Saturday, October 27, 2012

The Allman Brothers Band

 

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The Allman Brothers Band is an American rock/blues band once based in Macon, Georgia. The band was formed in Jacksonville, Florida, in 1969 by brothers Duane Allman (slide guitar and lead guitar) and Gregg Allman (vocals, organ, songwriting), plus Dickey Betts (lead guitar, vocals, songwriting), Berry Oakley (bass guitar), Butch Trucks (drums), and Jai Johanny "Jaimoe" Johanson (drums). While the band has been called the principal architects of Southern rock, they also incorporate elements of blues, jazz, and country music, and their live shows have jam band-style improvisation and instrumental songs.

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The band achieved its artistic and commercial breakthrough in 1971 with the release of At Fillmore East, featuring extended renderings of their songs "In Memory of Elizabeth Reed" and "Whipping Post" and often considered one of the best live albums ever made. George Kimball of Rolling Stone magazine hailed them as "the best damn rock and roll band this country has produced in the past five years." A few months later, group leader Duane Allman was killed in a motorcycle accident. The group survived that and the death of bassist Oakley in another motorcycle accident a year later; with replacement members Chuck Leavell and Lamar Williams, The Allman Brothers Band achieved its peak commercial success in 1973 with the album Brothers and Sisters and the hit single "Ramblin' Man". Internal turmoil overtook the band soon after; the group dissolved in 1976, reformed briefly at the end of the decade with additional personnel changes, and dissolved again in 1982.

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In 1989, the group reformed with some new members and has been recording and touring since. A series of personnel changes in the late 1990s was capped by the departure of Dickey Betts. The group found stability during the 2000s with bassist Oteil Burbridge, Warren Haynes and Derek Trucks, (the nephew of their drummer), serving as its guitarists, and became renowned for their month-long string of shows in New York City each spring. The band has been awarded eleven gold and five platinum albums between 1971 and 2005 and was inducted into the Rock and Roll Hall of Fame in 1995. Rolling Stone ranked them 52nd on their list of the 100 Greatest Artists of All Time in 2004.


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Beginnings

The group was formed in Macon, GA, and consisted of Duane and Gregg Allman, Dickey Betts, Berry Oakley, Butch Trucks, and Jai Johanny Johanson. Brothers Duane and Gregg Allman grew up in Daytona Beach, Florida, and had been playing music publicly since the early 1960s. They formed a garage band called the Escorts in 1963, which evolved into the Allman Joys in 1965. From there the brothers formed Hour Glass and moved to Los Angeles. The Hour Glass released two failed albums on Liberty Records in 1967 and 1968. They were all released from the contract except Gregg, who Liberty thought might have some commercial potential. Gregg and Duane had previously met Butch Trucks and his band The 31st of February while touring as the Allman Joys, and decided to record an album with them in September 1968, shortly after the breakup of Hour Glass. This album was eventually released as Duane & Greg Allman on the Bold Records label in 1972. Duane Allman played on Wilson Pickett's hit version of "Hey Jude" and became the primary session guitarist for FAME Studios in Muscle Shoals, Alabama, recording with Aretha Franklin, King Curtis, Percy Sledge, and others. Allman started jamming with Dickey Betts, Butch Trucks and Berry Oakley in Jacksonville.  Eddie Hinton, with whom Duane Allman had played in Muscle Shoals, was considered to play guitar, but Hinton refused in order to join the Muscle Shoals studio band. Duane brought in Jaimoe, a drummer he had played with in the past.

Jaimoe, percussionist

Gregg was in Los Angeles, fulfilling the Hour Glass contract with Liberty Records. He was summoned back to Jacksonville.

 

Duane Allman playing guitar at the Fillmore East, June 26 1971 (late show)

The Allman Brothers Band played numerous shows in the South before releasing their debut album, The Allman Brothers Band in 1969 to critical acclaim. It featured future jam standards "Whipping Post" and a 12/8 time slide guitar tour de force "Dreams". A cult following began to build.

Idlewild South was released in 1970 to critical success and improved sales. Produced by Tom Dowd it featured the upbeat "Revival" and the moody-but-resolute "Midnight Rider". After completing the Idlewild South sessions Duane Allman joined Eric Clapton and his ad hoc Derek and the Dominos to record the classic Layla and Other Assorted Love Songs.

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1971 saw the release of a live album, At Fillmore East, recorded on Friday and Saturday March 12 and March 13 of that year at the legendary rock venue the Fillmore East. The album was another huge hit. Rolling Stone listed At Fillmore East as number 49 on of The 500 Greatest Albums of All Time. It showcased the band's mix of jazz, classical music, hard rock, and blues, with arrangements propelled by Duane's and Betts' dual lead guitars, Oakley's long, melodic "third guitar" bass runs, the rhythm section's pervasively percussive yet dynamically flexible foundation, and Gregg Allman's gritty Ray Charles-like vocals and piano/organ play which all completed the band's wall of sound. The rendering of Blind Willie McTell's "Statesboro Blues" was a straight-ahead opener, the powerful "Whipping Post" (with its famous 11/4 bass opening) became the standard for an epic jam that never lost interest, while the ethereal-to-furious "In Memory of Elizabeth Reed" invited comparisons to John Coltrane and Miles Davis.

