Alan Paul's Blog, page 35

A very different take on “Little Martha”

I think this captures the eerie solitude and beauty of Rose Hill cemetary, which I’ve visited many times, and also reflects the structural sturdiness and melodic beauty of Duane’s only composition. It’s worth noting that Dickey Betts disputes the song title’s origin. As reported in One Way Out: The Inside History of the Allman Brothers Band, he says that “Martha” was Duane’s pet name for his girlfriend Dixie.

Dickey Betts and Great Southern will be performing in Macon tomorrow (May 3). Maybe someone can drag him down there to pay respect to Elizabeth Reed and his fallen comrades.

Enjoy:

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Are the Allman Brothers ending this year or not?

Butch, Galadrielle and Gregg at Wanee.

I’m getting a lot of emails and other inquiries about whether or not the Allman Brothers will really stop touring after this year.

Articles like this one in Ultimate Classic Rock spur the issue along.

Of course, that article was based around Gregg telling an interviewer for Radio magazine that it was just a “rumor” that the band would stop after this year. Never mind that the rumor came from what Gregg himself told Relix magazine. He repeated the “rumor” statement at Wanee during his appearance with his niece Galadrielle, pictured to the left and captured in the clip at the bottom of this page.

Gregg was feeling good and was as animated as I’ve seen him. Of course, an hour or two later he broke his left wrist in a golf cart accident… all of which just goes to show: who knows what will happen. We’re just going to have to left the next few months play out.

Butch and Jaimoe at the Beacon, 2014. Photo by Derek McCabe.

I thought that Butch and Jaimoe played better and better at the Beacon shows, and were absolutely in sync and on fire over the last weekend, during the two Gregg-less shows. So I understand them not wanting to walk away and why it would be so difficult to do so; who amongst us would want to give up a partnership that works so well and pays so well? But if the three guys who will make the decision – Butch, Jaimoe and Gregg – opt to push on without Derek or Warren, it’s not clear how they would do so.

My standard answer to the question is that while I am certain that there is no plan in place, everything I have learned through 25 years of watching and covering this band and writing One Way Out: The Inside History of the Allman Brothers Band tells me that it would be a mistake to ever rule the band out or assume they are over. They have come back too many times after being presumed over. We’ll all just have to wait and see what happens. For now, I’m just looking forward to Mountain Jam and hoping that the show comes off as planned.

Warren Haynes on why he is leaving the Allman Brothers after this year.

Derek Trucks on why he is leaving the Allman Brothers after this year. 

Gregg Allman and Jackson Browne – “Melissa” and a great version of “Ain’t Wasting Time No More”

Here’s another video from the upcoming All My Friends: Celebrating The Songs & Voice Of Gregg Allman: Gregg Allman and his old roommate and songwriting mentor Jackson Browne doing “Melissa.”

I am really proud of the songwriting sidebar story in One Way Out: The Inside History of the Allman Brothers Band about the deep impact that Jackson and other California singer/songwriters had on Gregg. It hasn’t been discussed too widely. Let me know what you thought about that.

Click here for a full review of All My Friends and more video.

And one more thing. Check out this version of “Ain’t Wasting Time No More,” sung by Junior Mack and performed by Jaimoe’s Jassz Band. Now this is how you cover a great song!

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Eric Church – “Ain’t Wasting Time No More

The CD and DVD All My Friends: Celebrating The Songs & Voice Of Gregg Allman  will be released on May 6.

Yesterday, I posted my review of the evening and a video of “Midnight Rider,” featuring Gregg, Vince Gill and Zac Brown.

Here’s another little taste of the music.

Eric Church, “Ain’t Wasting Time No More”:

Review of All My Friends: Celebrating the Songs & Voice of Gregg Alllman

I attended All My Friends, the tribute to Gregg Allman, on January 10 at Atlanta’s Fox Theatre and reviewed it for Relix, for their 40th anniversary issue, which I think is still on the stands.

With the announcement that the CD and DVD of the show - All My Friends: Celebrating The Songs & Voice Of Gregg Allman - will be released on May 6, check out my review below. Please note that the review is of the show itself, not the release, though they seem to have included every song played that night.

