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spoil the mood. Dowd agreed. The band


had gotten busy, playing 300 shows a year. Add to that the fact that Duane was still being asked to play on out- side projects, making the recording of the album trying to say the least. On days when the band would be available to record, manager Phil Walden phoned Dowd to let him know. Tom would usually catch their show that evening and spend the rest of the night with them in the studio. Six months and three recording studios later, production on the album wrapped in mid-July 1970. Idlewild South boasted yet another collec-


tion of excellent and timeless songs. Together, the Brothers and Dowd made for a great combina- tion. Dowd seemed to be entirely on the same page as the band and their music, and he worked hard to bring the very best out of each of them as a musician, and also as a writer. Such was the case with Dickey Betts, who


made his songwriting debut on the album, hand- ing in a gospel-tinged song – originally written as an instrumental- that ended up opening the album. “Revival” was a real Sunday morning, hand-clapping sing-along. Beginning with a smooth and easy acoustic intro, the twin lead gui- tars of Duane and Dickey soon melded with the acoustic, and Gregory joined in with a super soul- ful vocal, "People can you feel it? Love is every- where." Dickey's songwriting was a more than welcome addition to the band. Now they had two world-class writers, both with different styles that ran from blues to gospel to a country in influence. "Revival" was the perfect opening song for a group of Southern hippies who were heavily into peace and love. Gregg's "Don't Keep Me Wonderin'" boasts


some of Duane's most exceptional bottleneck


slide magic. Thom Doucette, an old friend of Oak- ley's from his Florida days, added soulful har- monica, and in doing so cemented his legacy as the Brothers' harp player on call. The album also featured “Midnight Rider,”


which would become Gregg’s signature song, as well as one of the band’s most widely covered hits. While the original Allman Brothers release of the song did not chart, "Midnight Rider" was much more successful in cover versions. Joe Cocker's solo version of the song, released in 1972 with different words in the verses, was its most significant billboard pop chart success. In the fall of 1973, Gregg Allman released a


new arrangement of the song on his first solo album, Laid Back that featured the addition of horns. The single reached #19 on the Billboard Hot 100 in early 1974. The classic song was actu- ally co-written by roadie Kim Payne. The band was on a break, and their equip-


ment was stacked and stored in their rehearsal space on Broadway in Macon. The area was in a questionable neighborhood, so Kim Payne was spending the night there watching over the ex- pensive equipment. Gregg dropped by one night to do some speed with Kim, and he told Payne about this song he was writing called "Midnight Rider" that was unfinished. He said that he was stuck. Gregg kept talking about the song and how he was stuck on the second verse. Kim just spoke up and said, how about "the road goes on for- ever?" That was all it took, and they finished the rest of the song quickly. The only problem was, they didn't have a tape recorder to record a demo so they could remember it. Gregg spoke up, "You know, there's a whole studio right next door." With that, Payne, the man watching over the equipment, busted out a window so that they could break into the studio and record a quick demo with Twiggs Lyndon on bass and Jaimoe on congas.


Back in the studio with Dowd at the helm,


Duane laid down acoustic guitar tracks for both "Revival" and "Midnight Rider," knocking them both out in a single afternoon. He was faster to record and more technically savvy due to his ses- sion work in Muscle Shoals. Dickey turned in another "instant classic"


with his beautiful instrumental tribute to Miles Davis called "In Memory of Elizabeth Reed," a


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