tune that would become a concert staple for the rest of the band's existence. "Elizabeth Reed" was inspired by a woman Betts was involved with in Macon, a dark-haired Hispanic beauty who had been dating Boz Scaggs. In fact, the girl was an artist and was also under a management contract with Phil Walden. To hide her identity, Betts took a name from a tombstone at Rose Hill Cemetery in Macon, where he and others in the band often visited to get high and write songs. “Elizabeth Reed” was a highly emotional

song, brought on by the changes in tempo and dy- namics. Butch drives the tempo, with Jaimoe adding percussive elements. Dickey plays his first solo on the album, blending fast runs with laid back, bending notes. Obviously, the real Elizabeth Reed had no

idea whatsoever she would one day be immortal- ized in song, especially in such a beautiful tune. Liz Reed was born on November 9, 1845. She moved to Macon to study music and art at Wes- leyan College, and after a long career in the arts, she died in 1934 at the age of 89. She passed away in her home on Rogers Avenue, about 200 feet from The Big House on Vineville Avenue. "Hoochie Coochie Man" was the band's

take on an old Muddy Waters tune, previously performed by Oakley and Betts in their earlier group the Second Coming. This song featured Oakley performing his only studio vocal with the Allmans. Rocking at a tempo that is more than twice the speed of Muddy’s version, the song be- gins with Oak’s bass, and builds to a crescendo. Gregg’s beautiful "Please Call Home" was

cut in New York with jazz producer Joel Dorn at the helm in just two takes. Jaimoe switched from brushes to a mallet on the second, final take, and Duane adds soul soaked fills help to make the song another classic. "Leave My Blues at Home," another Gregg Allman composition, contains hints of funk and wraps up with a fade out of the band's twin lead guitars. The album's title came from the band's

cabin they rented on a lake outside of Macon dur- ing their early days there. The cabin was a hub of activity, the home of many rehearsals and parties, and much of the material presented on the first two albums originated at the cabin. In the book Skydog: The Duane Allman Story by Randy Poe, Scott Boyer spoke of the cabin's history.

“It was like a hunting cabin. The back of

the house had a porch that was built out over a manmade lake that was maybe five or six acres. It was a cabin made out of old pinewood, and it had been there for a long time. The Allman Brothers used it as a rehearsal facility - that and a place to go maybe to consume a little something that was- n't quite legal. There were parties out there." Idlewild South was released by Atco and Capri- corn Records on September 23, 1970. It sold only slightly better than their debut, even though the band was growing in national popularity, due mainly to their non-stop touring. Phil Walden began to doubt the band's future, worrying whether they would ever catch on, but word of mouth spread due to the band's touring schedule, and crowds grew larger. Rolling Stone's Ed Leimbacher wrote that

Idlewild South "augurs well for the Allmans' fu- ture," calling it "a big step forward from the All- mans' first" but considered the second side of the LP a disappointment. In 2014, Rolling Stone listed it among the most "groundbreaking" al- bums of all time. "On their second album, the All- man Brothers transmogrified from mere blues-rockers to an assemblage creating an en- tirely new kind of Southern music." Robert Christgau at The Village Voice gave

Idlewild South a "B+" and considered it a com- panion piece to Duane Allman's work on Layla, noting that "a lot of people think that Duane All- man is already a ranking titan of the electric gui- tar."

Always a group that wanted to show grati-

tude to those who supported them along the way, the liner notes contained a tip of the hat to Mama Louise Hudson and the H&H Restaurant - “Vittles: Louise.” •

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