But first, I present this video teaser:

“Midnight Rider,” featuring Zac Brown and Vince Gill:

REVIEW: The primary problem with any tribute concert or recording is that even the best versions of beloved songs make you long for the real thing. That was the case for much of All My Friends: Celebrating The Songs & Voice Of Gregg Allman, held January 10 at the gorgeous Fox Theatre in Atlanta. With Allman in the house and sounding as good as he has in 25 years, it was hard not to want to hear more of him.

The house band, directed by Don Was, included ex Allman Brothers Chuck Leavell and Jack Pearson, whose sympathetic guitar accompaniment, on-point slide and lyrical leads were highlights throughout the night. Warren Haynes got the show started with some sweet words and a great version of “Come and Go Blues.” Derek Trucks and Susan Tedeschi did the funky “Stand Back” justice. Sam Moore, half of the great soul duo Sam and Dave, was magnetic with a powerfully smoldering gospel version of “Please Call Home” and country singer Eric Church turned in a surprisingly strong interpretations of “Ain’t Wasting Time No More” and the underrated “Win Lose or Draw.”

Only country clown Brantley Gilbert’s “Just Before The Bullets Fly” was an embarrassment, but hearing Train’s Pat Monahan, Panic’s John Bell, country star Trace Adkins and others tackle Gregg’s songs served primarily to make you appreciate what a great singer the man himself is. No one ever sat at a Gregg Allman concert and thought, “This is good, but I wish Pat Monahan was singing.”

Every moment the man himself was on stage was a highlight. He kept us waiting throughout the first set, finally appearing on the last song, walking out to his organ to rapturous applause to sing “Statesboro Blues” with Taj Mahal, whose version of the Blind Willie McTell song inspired Duane Allman to learn slide guitar and quickly became an Allman Brothers trademark.  About an hour into the second set, Gregg reappeared, strapping on an acoustic guitar next to his old roommate Jackson Browne for gripping performances of Browne’s “These Days” and Allman’s “Melissa.” Zac Brown and Vince Gill joined for a spirited “Midnight Rider” and The Allman Brothers left their mark with just two songs – a blistering “Whipping Post” and slow-burning “Dreams,” both off their 1969 self-titled debut.

The show closed with an everyone-on-stage “Will the Circle Be Unbroken” that defied logic by sounding cohesive and great, with Allman, Taj, Moore, Tedeschi, Haynes, Browne and Dr. John taking verses. No one seemed to want the song or the evening to end and anyone who loves this music had to be moved seeing Allman, Leavell and Dr. John playing side by side; Browne, Tedeschi and Haynes sharing a mic; and Moore grinning ear to ear as Trucks soloed. It was a wonderful, moving moment and the timeless song fit right in with Allman’s own numbers, illustrating the strength of his songbook and serving as a final reminder of just why he is an artist worthy of such tribute.

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Derek Trucks on why he’s leaving the Allman Brothers Band: “sometimes you just have to step away.”

Derek at the Beacon. Photo by Derek McCabe

In January, Derek Trucks and Warren Haynes issued a joint statement that they would no longer tour with the Allman Brothers Band after this year.

Though Gregg Allman said in an interview that the guitarists’ departure would likely mark the end of the band, which is currently celebrating its 45th anniversary, the band has not released any official statement and their future plans remain unknown.

Last weekend at the Wanee Festival,Gregg suddenly declared that the “rumors” were untrue and the band would continue. Who knows what comes next? They are certainly giving me material for the final chapter in next year’s paperback edition of One Way Out: The Inside History of the Allman Brothers Band.

I spoke with Derek as the band was beginning their March run at New York City’s Beacon Theatre. They played 10 of 14 shows before postponing the final four because Allman was unable to perform after an illness which the band announced was bronchitis. They have not yet announced when the shows will be played.

Click here to read an exclusive interview with Warren Haynes on his thoughts on leaving the Allman Brothers Band.

Why did you decide to leave the Allman Brothers at the end of this year?

