I’m feelin’ jammy today. So plug in the headphones and dig this:

And I’m climbing up on a mountain – so, here’s my bro’s favorite Allman Brothers Song:

Another nice little jam that’s live:

Give this one a second to settle in, as the guy with the camera gets the levels right, but it’s a good recording:

And, boo-ya, in HD and super clean (with awesome light goodness, too):

… what a great recording! Awesome people of the world, take note!

Album Cover

Gov’t Mule

“By A Thread”

October 2009; Evil Teen Records

By Emily J Ramey

Gov’t Mule has always been a shoo-in for critical acclaim and had an easy genre transition that made for a built-in fan base, what with it being Warren Haynes’ official side project and all.  That’s certainly not to say that the band hasn’t worked hard and isn’t musically awesome in their own right, but I think even Warren would agree with me that the whole Allman Brothers association hasn’t exactly been underplayed in the band bio.  Current Gov’t Mule, on the other hand, is straying farther and farther away from the twangy good ol’ southern rock so characteristic of the Allman Bros Band.  Let’s just say Gov’t Mule is a little less “Jessica” and a little more “Whipping Post” with each subsequent album, and By A Thread is fraying the genre ties and ever-present comparisons with more fervor than ever.

By A Thread is dirty and dense, mighty, muscular, and soulful.  The album begins with the heavy, churning “Broke Down On The Brazos,” with the fierce introduction of recent addition, bassist Jorgen Carlsson, on the record.  “Steppin’ Lightly,” the second track, is a grungy, distorted track with a chorus that resolves the song with the lyrical line, “Can’t you feel me rising today?”  “Monday Mourning Meltdown,” on the other hand, is all jam.  The bluesy feel of the song conjures up a contagiously mellow atmosphere that gets moving with a few well-placed harmonies in the chorus.  The song then breaks down into a couple of raucous and funky keys and guitar riffs.  “Gordon James” acts as a ballad that is borderline country music, but Haynes instead steers the melancholy instrumentation toward wailing, woeful guitars and his own clear voice and southern sorrow.  As it is, “Gordon James” is probably the most  memorable track on By A Thread for its purity and rhapsodic passion.  “Inside Outside Woman Blues #3” is densely rhythmic and vehemently robust.  Bass and drums rumble along at the low end, keys trill wildly at the high end of the sound spectrum, and while Haynes’ vocals remain staunch and growling, his guitar sweeps the scales with a savage and hungry blaze.

Three years since their last studio album and Gov’t Mule is smoldering hotter and more aggressively than ever.  Each of the respective musicians’ explosive capabilities is singularly unmistakable, and together they are invincible.  Warren Haynes and Mule have big plans for this album’s tour, including the usual and widely popular festival circuit.  See you there.

412 words

My Aimz Is True Report:

Click here to go to MAIT to check something solo from Allman Brother guitarist…Richard “Dickey” Betts “Long Time Gone”

Ulf Gerhard Lundell blir 60 bast idag! Sexti är det nya förti, som han själv säger. Grattis Uffe. Nu ser vi fram mot nya låten Fyrtiosju, Fyrtiosju.

Tre år äldre skulle Duane Allman blivit idag. Han blev dock bara 25. I en omröstning i tidningen Rolling Stone utsågs Duane Allman till världens näst bäste gitarrist. Efter Jimi, såklart. Trea blev B.B. King, fyra Eric Clapton och på femte plats kom Hans Lyttkens.

Dagens live-tips blir Gotlands egna pubrockare Di Sma som i afton svettas på Hamnplan 5, naturligtvis anförda av Janne B som har inte mindre än två PopGiss-titlar i ryggen.

Di Sma

Blues Alley photo courtesy of the DC Government

I had an interesting discussion tonight about cover songs. Covers are both a pretty funny idea and a bad idea most of the time. Many covers, like the Goo Goo Dolls’ “Give a Little Bit,” are basically chord-for-chord rehashes of the original. This makes me wonder why in the world anyone would do an identical rendition of an already good song. Is it worth the time and energy to record a song that is identical to the source material? To me, that’s the worst kind of music, because a lame cover not only sounds bad, but it cheapens the original’s appeal as well. So why even do it? Great question.

This discussion was particularly appropriate today, because I also learned that Jacqui Naylor is going to make an appearance at Blues Alley tomorrow night (1073 Wisconsin Ave., NW). As a deep, sultry jazz artist, Jacqui adds an interesting element to pop and classic rock covers. She adds an impressive mix of both nostalgia and modernity into her work, and they almost remind me of a period piece set in the 30s–sort of like the South Seas Club in The Rocketeer.

The covers don’t sound like the same songs; in fact, “How Deep Is Your Love” doesn’t sound like the Bee Gees at all. This, of course, is a good thing. Also check out “Summertime” (which sounds awfully similar to The Allman Brothers’ “Whipping Post”), “Miss You,” and “Shelter” on her Web site here.