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The Allman Brothers were the last act to play the Fillmore East before it closed in June 1971. The final shows achieved legendary status, partly due to bands literally playing all night; in 2005 Gregg Allman would relate how the jamming musicians lost track of time, not realizing it was dawn until the side doors of the Fillmore were opened and the morning light poured in.

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The band continued to tour; decades later, a special-order recording of one of their final concerts in this lineup, S.U.N.Y. at Stonybrook: Stonybrook, NY 9/19/71, would be released. It reveals that Duane Allman's slide guitar playing on "Dreams" and other songs was touching the farthest reaches of both that instrument and his imagination.


 

Dickey Betts on guitar

Duane Allman died not long after the Fillmore East album was certified gold, killed in a motorcycle accident on October 29, 1971 in Macon, Georgia, The popular version of the accident was that he collided with the rear of a flatbed truck that had turned in front of him. However it has been revealed in recent years that the truck had turned before Allman was in view due to the road being on a slope. When Duane topped the crest of the hill it can be only assumed that he simply was going to swerve behind the truck. It is well known that Duane always broke speed limits on his motorcycle and on this day it would cost him his life. As he neared the truck and started the swerve the road dipped sharply and as he rode up out of the dip the motorcycle became airborne causing Duane to fly off the bike and land on the pavement. The motorcycle then landed on him with both sliding into a curb. Duane was taken to a hospital but never regained consciousness. He died from massive internal injuries. The group decided to carry on. The album continued to gain FM radio airplay, with stations even playing 13-minute and 23-minute selections.

 

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Dickey Betts on lead guitar

Dickey Betts filled Duane's former role in completing the last album Duane participated in, Eat a Peach, released in February 1972. The album was often softer ("Blue Sky", "Little Martha") and wistful in tone ("Melissa", "Ain't Wastin' Time No More"), capped by the 34-minute "Mountain Jam" reverie taken from the Fillmore East concerts. Writer Greil Marcus described parts of Eat a Peach as an "after-the-rain celebration... ageless, seamless... front-porch music stolen from the utopia of shared southern memory."

The group played some concerts as a five-man band, then decided to add Chuck Leavell, a pianist, to gain another lead instrument but without, however, directly replacing Duane. This new configuration debuted on November 2, 1972, on ABC's In Concert late-night television program.

 

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Dickey Betts, Lead Guitar

Days later, on November 11, 1972, Berry Oakley died from head injuries he received in another motorcycle accident near Napier Avenue and Inverness Street, only three blocks from the site of Duane's accident the previous year. The common retelling that it was at exactly the same site as Duane's death is incorrect, as is the legend that the Eat a Peach album is named for what was being carried by the truck involved in Allman's accident. Both Duane and Berry were 24 years old, yet another coincidence.

Oakley was replaced by Lamar Williams at the end of 1972, in time to finish the next album, Brothers and Sisters, released in August 1973.

Dickey Betts was becoming the group's unofficial leader. Brothers and Sisters included the group's best known hits, "Ramblin' Man" and "Jessica", both written by Betts; the former reached No. 2 on the Billboard Hot 100 as a single, while the latter was a seven-minute instrumental hit.

 

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The Allman Brothers Band had become one of the top concert draws in the country. Probably their most celebrated performance of the era took place on July 28, 1973 at the Summer Jam at Watkins Glen outside Watkins Glen, New York, in a joint appearance with The Grateful Dead and The Band. An estimated 600,000 people made it to the racetrack where this massive outdoor festival took place.

In the wake of The Allman Brothers Band's success, many other Southern rock groups rose to prominence, including the Marshall Tucker Band (who played as the Allman Brothers Band's opening act for many shows on their 1973 tour) and Lynyrd Skynyrd.

Despite this success, Butch Trucks recalls of the time that, “celebrity is the worse thing that ever happened to the Allman Brothers." In an interview, Trucks recalled that after Allman’s death in 1971, the band “got away from the music," producing “country-fried hit records,” which created egos that “ripped [them] all apart.”

Another peak of the Allmans' success came on New Year's Eve, 1973, when promoter Bill Graham arranged for a nationwide radio broadcast of their concert from San Francisco's Cow Palace. New arrangements of familiar tunes such as "You Don't Love Me" went out over the airwaves, as the show stretched out over three sets, with Boz Scaggs sitting in, along with Grateful Dead members Jerry Garcia and Bill Kreutzmann (Allmans and Grateful Dead members guested at each other's shows multiple times in the early 1970s).