It’s something I’ve been thinking about for a long time. I want to see the legacy end as it should — at the top. I don’t want to see Joe Montana in Kansas City or Muhammad Ali at the end of his career. It’s a rare thing to be able to go out on top and in great shape, and I think it would be great, but it’s ultimately not up to me, but to the original members, if they will continue.

Right. And people are waiting for a statement that hasn’t come, which would seem to indicate that Gregg, Butch and Jaimoe have not made up their minds about the future.

I‘m hoping that if it continues, it’s because it’s supposed to and not for personal reasons. I think from Duane until now, the band has given everyone so much and at some point you have to honor the legacy with real dignity.

I was watching Leonard Cohen receive an award in Spain and I was struck by acceptance speech, with him talking about how everything has an end but you need to recognize and honor it and treat it with dignity. He said that if you have the ability to treat the end with real dignity and beauty, that’s what separates things. I thought that was apropos to our situation.

I understand what you’re saying, but also understand why it’s hard to stop something that is still working very, very well.

Yes, but at some point, you have to step away. With all the ups and downs of the band, it’s been an amazing, unique story — as you know as well as anyone! And if you can go out the right way, it keeps the story amazing to the end. It might be a hard thing to do, but to me, it’s the right thing to do.

Why did you and Warren elect to make your announcement together?

I think it’s more powerful that way. The information was leaked out in January on the Jam Cruise, and it was going to come out one way or the other that I had decided not to tour with the Allman Brothers after this year, and I just wanted to get out in front of it

I was really happy that Warren decided to be with me, but that was, of course, up to him. It all happened really quickly; information travels quickly these days. I was leaving for a tour and I started getting these emails asking questions and basically saying, “We’re going to run with the story. Do you want to comment?”

Obviously I’ve been thinking about it for a while and I just decided to jump on it.

The statements by you and Warren were very eloquent. Did you really write them in response or did you have them ready?

Thanks. We wrote them in response. I spoke to [Tedeschi Trucks Band singer] Mike Mattison who has a great way with words and helped me craft my statement. Then I sent it to Warren. I didn’t want to implicate him at all if he wasn’t ready. Half an hour later, he called me and said, “Do you mind if we change the first paragraph from I to ‘we’ and I add my own statement?”

Derek Trucks getting ready to go on stage with Gov’t Mule, Wanee 2014. Photo by Alan Paul.

Can you just explain a little why you have decided to do this now?

Really, it’s more time at home and more time focusing on one project. Since I’ve been an adult, I’ve never had the opportunity to go full steam on one project. I love all the amazing opportunities, but it’s going to be great to wrap my head around one and see what we can do.

I’ve been in the Allman Brothers for 15 years, and the whole time I’ve also had my solo career and it’s been wonderful but very busy, and frankly I’ve missed a lot of my kids growing up. I’ve never been home for one of my son’s birthdays. It’s March 6 and I’ve been at the Beacon every year. I want to jump on the last remaining years I have with my kids before they are fully grown up. We’ve managed it really well and been very fortunate to have family close by to help out, but it’s time to simplify and refocus on my own band and my family.

Anyone with a family can understand that desire. On the other hand, the Allman Brothers have toured less and less and it doesn’t seem like a huge time commitment.

Right, everyone thinks that, but there’s also travel, rehearsals, the difficulty of scheduling. And even if it’s “only” three or four months a year dedicated to the Allman Brothers, that means you start the year with eight or nine instead of 12 and it gets chopped up pretty quickly. I don’t think I’ve had a month at home since I joined the Allman Brothers, and I’m ready for that.

The band has done a remarkable job for 45 years at finding great new players to replace seemingly irreplaceable members.

Yes, and who knows what will happen next. I would never bet against an Allman Brothers’ resurrection. There have been a few times I thought it was over, and we came roaring back.

There’s something about the storyline that sets it apart. You have to give back to the institution and even though it may seem counter–intuitive, it may be that the best way to do so is walking away. I respect the band and the music as much as anyone does, and it’s been amazing being a part of it, but I also feel like sometimes you have to step back from it and think what’s best for the legacy of the group.

