Gregg Allman called Laid Back his pride and joy, his “baby.”  Sadly, he did not live to see the Deluxe Edition of the album that remasters the original recording (also available on 180-gram vinyl), adds a second version comprised of early mixes, and a second disc of demos, outtakes, and alternates.  In all, it’s the kind of comprehensive overview of Allman’s 1973 solo debut built for those who already love the album or will once they’ve heard it, and certainly as a tribute to Allman, himself, who held the effort in such high esteem.

As a summary of everything that went into the making of the record, this two-disc compilation is the deepest dive ever into the material available in one place.  The proper album was a mere eight songs in length.  The deluxe edition offers four times as much of the music surrounding this recording, mostly previously unreleased, and, in doing so, elevates Laid Back and Allman to a new level of appreciation. 

Upon its initial release, Laid Back was seen as a stark departure from The Allman Brothers Band and the twin-guitar rave-ups that marked that revolutionary group- even with the two songs that previously appeared on Brothers albums; instead revealing in Allman a considerate and diverse singer-songwriter.  Time and experience has taken away some of the jar of the spooky acoustic-tinged “Midnight Rider” that opens the set, as well as the odd-meter R&B swing of “Queen of Hearts”- a song rejected by the ABB for the Brothers and Sisters album- but that sense of discovery returns when listening to Disc Two.  To hear Allman and a solo acoustic guitar, in chilling echo, on “Rollin’ Stone (Catfish Blues),” greasy and lowdown on a “Wasted Words” demo with full band, or on the closing live take of “Melissa” is to hear an artist that was working through so much inner turmoil following the death of his brother Duane, but also so confident and expressive in his role as a singer and conduit carrying that pain.

Brothers drummer Jaimoe, who guested on percussion on Laid Back, is quoted In the accompanying liner essay, written wonderfully by Allman Brothers Band historian John Lynskey, as dismissing Allman’s status as one of the greatest white blues singers.  Instead, Jaimoe argues, Allman should be considered one of the greatest singers of all-time, regardless of race or genre.  If there was ever a collection that makes that case, 46 years later, it’s this one.