 

Gregg Allman, playing organ and singing

Personality conflicts started to tear the band apart, however. Gregg Allman and Dickey Betts both began solo careers, while Allman married Cher, separated quickly, reconciled, and eventually separated again, all in a storm of publicity; drug abuse took its toll on the entire band. Musically, Betts and Leavell were pulling in opposite directions, with Allman trying to mediate.

 

Cher with Gregg Allman

Gregg Allman and Cher

The tension resulted in the uneven Win, Lose or Draw (1975), with some members not participating on all tracks or doing so only from afar. The few stand-out tracks included a stop-start take on Muddy Waters' "Can't Lose What You Never Had", Betts' instrumental "High Falls", and Allman's Jackson Browne-influenced title song.

 

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The band managed to limp along until 1976, when Gregg Allman was arrested on federal drug charges and agreed to testify against a friend and tour manager and bodyguard for the band, John "Scooter" Herring. Leavell, Johanson, and Williams formed Sea Level, while Betts worked on his solo career. All four swore that they would never work with Allman again.

Meanwhile, Capricorn Records released a compilation album, The Road Goes On Forever, and a poorly received live album, Wipe the Windows, Check the Oil, Dollar Gas. Neither sold very well.

The group reformed in 1978 and released the strong Enlightened Rogues (1979). It featured new members Dan Toler (guitar) and David Goldflies (bass), who replaced Leavell and Williams, both of whom concentrated on Sea Level instead. "Crazy Love" was a minor hit single, and the instrumental "Pegasus" got some airplay, but overall The Allman Brothers Band was no longer as popular as before, and financial woes plagued both the group and Capricorn Records, which collapsed in 1979. PolyGram took over the catalogue, and The Allman Brothers Band signed to Arista Records. The group released a pair of critically slammed albums, firing Jaimoe in the process, and then disbanded once again in early 1982.

Allman quickly formed The Gregg Allman Band with the Toler brothers Dan and David ("Frankie") (drums) in 1982 and began touring small venues and clubs. Betts, Leavell, Trucks and Goldflies formed the band Betts Hall Leavell Trucks (BHLT). Neither garnered attention from any record labels. BHLT would dissolve two years later.

 

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Allman Brothers Band reunited in 1986 for a pair of benefit concerts for promoter Bill Graham in New York and Macon. Allman, Betts, Trucks, Jaimoe, Leavell, and Dan Toler performed together but no subsequent reunion plans for the band were made. The following year, the Gregg Allman Band and the Dickey Betts Band co-headlined a theatre and club tour. After each band played a set of music, Betts, Allman and the Tolers performed a closing set of Allman Brothers music together.

 

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In 1987, Epic Records signed both Allman and Betts to separate solo contracts. The Gregg Allman Band had a surprise FM hit single with the title track to the 1987 album I'm No Angel. Just Before the Bullets Fly quickly followed from Allman in 1988. The Dickey Betts Band, including Warren Haynes, was also formed during this time and released the album Pattern Disruptive in 1988. This series of collaboration among bandmembers and interest from a major label during the late 1980s laid the groundwork for the next era of Allman Brothers Band activity and success.


Revival

Warren Haynes, vocalist and guitarist

In 1989 The Allman Brothers reunited and returned to the popular consciousness of the American public, spurred by Gregg's recent FM radio success, the release of archival material by PolyGram, and the start of regular appearances on the American summer outdoor amphitheater circuit. Warren Haynes (guitar, vocals), Johnny Neel (keyboards and harmonica), and Allen Woody (bass guitar) joined originals Allman, Betts, Jaimoe and Trucks. Leavell opted to go on tour again with the Rolling Stones, with whom he has been a touring member since 1982.

 

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After the 20th Anniversary tour, the band signed to Epic Records and released Seven Turns (1990), which got excellent reviews. This was followed by Neel's departure and a series of moderately-selling, but critically well-received albums including Shades Of Two Worlds (1991) and Where It All Begins (1994), certified Gold by the RIAA (1998), both featuring new percussionist Marc Quiñones. Warren Haynes and Allen Woody formed their own side project Gov't Mule in 1994. In 1995, the band was inducted into the Rock and Roll Hall of Fame and in 1996 they won the Grammy Award for Best Rock Instrumental Performance for "Jessica". When Haynes and Woody decided to concentrate full-time on Gov't Mule in 1997, Haynes was replaced on guitar by Jack Pearson, while Woody was replaced on bass by Oteil Burbridge. Derek Trucks, nephew of original Brother Butch Trucks, replaced Pearson in 1999.

 

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Warren Haynes and Derek Trucks

 

In 2000, the band forced Dickey Betts out for "personal and professional reasons." For this tour, he was replaced by Jimmy Herring. Betts then filed a lawsuit against the other three original members and the summer separation turned into a permanent divorce. Also in 2000, former bassist Allen Woody was found dead on August 26. The band did release the live CD Peakin' at the Beacon that year which chronicled the now-annual March tradition of a many-night stand at the Beacon Theater in New York City. The band has sold out the 2900-seat Upper West Side Manhattan theatre 188 times since 1989. The tradition is known as the "Beacon Run" among fans, who travel from across the United States, Canada and Western Europe to see these annual March and April shows.


