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BOOK EXCERPT The Road Goes On Forever


Mercer University Press this month


releases the fifth book written by KUDZOO publisher Michael Buffalo Smith. The book is jam packed with information an the fore- word was weritten by former Allman Brother (and current Rolling Stone) Chuck Leavell. Thge following is short except from the book, dealing witrh the making of their second album Idlewild South. The book, The Road Goes On Forever: 50 Years of All- man Brothers Band Music is available through most online delers, including Ama- zon, Barnes and Noble, mupress.org and many more,


People Can You Feel it? Love is every- where: The Making of Idlewild South


For their second album, 1970's Idlewild


South, the Allman's finally had their wish granted. Tom Dowd was brought in as a pro- ducer, taking them down to Miami's Criteria Stu- dios to begin the recording process. Duane had been adamant about using Dowd because he had produced Cream; one of the bands Duane ad- mired most. Although the album was started at the new Capricorn facility, Tom wanted to use his regular studio in Miami because he felt that the then-new Capricorn Studio was not quite yet suit- able for recording. Dowd had first heard the band rehearsing


while visiting Capricorn Studios in Macon. Upon hearing the group for the first time, he is said to have told Phil Walden that he wanted to work with them in the studio and that they didn't need any rehearsal, they were ready to record now. He was initially scheduled to work with the band on their debut but was called away at the last minute. For Idlewild, the band had asked friend


Johnny Sandlin to produce the album, but as recording time drew closer, it became clear they


wanted him to co-produce along with Dowd. In one of their first sessions, Sandlin says that he was 0ffering suggestions and acting as a co-pro- ducer, but no one had informed Dowd. Johnny says it was one of the most embarrassing mo- ments of his entire life. He left and did not return to the session. Idlewild South was recorded primarily at


Criteria, but because the band was playing 300 dates a year, they recorded parts of the record in three cities over five months - New York, Miami, and Macon, Georgia, the band's home. They would come in and record for a day and head off to the next show. They blew through like the wind, in and out. Rather than utilizing the then relatively


new multi-track recording technology, the All- man Brothers Band recorded most of Idlewild South live, with everyone performing together. Overdubs were rarely recorded - only in emer- gency situations when they needed to patch a small section of the recording. They all agreed that the magic of the Allman Brothers Band hap- pened when they all played together, and separat- ing them into different overdub tracks would


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