Warren and I and a few of the other guys in the band have had long heart-to-hearts about this and really believe we have the chance to go out and throw down. Going out with guns blazing, giving it everything you’ve got, is a lot better than limping across the finish line. No one wants to see that happen. If I were writing the story, that’s how it would go. But a lot of people are in a lot of different places personally and musically.

You seem very calm and at peace with your decision.

Honestly, I feel like a weight has been lifted because it’s something I’ve been contemplating for a long time. You can only mean it at 100 percent as long as you mean it at 100 percent. I’m not an actor, and when I play it’s got to be full on. If I feel like it’s the right thing to do, it’s easy to do.

My feeling always is, if you can continue to put your heart in for the right reason and keep roiling then you should do so. Now I feel much as I did when I put my solo band aside in favor of [Tedeschi Trucks Band]. Some people didn’t understand why I would do that, but I just thought it was time.

And from the first day of rehearsal, it feels really fresh and new and honest, maybe in a way it hasn’t since the 40th anniversary. I’m excited about getting on stage every night and playing every show like it’s the last show. You try to have that feeling every time you go on stage, but it’s 100 percent different when it really might be true that It could be the last time you play this particular song with this particular band — so make it count.

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Wanee 2014

I’m back from Wanee, dazed and confused but happy. It took me a couple of days to process the weekend and get my head back together to be able to write this. It was a great weekend for me.

When Jaimoe tells me to buy something I don’t say no.

One of the only downers was my flight down there was cancelled, forcing me to fly to Orlando and miss Thursday night. I had been excited to see the Royal Southern Brotherhood, Hot Tuna electric and Soullive.

As usual, Jaimoe was involved in the highlights, notably taking a long slow walk across the fairgrounds from the Mushroom Stage tot he Peach Stage.  We stopped to chat with people and to do some shopping. Jaimoe, who’s always been known for his fashion sense, talked me into buying matching corduroy patched pants. Check them out to the left.

With Joe Bell on the Mushroom Stage. Photo by Jason Koerner.

Speaking on the Mushroom Stage was, of course, a career highlight. Just being able to say “I spoke on the Mushroom Stage” is a highlight actually, but it was wonderful to look out into the crowd and see so many interested faces looking back.

Signing at the Hittin the Note tent. Photo by Ivy.

All of you writing me with thanks for signing, talking, etc, you’re welcome, but you can stop. It was seriously, truly my pleasure. A guy who wrote a book about the Allman Brothers couldn’t ask for a better place to be hanging out. All anyone who creates any kind of art really wants is someone to appreciate the work; being in the middle of a huge festival filled with such people is off the charts. I truly enjoyed meeting and talking with so many of you. I share your passions and admire your dedication. Special shout out to everyone at Helen’s Hilton.

Chris Robinson digging his One Way Out while hanging with Derek Trucks and Eric Krasno.

The whole festival just has a really pleasant old school vibe and that extends to the backstage hangs at both stages. Anyone who didn’t have to rush away hung out and enjoyed one another’s company. Eric Krasno was everywhere I turned. Warren and Derek made the rounds sitting in with people – especially Warren. Chris Robinson, Neal Casal and the rest of the CR Brotherhood did not seem in any hurry to leave, and both were really happy to get copies of  One Way Out: The Inside History of the Allman Brothers Band.

And. of course, I really heard a lot of great music. The bad part of being at a festival is you can’t see it all and I missed some people I didn’t want to miss.

But a few musical highlights for me, in no order: moe., Jaimoe’s Jassz Band, my Pittsburgh homeboys Rusted Root (only saw the first few songs and they were a lot stronger than I recalled), Trey Anastasio, who was also much stronger than I thought – it’s been a while. I listened from way in the back with Jaimoe and he said, “Trey’s got himself a good band.” He also whispered some really funny stuff I can’t post. Next time you see me, ask me about it.

Break Science was new to me and very good – especially with half the TTB horn section and Reggie from JJB sitting in, along with The late night set of UM doing covers with lots of guests was very cool, but it was the end of the fest and man was I cooked.