2000s onward

Derek Trucks playing slide guitar, 2009

Warren Haynes began appearing with the Allmans again in 2000 and rejoined full-time in 2001, while also maintaining his active schedule with Gov't Mule. (Haynes also toured during this time and later in the decade with former members of the Grateful Dead). Haynes' return marked a new period of stability and productivity for the band after nearly four years of lineup shifts. The Haynes-produced Hittin' the Note was released in 2003 to popular and critical acclaim, as was the Live At the Beacon Theatre DVD film (2003, certified Platinum 2004). The live CD One Way Out (2004) also chronicled the Beacon concerts.

 

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The Allman Brothers garnered back to back Grammy Award nominations in 2003 and 2004 in the category of Best Rock Instrumental for performances of "Instrumental Illness" from Hittin' The Note and One Way Out. In 2003, Rolling Stone magazine named Duane Allman, Warren Haynes, Dickey Betts, and Derek Trucks to their list of the 100 Greatest Guitarists of All Time, with Allman coming in at No. 2 and Trucks being the youngest guitarist on their list.

 

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The Warren Haynes and Derek Trucks lineup continued the band's connection with younger music fans via concert pairings with popular jam bands The String Cheese Incident, moe, and Dave Matthews Band among others. The Allman Brothers Band continue to be a major attraction at the Bonnaroo Music Festival since 2003. Since 2005, the Allmans have staged their own two day Wanee Music Festival at the Spirit of the Suwannee Music Park in Live Oak, Florida. The Allmans, Gov't Mule and The Derek Trucks Band perform on different stages along with younger roots artists including the North Mississippi Allstars, Robert Randolph and The Family Band, Medeski, Martin and Wood, Devon Allman's Honeytribe, Nickel Creek, Mofro and others.

 

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Allman Brothers songs have been used in various advertising campaigns and television programs, with the most well-known use being that of "Jessica" used in both the 1977 and 2002 formats of the BBC television series Top Gear. "Jessica" was also used in the film Field of Dreams. It was also the opening song of a famous radio show in the State of Bavaria, Germany during the 70s known as "Club 16" (http://peterhammer.de/sound4/br/club16outro.html with an example while the show ends. )


 

Oteil Burbridge, bass guitarist, 2005

The band cancelled their Beacon run for 2008 due to Gregg Allman recovering from hepatitis C treatments, but they were back on the road that summer for the amphitheater circuit. On November 20, 2008, The Allman Brothers Band received the Legend Of Live Award at the 2008 Billboard Touring Awards ceremony in New York. The award recognized "a touring professional who has had a significant and lasting impact on the concert industry." At the ceremony, Gregg Allman talked about his brother Duane, saying: "It happens to be today would have been his 62nd birthday and I'm sure he's looking down on this and is really proud of us. We'll keep coming back until we can't come back no more."

 

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The Allman Brothers Band celebrated their 40th anniversary in 2009. That year's Beacon run also marked the 20th anniversary of their appearances in that venue; and the band focused on paying tribute to Duane, inviting guest appearances from those who had played with him. The 15-night stand was considered to be the best Beacon run of all, highlighted by two nights of the first-ever stage appearance of Eric Clapton with the band and performances of numbers from Layla and Other Assorted Love Songs. Guests on other nights included members of the Grateful Dead, Phish, Levon Helm and his band, and represented genres from bluesman Buddy Guy to jazz great Lenny White to rap-rock-country eccentric Kid Rock. On March 26, three days after the actual anniversary of the band's 1969 forming, what's been known as the "Legendary Jacksonville Jam", the band featured no guests but performed their first two albums in their entirety.

In March 2010, The Allman Brothers Band's New York run changed venues from the Beacon Theater to the far uptown United Palace Theatre, but in March 2011, the Allman Brothers returned to the Beacon Theater, playing their 200th show there on March 26.

 

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In 2012, the Allman Brothers Band was awarded the Grammy Lifetime Achievement Award.


It has been a couple of weeks since my last post, but I’ve been out of town due to business.  I hope you enjoyed this post on The Allman Brothers Band, one the greatest blues rock bands of all-time.  Remember to keep your boogie down !

MUSICIAN by Night

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“Help Keep The Blues Alive”

Monday, February 20, 2012

Warren Haynes Interview: High & Mighty

By: Brian D. Holland

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Warren Haynes began his professional career in the early ’80s as a guitarist for David Allen Coe. He appeared on nine albums and toured the world extensively with the outlaw country pioneer. This experience was no doubt a crucial step in the development and direction of the future leader of Gov’t Mule and member of The Allman Brothers Band. It was through Coe that he met Dickey Betts and Gregg Allman.

