reviews here, I know it's probably my next CD purchase for sure.
Some music, no matter how much time has passed, just sounds better.

The Allman Brothers Band's 1970 sophomore effort finds them altering and expanding upon the "space blues" leanings of THE ALLMAN BROTHERS BAND, highlighting songwriting and nuancing skills more than its predecessor but arguably coming up more of a mixed bag as a result. The mix is quite a good one, however, and testifies as much as any of the original ABB's efforts to the truly tragic nature of this group's premature demise.
"Revival" introduces guitarist Dickey Betts as a composer, and as its title suggests the song is basically a gospel hosannah done Brothers-style. While perhaps a less whelming opener than "Don't Want You No More," it shows the band moving into new territory, exploring the full range of its musical roots and - most important - showcasing the songwriting of its various members. "Don't Keep Me Wondering," a Gregg Allman tune, brings things back into the band's well-dug blues vein with a funky shuffle of instant appeal; it's small wonder this song became a regular concert workout for the ABB. "Midnight Rider" may well be the Brothers' greatest studio recording - an absolutely flawless three-minute study in mood, atmosphere and individual and collective musicianship, it's worthy of inclusion on THE SUN SESSIONS. Dickey's instrumental opus "In Memory of Elizabeth Reed," soon to be disemboweled to heart-stopping effect on AT FILLMORE EAST, closes side one of the original LP with an effective nod to the Brothers' jazzier capabilities and leaves no doubt that this is a unit with at least two full-fledged songsmiths in its fold. "Hoochie Coochie Man," the lone cover tune here, sets a mediocre vocal by bassist Berry Oakley over an earthquake performance by the band, with drummers Jaimoe and Butch Trucks particularly tasty. "Please Call Home" is a lovely ballad by Gregg, whose sung heartache plays beautifully against Brother Duane's loping, melancholy guitar. "Leave My Blues at Home" throws its hands up on all the pain, hope, fear and bragadoccio of the previous tracks to end the album on a gruffly, almost threateningly affirmative note. All this in just over thirty-two minutes!
IDLEWILD SOUTH is, at the very least, a minor masterpiece from an era when masterpieces were almost common; and while its achievements may have been quickly overshadowed by those of AT FILLMORE EAST and EAT A PEACH, its own strengths remain undeniable and its songs - several of them, at least - unforgettable.

I always thought it was a bit of a shame that "Idlewild South" opens with the least of the album's seven songs, the repetitive "Revival". That one really doesn't give much of an indication of what's to follow, which is some of the finest 70s blues-rock you'll ever hear.

This is a terrific showcase for what the original Allman Brothers Band could do. Gregg Allman's "Don't Keep Me Wonderin'" is a perfectly authentic electric blues number, all quivering harmonica fills, howling slide guitars, and some terrific hooks. A concert favorite for 40 years, this is one of band's best-ever songs.
"Midnight Rider" is thoroughly seductive, a melodic, folkish acoustic number, and the band do one of the most personal and succesful covers of Willie Dixon's "Hoochie Coochie Man" you'll ever hear. And while "Please Call Home" is one of the band's lesser-known songs, the soulful ballad is no throwaway.
Almost everything is stellar, in fact, from the original "In Memory of Elizabeth Reed" (a tight seven minutes!) to the swaggering "Leave My Blues At Home". The sound of the six-man band is dense and powerful, riding along on the groove laid down by the two drummers and bassist Berry Oakley, and on Gregg Allman's organ, and this is head and shoulders above most of the wishy-washy white boy blues of the era!

Younger brother Gregg Allman was the band's songwriter back then, writing or co-writing nine out of fourteen songs on the band's first two albums combined, and he has written all the best songs here (with the obvious exception of "Hoochie Coochie Man"). And everything crackles with energy; Duane Allman and Dickey Betts had perfected their dual lead guitar onslaught, Thom Doucette provides some very competent blues harmonica, and Duane's slide guitar sounds amazingly clean and crisp.
"Idlewild South" is definitive must-have for ABB fans. Highly recommended!

In a way, "Revival" pretty well sums up the album. The opening acoustic guitar leads into a great song with a mini-solo from Dicky, Duane, Gregg, and Berry Oakley. One of the lesser known songs on the album may be "Don't Keep Me Wonderin'" about suspected cheating. "Midnight Rider" is well-known and for good reasons but there's more here than just it. Including the magnificent instrumental "In Memory of Elizabeth Reed" (this is definitely one to jam to) and the rockin' "Hoochie Coochie Man" with Berry Oakley singing lead. Be sure to crank the volume no matter where you are when playing it. "Please Call Home" is a slowed-down ballad with Gregg singing with some real feeling. Finally, "Leave My Blues at Home" is a fitting toe-tapper to end the album with (it always makes me want to start from the beginning again). I'm not sure, but the entire band seemed to be in perfect harmony on this album. Whether they really were or not, the album is more than perfect.

The second album shows more southern style than the blistering debut.The acoustic textures of "Revival" and "Midnight Rider" prove the ABB had more than just technique and ability. Whether you pick this up on its own or as part of the "Beginnings" package you will not be disappointed. Except for the fact that this cd is skimpy time-wise.