Dumstaphunk doing Zep sounded like a cheesy idea to me, but the execution was excellent… and Warren lit it up for a couple of songs… that kept me up way past my bed time… I was trying to turn in early, due to be on the same stage at 10 AM. At about 2 am Warren told me he wanted to come to my talk and asked when I was on.

“10:30 sharp.”

He clasped my shoulder and said, “I’ll be here in spirit, buddy.”

And, of course, the Tedeschi Trucks Band and Gov’t Mule were both great. I can;t really defend the position but it seemed like a particularly strong TTB set and Warren and Mule just played seamlessly.

Butch, Galadrielle Allman and Uncle Gregg. Photo by Jason Koerner.

Galadrielle Allman was joined by figurative uncle Butch Trucks and real uncle Gregg Allman when she spoke Friday morning on the Mushroom stage discussing her book, Please Be with Me: A Song for My Father, Duane Allman.

As you can see in the picture to the left, Gregg was in great spirits and he caused a stir and created some news when eh said, parapahrasing, “the rumors are not true. This is not the end of the Allman Brothers Band.”

Never mind that there is no plan in place and that the “rumor” was started by Gregg himself when he said definitively in an interview that with Warren and Derek departing, the band would cease at the end of 2014. I understand the excitement this announcement caused, but I would caution everyone to not take it too seriously and just kick back and enjoy any and all ABB shows you can take in.

About an hour after his talk with Galadrielle, Gregg had some sort of golf cart accident and injured his left wrist. He gamely hit the stage that night wearing a cast. He didn’t play too much – Kofi Burbridge was also on keys – and he didn’t really sing a whole lot, either. The ABB set was still pretty intense and musically strong, with Warren very much steering the ship through two instrumentals. Gregg sang his few songs pretty well, but was not terribly involved.

Saturday was a much stronger overall ABB show and Gregg seemed in fact to have something to prove. He sang 5 of the first 6 and I thought was in very strong voice and he actually played a bit more, though still augmented by Kofi.

Trey with ABB – 4-11-14.

Warren Haynes on why he decided to leave the Allman Brothers Band

Warren Haynes – has guitar, will travel. Foto by Kirk West.

Originally published on WSJ.com Speakeasy blog.

Guitarist Warren Haynes has been at the center of the Allman Brothers Band revival for most of the last 25 years. He was founding guitarist Dickey Betts’s foil when the group reunited in 1989, before leaving with bassist Allen Woody in 1997 to focus on their band Gov’t Mule.

Haynes returned in 2000, providing much-needed credibility and stability after the Allman Brothers parted ways with Betts and Woody passed away. He has been at the core of the band’s sound ever since, teaming with Derek Trucks to form a powerful guitar front. In January, Haynes and Trucks jointly announced that they no longer intend to tour with the band after this year.

The group has not officially announced their plans beyond summer festival appearances, but 14 shows at New York’s Beacon Theatre, March 7-29, will mark the beginning of the end of this lineup. Haynes discussed his decision and looked back at his own legacy with the Allman Brothers Band in this exclusive interview.

The announcement that you and Derek would be leaving the band at the end of the year surprised a lot of people. Why did you both feel it was so important to make a statement once rumors started circulating?

This is actually something that the whole band has been talking about for a few years now. Derek and I had been making plans based on the fact that the band was going to stop touring after the 45th anniversary. For several years we have thought about ourselves as a team. I don’t think he wants to be here without me and I don’t want to be here without him. I think this version of the band is that way in general, based on the initial chemistry that we had 14 years ago and that has continued to grow.

Everybody adds so much in their own way to the big picture that I kind of look at as being a high water mark and a good place to stop. Then I guess in some people’s minds it wasn’t quite as concrete as in other people’s minds, but we felt like it was the right plan and we should all stick with it. Now Gregg’s come out and said he thinks it’s the right plan as well, so we’ll see.

You’ve always seemed to thrive by juggling a lot of projects. So what’s next?