Warren Haynes (born April 6, 1960) is an American rock and blues guitarist, vocalist and songwriter. Haynes is best known for his work as long time guitarist with The Allman Brothers Band and as founding member of the jam band Gov't Mule. Early in his career he was a guitarist for David Allan Coe and The Dickey Betts Band. Haynes also is known for his associations with the remaining members of The Grateful Dead, including touring with Phil Lesh and Friends and The Dead. In addition, Haynes founded and manages Evil Teen Records.

Dickey Betts recognized Warren’s unique vocal ability and guitar playing talent and invited Haynes to perform on his 1988 release Pattern Disruptive. This led to Warren joining the reunited version of The Allman Brothers Band, a version that also included future Gov’t Mule bassist Allen Woody.

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Warren received his first guitar at the age of 12, but it was singing that interested him initially. His older brothers introduced him to the Motown sound and the soulful vocals of Otis Redding and Wilson Pickett. He eventually discovered the guitar-oriented rock of Eric Clapton and Cream, as well as others.

Curiosity about this music’s origin led him to appreciate the blues. These early influences of soul, R&B, rock, and blues, mixed with the country gigs, steered him toward his eventual musical destination.

The career of Warren Haynes has been an interesting one. Though he has ridden the roller coaster ride that befalls many famous rock and rollers, he keeps going strong and is the type of musician who never settles down for long. Labeled as the hardest working guitarist in the rock world, Warren could never be accused of avoiding the prospect of creating good music.


Govt-Mule

After he and Matt Abts were dealt the heartbreaking blow of the loss of their friend and colleague Allen Woody in August of 2000, Gov’t Mule had no other choice but to go through a transition of sorts. They persevered and throughout the changes and a bass player revolving door situation, some excellent music was made.

With Woody making a final audio appearance on a cover of Grand Funk Railroad’s “Sin’s A Good Man’s Brother,” The Deep End – Vol. I was released, with numerous distinguished players filling in the bass spot on other tracks.

With the spirit of Allen Woody surrounding him still, Warren Haynes continues to lead Gov’t Mule to new heights. Simultaneously, he sustains membership in The Allman Brothers Band, pursues his solo efforts, and joins in on collaborations and the efforts of others.

Following the releases made by the original Mule lineup (1995′s Gov’t Mule, 1998′s Dose, 2000′s Life Before Insanity, and the live material), the Deep End volumes were released, as well as more live material.

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Deja Voodoo, the debut album introducing the additions to today’s lineup: bassist Andy Hess and keyboardist Danny Louis, was released in 2004. And let’s not leave out 2003′s Hittin’ The Note by The Allman Bothers Band. This classic album marked the Brothers first studio release in ten years.

2006 marked the release of High & Mighty, an album of such quality that it could be considered both the best of Mule to-date and one of the true rock classics of all time.

Below is my 2006, interview with Warren Haynes that took place while Gov’t Mule was preparing for a show in Lincoln, Nebraska. Our conversation was delayed a bit because of sound check issues. Understanding the dilemma, I waited patiently, aware of the fact that I was about to talk to the hardest working guitarist in rock ‘n’ roll.


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Brian Holland: I hear that you just had a little sound check problem.

Warren Haynes: It has been a very hectic few days. Today was no exception for sure.

Brian: They don’t call you hardest working guitarist in rock for nothing.

Warren Haynes: The last few days have been crazier than normal, you know, because I’m doing double duty with Gov’t Mule and The Allman Brothers.

Brian: Warren, I’ve been into your music for quite a while now. I think the new album, High & Mighty, is your best to-date.

Warren Haynes: Thank you. I’m really happy with the way it turned out.

Brian: Mule has been making great music for over a decade. Is it as good for you now as it ever was?

Warren Haynes: I think it’s better. When I say that, I don’t want people to take it the wrong way, but the way that the band sounds now, with Danny and Andy, is just an extension of all the nights playing with Matt and Woody and myself as a trio. You know, with each year the band gets better and better.

I feel like we’re back at a place now where the band consistently sounds amazing on a nightly basis. After Woody died it took us awhile to get back at that place. And, you know, it’s just one of those things you encounter when something like that happens. Of course, we worked with so many guest musicians.

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That helped us to kind of relax and make some beautiful music without putting the kind of pressure on the situation that would only have made it worse. Once Andy and Danny settled into being permanent members the band just got better and better. I look forward to every night we walk onstage.

Brian: You’ve been referred to as the hardest working guitarist in rock. Does it feel that way to you?

Warren Haynes: No. I mean, musicians are blessed, you know. We get to do what we love for a living. I’m taking advantage of opportunities that have been given to me that I feel I’d regret if I turned them down. But, you know, I don’t feel like I work as hard as the average housewife.

Brian: Yeah. [Laughing There may be a lot of truth to that.

Warren Haynes: I have the best job in the world. What can I say? I’m a very lucky person.

Brian: Do you ever yearn for the typical family life of the average middle-aged man?

