Gregg Allman called LaidBack his pride and joy, his “baby.” Sadly, he did not live to see the Deluxe Edition of the album thatremasters the original recording (also available on 180-gram vinyl), adds asecond version comprised of early mixes, and a second disc of demos, outtakes,and alternates. In all, it’s the kind ofcomprehensive overview of Allman’s 1973 solo debut built for those who alreadylove 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 therecord, this two-disc compilation is the deepest dive ever into the material availablein one place. The proper album was a mereeight songs in length. The deluxeedition 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 BrothersBand and the twin-guitar rave-ups that marked that revolutionary group- evenwith the two songs that previously appeared on Brothers albums; instead revealingin Allman a considerate and diverse singer-songwriter. Time and experience has taken away some ofthe jar of the spooky acoustic-tinged “Midnight Rider” that opens the set, aswell as the odd-meter R&B swing of “Queen of Hearts”- a song rejected bythe ABB for the Brothers and Sistersalbum- but that sense of discovery returns when listening to Disc Two. To hear Allman and a solo acoustic guitar, inchilling 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” isto hear an artist that was working through so much inner turmoil following thedeath of his brother Duane, but also so confident and expressive in his role asa singer and conduit carrying that pain.
Brothers drummer Jaimoe, who guested on percussion on Laid Back, is quoted In the accompanyingliner 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 consideredone of the greatest singers of all-time, regardless of race or genre. If there was ever a collection that makesthat case, 46 years later, it’s this one.
