This album has been in the works for some time and was almost completed when work began on Brothers And Sisters. Several sessions with noted musicians weren't used, but it was through his keyboard work on these tracks that Chuck Leavell was asked to join the Brothers Band. The operative word is production—lots of horns and strings (46 pieces on one cut, and a 14-voice chorus). Gregg seems content to concentrate on vocals; organ is heard on only a few cuts and mostly as fill, rather than lead instrument.

There are two remakes of Brothers tunes, both originally from the Idlewild South album. "Midnight Rider" gets a more classic, almost ghostlike gothic treatment. The opening repetitive guitar figure is joined by piano and dobro which weave in and out, drone-like. Gregg's vocal has just the right desperado touch, although you might miss the original harmonies at first. The strings and horns that swoop in and out add a final and pervasive depth the first version doesn't have. On "Please Call Home," the arrangement is substantially the same, with a chorus added, but Gregg's vocal is a good deal less raspy and more effective here.

Scott Boyer's "All My Friends" (a slow, C&W-tinged ballad which opens uncannily like "Wild Horses" but soon moves into a thick string forest), and Jackson Browne's "These Days" are the album's two contemporary songs. Gregg and Jackson aren't strangers. One of Browne's songs was used on the first Hourglass album (Gregg recorded the song before Jackson did) and on Jackson's LP the credit line reads, "Arrangement inspired by Gregg Allman." Gregg does full justice to the quietly hurting lyrics, double-tracking the vocal over a sad steel guitar. Gregg adds the weight of his own special shades of sorrow; someone described his vocal quality as "resigned." Add eternally aching, and you've got it. Gregg chooses to close his version, "Please don't confront me with my failures/I'm aware of them," giving the lines an emphasis that shifts the focus some from Jackson's vision. It's a fine performance that makes the song a moving personal statement.

The only really up song is the late Fifties, Fontella Bass-Bobby McClure "Don't Mess Up a Good Thing." There's a nice smooth sax break by David Newman, and good piano work by Leavell; the female chorus trades lines with Gregg, and the cut jumps.

There are two newer songs by Gregg as well. "Queen Of Hearts" is a reflective love song with a feeling for autumn sundowns. It's the only track where guitar plays a leading role, and the flowering sax ride on the break by Newman expands the whole song into an easy rocking jazz groove. "Multi Colored Lady" seems to be many listeners' favorite with the narrative painting a picture of a crying lady on a late night bus ride. A really nice, spacy and evocative cut, and the only one where love doesn't hurt. Yet.

The album closes with the traditional "Will the Circle Be Unbroken," given full gospel honors. The melody line is one that kept showing up in the long jams when Duane was playing with the Brothers, and this version holds him strongly in mind. Though there's a strong piano drive, it has a quiet dignity and stateliness missing in most of the more raucous recent versions. Over a solid vocal chorus, Gregg really tries to close the circle.

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. (RS 151)

TONY GLOVER