  Warren Haynes Flametop Gibson Les Paul 02Warren Haynes: Yeah, well, I don’t see my wife enough. My personal time is limited, more so than I wish. However, my wife and I have talked about the fact that there are opportunities right now that won’t be there forever.

For example, when the Grateful Dead offered me to tour in 2004, my first reaction was to say no, I just can’t do it. Then my wife said, "Well, let’s rethink this. You don’t want to look back down the road and say, I could’ve done that, but I said no." So, we made it work.

Brian: In working with both The Allman Brothers Band and Gov’t Mule, is there a different mindset you need to gear yourself up for when going between the music of both?

Warren Haynes: A little bit. But it happens more naturally than people might think. You just respond to your surroundings. If I were to play for 4, 5, or 6 hours, I’d rather play in two different bands than in the same band because each has its own challenges. It’s kind of refreshing to do both.

Brian: You utilize many nice guitar tones on High & Mighty. Talk about recording the guitar on that CD and what you went through to achieve those tones.

Warren Haynes: Well, I’ll start by saying that we worked with Gordie Johnson for the first time. Gordie’s a great guitar player in his own right and he’s a great engineer. That’s a good combination when it comes to getting guitar sounds.

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The entire time in Austin, Texas, we kept the same setup as far as amplifiers were concerned. We recorded with a combination of my Soldano SLO-100, which has been modified, and my César Diaz CD100, both through 4/12 cabinets. We also included a Fender Pro Jr., which is a very small amp with one speaker.

We mixed those three amps together, regardless of which guitar was plugged into them, and that combination of amps responded very well. We tweaked the knobs from song to song and guitar to guitar, but every song was recorded with that combination. It turned out to be really cool. I used a lot of different guitars on the record, more so than normal.

Brian: “So Weak, So Strong” is an amazing song, in arrangement and tone. I see it as a real rock anthem for today. Did you use the Les Paul 12-string on that?

Warren Haynes: Yes. It’s a beautiful sounding guitar and I’m real happy with the way it recorded. I like the way that song turned out a lot.

Brian: I like the way “Brighter Days” sounds as well. The slide is beautiful, dirty, and dark. Was that the ’61 Gibson ES-335?

Warren Haynes: No. That was actually a Gibson RD that belongs to Gordie Johnson. It was tuned to an open C chord. It had gigantic strings on it. The tuning, from high to low, is C-C-G-C-G-C.

That’s the same guitar and the same tuning that was used on ‘Like Flies’. I used the ’61 ES-335 on “Mr. High & Mighty” and “Streamline Woman.” I used a ’58 Les Paul Special on “Brand New Angel” and “Unring The Bell.” I used a ’64 Firebird on “Child Of The Earth.”

Warren Haynes' Gibson-RD guitar

                              Gibson RD Guitar

 

Brian: What are your personal favorite songs on the High & Mighty CD and which do you prefer playing live?

Warren Haynes: I like all of them. I’m real happy with the entire record. The ones that tend to be my favorites are usually the departures. You know, the ones that don’t sound like anything we’ve ever done, like “So Weak, So Strong,” “Endless Parade,” “Unring The Bell,” and “Nothing Again.” All of those songs are so different for us. I really like them a lot.

We haven’t played “So Weak, So Strong,” “Nothing Again,” “Brighter Days,” or “Like Flies” live yet. We may play “So Weak, So Strong” tonight. We rehearsed it at sound check and it sounded really good, so we may play it tonight for the first time.

Brian: How do you go about songwriting? Is there a certain method you follow?

Warren Haynes: No. There’s no certain method, but my usual approach is that I wait until I’m lyrically inspired to write. I don’t usually sit around trying to come up with riffs and guitar motifs and stuff unless I have something to say. It doesn’t always work out that way; it’s just my normal thing. Recently, I’ve been making myself write music first, just to do something different and shake it up a little bit, you know.

Brian: Do you ever suffer writer’s block? If so, do you have a cure?

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Warren Haynes: I’m not one of those people who write all the time. Sometimes I’ll go several months without writing anything. I’ll sometimes second guess myself and wonder if I’ll ever write another song. Then something starts coming, and two or three ideas will happen all at once. The next thing you know I’m writing again. You’d think I’d just learn to go with it, but it scares me every time it happens.

Brian: Of everything you’ve done, Mule, Allman Brothers, etc., what do you consider to be your best guitar work?

Warren Haynes: I don’t know. I mean, in my mind, I’m better now than I was a year ago, five years ago, or ten years ago. I feel I’m getting to be a better musician all the way around. When I listen to really old recordings I’m not happy with my playing, but I don’t know if I’m ever completely happy with my playing anyway. In general, I tend to like the newer stuff better.

Brian: You recently finished a European tour. Can you describe any differences between those and U.S. audiences?

