Gregg Allman
Laid Back

*NOTE: There is a mark that plays 3 times loudly about 1/2 way into track 2 on side 2, "Multi-Colored Lady."

Vintage covers for this album are hard to find in exceptionally clean shape. Most of the will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG

This '70s Capricorn LP has the kind of Tubey Magical Midrange that modern pressings cannot BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing any sign of coming back.

If you exclusively play modern repressings of older recordings (this one is now almost 50 years old), I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but less than one out of 100 new records do, if our experience with the hundreds we've played can serve as a guide.

What The Best Sides Of Laid Back Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1973
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange -- with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

What We're Listening For On Laid Back

Here are some of the things we specifically listen for in a '70s Pop/Rock record.

Our hottest Hot Stamper copies are simply doing more of these things better than any of the other copies we played in our shootout.

• Immediacy in the vocals (most copies are veiled and distant to some degree)
• Natural tonal balance (many copies are at least slightly brighter or darker than ideal; those with the right balance are the exception, not the rule)
• Good solid weight (so the bass sounds full and powerful)
• Spaciousness (the best copies have wonderful studio ambience and space)
• Tubey Magic, without which you might as well be playing a CD
• And last but not least, transparency, the quality of being able to see into the studio, where there is plenty of musical information to be revealed in this sometimes simple, sometimes complex and sophisticated recording.

Vinyl Condition

Mint Minus to Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of later import or domestic pressings, or -- even worse -- the Heavy Vinyl reissue, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful originals.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.

Side One

• Midnight Rider
• Queen Of Hearts
• Please Call Home
• Don't Mess Up A Good Thing

Side Two

AMG 4 1/2 Star Review

Recorded in the same year as the Brothers and Sisters album, this solo debut release is a beautiful amalgam of R&B, folk, and gospel sounds, with the best singing on any of Gregg Allman's solo releases. He covers his own "Midnight Rider" in a more mournful, dirge-like manner, and Jackson Browne's "These Days" gets its most touching and tragic-sounding rendition as well. Although Chuck Leavell and Jaimoe are here, there's very little that sounds like the Allman Brothers Band -- prominent guitars, apart from a few licks by Tommy Talton (Cowboy, ex-We the People), are overlooked in favor of gospel-tinged organ and choruses behind Allman's soulful singing.

More Reviews

Laid Back received glowing reviews from music critics at the time of its release. Rolling Stone reviewer Tony Glover said "Laid Back isn't quite what you'd expect from Gregg's work with the Brothers Band. Instead, it's a moody LP, often tinged with grandeur, and maybe just a little too rich and one-colored in spots. But on the whole, a moving look at another side of a finely charismatic singer/writer."

Billboard named it a "Spotlight" pick among its Top Album Picks in November 1973, with the reviewer deeming it "a masterpiece of a set ... featuring exceptional displays of vocal and instrumental talent in many musical areas."

The album has continued to receive positive attention in the years since its release. In 2006, Tom Moon of NPR reviewed the album as a part of his "Shadow Classics" series, calling it "amazing stuff, deep and intense yet nowhere near the decibel levels of his work with the [Allman Brothers] band. ... But he's equally compelling — maybe even more so — in a quieter space, when he's less fired up."