It’s true that being busy has never been an issue for me. Mule has a new record out [Shout!] that we’re going to be continuing to promote for a long, long time and I have a lot of projects in the work: the Warren Haynes Band, a solo acoustic project and some other stuff in the works that I’m not quite ready to discuss. I also have a two-and-a-half year old son that I’m very excited to spend more time with, albeit my schedule will remain very busy.

You’ve been called the guy who revitalized the Allman Brothers twice. How do you feel about that?

To whatever extent it’s true, it’s about the band being open to embracing new ideas and new blood and not expecting the new guys to keep quiet and play the old parts because a lot of bands wouldn’t be capable of that. I think in the Allman Brothers, the musical equality on stage is so important that everyone understands that the only way the band is going to hit its stride and play to its potential is if everyone is equally engaged. They were very open from the very beginning to me singing, writing songs, contributing to arrangements – to anyone contributing ideas.

Do you feel any extra emotion heading into this run?

It hasn’t really kicked in yet, but it will. I think the shows are going to be very emotional but really good.

You’ve played the Beacon over 300 times, with the Allman Brothers, Gov’t Mule and Phil Lesh. No one knows the place better. Is there anything special about the room itself or is it all about the history the Allman Brothers have created there?

It’s everything. The vibe at the Beacon has a lot to do with it being an old school theater and the way the energy feels coming from the audience to the stage. New York crowds are over the top and different than anywhere else, but the Beacon audiences exist on their own level, which I can’t explain. Combine that with the fact all the original guys say it reminds them of the Fillmore East, where they had their greatest moments, and it all comes together into something very special.

Buildings from that era were all unique, with their own personality and sound. You have to adapt, but the Beacon is so very familiar. There’s nothing else quite like the feeling I get when I walk on stage there and plug in. I don’t spend as much time or energy adapting or thinking. I just start playing.

How is playing an extended run different than touring? Does sleeping in the same bed every night impact the way you play?

I live here so it’s easy for me, and being in one spot for a long time is a breath of fresh air compared to traditional touring, but by the time the run is over, we’ll all be ready to move on to something different. The crowd energy in an extended stay is also quite different compared to a one nighter. The audience is different every night, of course, but some of it is the same and that pushes us to play differently. I know it can sound esoteric, but the energy we get from the crowd fuels the music in a very real way. We know we have to keep it very high energy on a Saturday night. The middle of the week shows tend to be hardcore fans bound and determined to see the show even though they have to get up for work in the morning. They may not be as high energy but they’re very focused and that can lead to a show that’s a little more relaxed and jazzy or song-oriented rather than heavy jamming.

If you were to take 10 Allman Brothers fans and ask what their ideal set list would be, you would get 10 completely different answers, so we can’t worry about that too much.

The Beacon shows have become famous for guest sit-ins, peaking in 2009 for the 40th anniversary, with Eric Clapton, Billy Gibbons and many others. Does that put pressure on you now?

No, I don’t feel pressure to make the 45th compete with the collaborations from the 40th. We worked very hard on that, figuring out months in advance who was going to sit and in some cases even what material they would play with us. This year will be a little more relaxed, figuring it out on a day-to-day, week-to-week basis There will be a lot of cool guests showing up, but it’s not going to be as formalized as it was in ’09. Not only is it something I really enjoy, it makes each show stand out and have its own special quality – not just for the audience, but for the band as well. In order for us to enjoy 14 shows somewhat equally, they have to all be different and we have to be able to immerse ourselves.

What are your proudest moments in the Allman Brothers?

There are so many highlights that I couldn’t list them all. The thing I’m most proud of is that we’ve been able to carry the mantle of a great tradition, revisit the band’s concept and vision and in some ways carry it into the future. And it was never based on compromise or wondering what the public would expect from a commercial standpoint. It was based on trying to tap into the vision and proud tradition of the original band.

What was your most difficult moment?

When [bassist Allen] Woody and I left in ‘97 to concentrate on Gov’t Mule, we had been procrastinating for quite a while. It’s hard to leave an institution like the Allman Brothers, even though we knew it was the right thing to do. Getting there and actually doing it was very difficult. Returning to the band in 2001 following Woody’s death was the hardest thing for me emotionally. I was underneath a cloud of anguish that doesn’t allow you to make decisions based on seeing the future as openly as you might otherwise.