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Warren Haynes: Well, they tend to be very hardcore fans, fans that have waited a long time for us to come to Europe. Most of them have every CD we’ve put out. It’s quite amazing. I think there are more hardcore fans and fewer casual fans in the European crowds. It’s not uncommon for us to sign autographs at the end of the night for a long time. A lot of the people have stacks, sometimes of every CD I’ve ever played on. [Laughing]

 

They’re very appreciative, partly based on the fact that, you know, it took us until now to ever make it to Europe. It’s amazing to see audiences in some of these countries where they barely speak English sing along, and sing along with all of the words. They know the songs very well. I was shocked.

Brian: Do you take newer guitars on the road and keep the vintage stuff at home?

Warren Haynes: Usually, yes.

Brian: Are the Custom Shop models up to par with the vintage guitars?

Warren Haynes: The new Gibson's are better than they’ve been in a long time. The ones I play, the Custom Shop guitars, are really great guitars. I’m very happy with them. Sometimes I’ll go through several before I find the right one because they all sound different, and everybody looks for something different in a guitar. I like very meaty, dark, and warm sounding guitars. Some people like very bright guitars but that has never been my thing.

Brian: You’ve been ranked in a few different positions in the many lists of greatest guitarists over the past few years. You were recently ranked 23rd in Rolling Stone’s list of 100 greatest guitarists of all time. Do you think the voters overlook many of history’s blues and jazz greats?

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Warren Haynes: Yeah. I mean, it’s almost as if they should label them lists of rock ‘n’ roll guitar players. Most of the great jazz players are better than all of us. If you’re going to include jazz players then you’ve got to list Django Reinhardt, Wes Montgomery, and Charlie Christian. Then, of course, there are people like Grant Green and Jim Hall whom I absolutely adore.

But at the same time, if blues guitarists are included, I’d have to include Albert King. I think Albert King was the blues guitarist who influenced rock guitarists more than anybody else. Without Albert, there’d have been no Hendrix, no Duane Allman, no Clapton, and no Stevie Ray Vaughan. There definitely wouldn’t have been a Warren Haynes because I’m a huge Albert freak.

Brian: When it comes to MP3 downloading, e-zines, and sites like YouTube, has the Internet been more of a help or a hindrance to the professional musician?

Warren Haynes: I think it has been more of a help than a hindrance, but it’s both. I think it serves more of a positive than a negative, although there are opinions to the contrary. With YouTube, it’s cool to see a video of Albert King that I’ve never seen before. But I guess everybody has different opinions about it.

There are a bunch of videos of us on YouTube; some are good and some aren’t. Then you get into copyright issues and all that kind of stuff. The world’s changing and there’s nothing we can do about it.

Brian: It was players like Peter Green and Roy Buchanan who first taught me that lead guitar could express human emotion, such as cries of pain, devastation, or joy. Your playing is expressive as well. Is this a trait that’s often missing in today’s music?

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Warren Haynes: I think so, yeah. I think those were two great examples. I think the human voice is the greatest instrument in the world and every other instrument in some ways tries to emulate that. The musicians who can sing through their instrument are the ones who tend to connect with people more, especially people who want to be moved.

Sometimes, in the case of certain musicians, it goes beyond just singing through the instrument in terms of creating emotional sounds that come from the soul and into someone else’s. Roy was an amazing guitar player, Peter as well. Peter Green was one of my favorites. You could detect Roy’s dark personality in his playing.

Brian: Both in his and in Green’s, really.

Warren Haynes: Yeah, absolutely.

Brian: I know we touched on this a bit already, but talk about your guitars of choice – the Firebirds, the RD, the Les Pauls, the ES-335. Do their differences in tone dictate when to be used?

Warren Haynes: Yeah. For me, the Firebird is Gibson’s answer to the Fender. You know, if I want a brighter sound but still want the meat that a Gibson gives me, I’ll play a Firebird. P-90s have a sound; humbuckers have a sound. Usually these days, not always, but usually, when I’m playing a Firebird it’s tuned down a half step.

So, you get some warmth and darkness from the fact that the guitar’s tuned lower, and you get the brightness from the length of the neck and the body style, the type of wood and the pickups. Everybody’s looking for something different, and for me, the combination of Gibson guitars that I use covers a lot of ground. I’m able to get a lot of sounds from them.

Warren Haynes Flametop Gibson Les Paul

Brian: The amp situation – it’s mainly the Soldano SLO-100 and the Marshall?

Warren Haynes: In the Allman Brothers I was using the Marshall instead of the Soldano for a while. So I was using the [César] Diaz and the Marshall. I’ve recently started back using the Soldano again.

In Gov’t Mule, predominantly, it’s been the Soldano and the Diaz together and sometimes a Fender Super Reverb. I’ve a lot of other amps that I really like and they come into play as well, but those mentioned get the most play from me.

Brian: How important is it to have a good guitar tech, like Brian Farmer, along with you?

Warren Haynes: Farmer is great. He makes my life much easier. As busy as I’ve been in the past six or seven years, and as many different guitars and amps as I have on the road, I couldn’t do it without him.