Woody and I had made our decision and were not looking back; the Allman Brothers era of my life was in the past and had he not passed away there would have been no reason to return. I was faced with this decision about whether or not to continue with Gov’t Mule, which was half Woody’s vision, and just what to do with myself. When Gregg called and asked me to come back it was hard for me emotionally to realize that was something I had to at least consider. But when I came back in to the band was getting along great. The current state of affairs was a lot different, everyone was playing and singing great and it became much easier for my emotions to eventually settle down to where I could better process the situation.

Watching the recently released Great Woods DVD and Play all Night Beacon CDs from 1991 and 1992, I was struck by how different the guitar roles were with you and Dickey Betts than they are with you and Derek. Have you reflected on that?

Yeah. I’ve been in an interesting position where my role as a guitar player has changed drastically. It was much more about complementing Dickey’s musicality in the way that Duane Allman did. That had been Derek’s role as well. So to be fair and just to make it interesting and shake it up, we decided to divide up our roles. I found myself sometimes playing with more of Dickey’s influence than I ever would if I were playing with him. That contrast is important to the band’s sound, so Derek and I maintain it, but it’s fluid as to who’s playing which role and how much we’re just flying by and being completely ourselves. We’re moment by moment deciding. I view it as a win-win situation where it can remain exciting, different and positive every night.

Do those switches just happen, or are you consciously thinking about them and discussing them?

It’s more of a response. The best you can do onstage is not be thinking at all; that hopefully gets done offstage and when it’s time to perform, you shut down the cerebral part of your brain and just play.

Can you imagine what your music would sound like today if you had never been in the Allman Brothers?

There’s no way that I could possibly trace which path my playing would have taken had I not joined the Allman Brothers. It’s just too intertwined. Who knows where I would have ended up.

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Wanee Festival Here I Come

Post by Wanee Festival.

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Sound Opinions and other interview highlights

Things have been moving fast and furious and all in the right direction. One Way Out remained on the New York Times Best Seller’s List for three weeks, and is still selling very well. 

I’ve been wanting to post some of my favorite interviews and press links but everything has just been zinging too fast. I finally have a moment to exhale, and this excellent piece on NPR’s Sound Opinions prompted me to post a few more. The Sound Opinons piece did a really nice job interspersing the interview with me with musical examples.

RADIO:

With soundcheck’s John Schaefer in WNYC Studio.

•Macon NPR interviewed me for a Macon-centric profile that came off really well.

•The Soundcheck Guide to the Allman Brothers…featuring me. It’s always special to be on a show and station that I listen to egularly, as was the case here.

This includes not only a lengthy interview with me guiding host John Schaefer through the Allman Brothers music, as well as a full page write up. Another great job of using an interview with me to listen to some great ABB music.

•A nice one with Paul Harris of the nationally syndicated American Weekend.

A couple of more recent print highlights:

•Jim Farber of the New York Daily News:

“Though enough tomes have been published about the Allmans’ troubled history to deforest half of Brazil, only Paul’s book gets all the principal figures assessing and confessing. However open and moving Gregg Allman’s autobio from 2012 may have been, Paul’s book gives a much fuller picture of the dynamics that drive every member — including why guitarist Dickey Betts remains so vexing.”

This was part of his over-reaching ABB preview.

•”Alan Paul’s just-published biography, One Way Out, is a thorough account of the group’s birth, several implosions and multiple resurrection.”

- Rolling’s Stone’s David Fricke, in his ABB overview.

“…the vision of the late Duane Allman was for a musical means of free expression—of the blues, of race and revolution, and of brotherhood. Paul’s One Way Out excels in encouraging and presenting that same freedom of expression when the subject in focus is the band itself.” Full review here. 

•Nice Q and A in Rock Cellar Magazine.

•The Seattle Post Intelligence:

“No matter what you think you know about the ABB, One Way Out is bound to be revelatory on many levels…. This is essential reading that strips away the myth to expose all the moving parts in vivid detail.”

 

On Imus in the Morning