Brian: He’s known to say that you’re not gentle with your guitars. In fact, he has mentioned that you’re not gentle with him either. [Laughing]

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Warren Haynes: [Laughing] Well, he likes to exaggerate. I’m not a real mellow guitar player. In fact, I can attack the guitar pretty hard. I like dynamics, everything from extremely soft to extremely loud and everything in between. That’s the only way you’ll get the sounds you’re looking for.

 

Brian: In my opinion, you’re part of a new breed of rock guitarist, like Derek Trucks, Joe Bonamassa, and a handful of others, who are so into the music that substance abuse and similar issues, the errors of rockers of old, don’t appear to be part of the picture.

Warren Haynes: Yeah. I like to think people have learned a lot since the ’60s and ’70s. In that regard, you know, it’s a different era, a different time. Most of the people in the circles I run in with are there for the music. There’s a cool social scene, but the old sex, drugs, and rock ‘n’ roll vibe is kind of a thing of the past, for the most part.

Brian: You handle fame quite well. Is there a secret to that?

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Warren Haynes: You know, my dad and my two older brothers were all very good influences on me, and they tended to keep me pretty well grounded for the most part. Fortunately, I wasn’t thrown into instant fame at an early age. I know some who’ve had that done to them and it’s got to be hard.

When I was 20-years-old I started playing with David Allen Coe, but that wasn’t a very glamorous gig. It was more glamorous than what I was doing prior, but he was the star and I was the sideman. And even though a certain amount of glory and notoriety went along with it, I was able to watch the people around me and see the way in which they behaved. I learned from both the positives and the negatives and focused on the positives.

Brian: What music are you listening to these days, besides your own and the Allman Brothers?

Warren Haynes: I’m always listening to the stuff that I consider timeless, you know, Bob Dylan, Otis Redding, Ray Charles, Sam Cooke, Van Morrison, and stuff I think will be around forever. I don’t discover a lot of new music; there are a few things here and there that I really like a lot. I listen to a lot of blues and jazz and a lot of soul music. There’s so much great old music you can never discover it all.

Brian: I read that you’re a big fan of Ray LaMontagne’s Trouble.

Warren Haynes: Yeah. I love that record.

Brian: I was surprised to see that you had said that because unfortunately, as great a record as it is, it still appears to be unknown to many.

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Warren Haynes: Well, we’re friends as well. We’ve done a couple of things together. He opened for Gov’t Mule at Red Rocks two or three years ago and he performed last year at my Christmas Jam, the charity show that I do in North Carolina every year.

I really love that record and I just got his new one. I think I’m going to love that one as well. That record [Trouble] sounds like it could have been made in any era.

Brian: What motivates you as a musician, entertainer, and songwriter?

Warren Haynes: I love music; I love every aspect of it. When I get tired of guitar playing I’m usually happy with my singing and songwriting. When I get frustrated with my songwriting, usually I’m happy with my playing and singing.

Having all three of those things in my life keeps me from getting completely frustrated with myself. It’s very rare that I hate all three of those things. [Laughs] I don’t think I’ve made my best record yet. I don’t think I’ve written my best song yet.

Brian: What’s on the horizon for Warren Haynes?

Warren Haynes: I’d like to see Gov’t Mule continue for years and years to come, touring, recording, progressing and growing. I’d like to do another solo record at some point.

I’d like to get involved in producing other people’s records and stuff as the years continue. There’s a lot I want to do that I haven’t done, so I want to accomplish as much as possible


Warren Haynes is another influential American blues-rock guitarist, singer and songwriter that would be worth your while to listen to, if you truly a blues connoisseur. Here are a few of his CD’s that you may want to pick-up the next time you’re at your local music store or should you choose to purchase them from http://www.Amazon.com

As I continue my research other influential blues and blues-rock guitarists from the late 1800’s to current times, should you be interested in anyone in particular, just let me know be leaving me a comment and I’ll complete all the research, then publish a post in the artists name.


CD_By A Thread by Gov't Mule (2009)   CD_Deep End 1 by Gov't Mule (2001)   CD_Dose by Gov't Mule (1998)   CD_Gov't Mule by Gov't Mule (1995)

CD_High & Mighty by Gov't Mule (2006)   CD_Live At Bonnaroo by Warren Haynes (2004)   CD_Mulennium by Gov't Mule (2010) - LIVE   CD_Tales of Ordinary Madness by Warren Haynes (1996)

CD_The Benefit Concert 1 by Warren Haynes (2007)   CD_The Benefit Concert 2 by Warren Haynes (2007)   CD_The Lone Ep by Warren Haynes (1999)   CD_Warren Haynes Presents - The Benefit Concert Volume 3 by Warren haynes (2010)

CD_Warren Haynes Presents - The Benefit Concert Volume 4 by Warren Haynes (2011)   CD_Warren Haynes-Man in Motion   Warren Haynes with Gov't Mule at All Good Festival  


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Musician By Night . . .

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