I’ve been listening to her most recent album, “You Don’t Know Jacq,” tonight, and she seems to be very adept at mixing genres, even when logic suggests that they don’t go well together. I don’t know if her music signifies a new genre in music or not (“jazzic rock,” perhaps?), but that doesn’t really matter to me. What matters is that these covers sound fresh.

Ultimately, the real indicators of music should be pretty simple: 1.) does it sound good? and 2.) will it sound good when I listen to it again? The answer to the first question is, yes it does sound good. Quite, actually. What will my answer be to the second question? Stay tuned for a follow up post.  While I’m a jazz newbie, I always like late-night music and this fits the bill for now.

Jacqui will be playing two shows tomorrow night: 8 p.m. and 10 p.m. Tickets can be purchased in advance at the Blues Alley web site or by calling 202-337-4141. I won’t be able to make it, and that’s too bad. The music scene has been pretty anemic around here for the past few months, and I am in the market for a decent show. If you go, let me know how it is.

Also, I can’t guarantee that the typical Georgetown crowd will abstain from attending, but Jacqui seems to be a little too sophisticated for the popped collar scene.

• Tom Petty/Mudcrutch < Lynyrd Skynyrd/Allman Brothers
• Frat Dudes <  Jax Beach Rockabilly dudes
• Less than jake > Yellowcard
• Xenophobic Gainesville Hipsters < Go Nowhere Riverside Hipsters
• No Idea Records > Dead Tank Records
• Hot Water Music/Against Me > Whole Wheat Bread/evergreen terrace
• Paines Prairie = Hanna Park
• Santa Fe College > Florida State College (FCCJ)
• Boca Fiesta < Burritto Gallery
• Kickstand > Zombie Bikes Bike Gang Bike Co-Op
• Gainesville Artwalk < Jacksonville Artwalk
• Wayward Council/ Hyde & Zekes/ Sharpies > Weird Wax/nothing/ nada
•  Lake Newnan < Jax Beach
• Anthem Tattoo < Ink Smith and Rogers
• Purple Mushroom < Glasseye
• RTS > JTA
• Reggae Shack  > Phase 1 Jamaican Products
• 1982 > Jack Rabbits
• O Connel Center < Jacksonville Arena
• Gator Football < Jacksonville Jaguars( Fuck the Gators, they win every fucking game, thats boring)
• Downtown Farmers Market < Beaver Street Farmers Market
• Civic Media Center > The Museum of Southern History
• Balls > Blanding Billards
• Alachua/Newberry/Waldo > Macleney/Fernandina Beach/ Orange Park
• Downtown Gainesville < Downtown Jacksonville
• Gainesville Beer Prices < Jacksonville Beer Prices
• Jammy Dodgers < The Band Aids
• Grabass charlestons < SPP
• Hardback = Milk Bar
• Kickstand (venue) < Doozers Pub
• Backstage Lounge > The Pit (Beach Blvd)
• The Atlantic > The Landshark
• The Venue > Freebird
• Young Livers < The 2416
• Religous As Fuck > Civilization
• Radon = Grabbag
• Asshole Parade > Status Faux
• Anchor Arms < Swirl360
• Assassinate the Scientist > Whaleface
• Whiskey & co. < Honey Chamber
• Chris Wollard < Kevin Lee Newberry
• 2nd Ave   <  College St.
• Gainesville Downtown Library Bums <  Jacksonville Downtown library bums
• Fletchers = Da Dirty Dirty
• Swamp < river
• Mothers < Harpoon Louies
• Video Rodeo > Superstore Video News
• Gator Dawgs > JAG Dawgs
• Leonardos < Moon River
• Obscurist Press = Infintesmal Records
• Southernshedpunk.com > Whacksonville.com
• Stephen Stills < Ricky Medlock
• Oaks Mall < Normandy Mall
• Glory Days Booking = Orange Garden Productions
• Haile Village Market < Riverside Arts Market
• Hogtown Brewery = Bold City Brewery
• Las Margaritas > La Nopalara
• The Fest( corp. sponsered) < Conmoto Trech Fest(imagine if HOH was in downtown jax! !)
• Later Gator bus service > Calling a fucking cab/driving drunk

Got to the store Saturday morning for the 8:00 run, only to find myself by myself for the first time in perhaps eight years.  So I started for Pawson Point with the blues on my mind: there’s Nobody Left to Run With anymore http://www.youtube.com/watch?v=8oT0ZFwgsu0.    But Bill Datre came along just past the Indian Neck Fire House, and Linda Kowalski joined in on the way back at the Owenego.  Then I found this clip on You Tube, and all was right with the world.

Rock God Cred Report:

Click here to check a 70’s classic from Derek and the Dominos “I Looked Away”

Buy “Layla (and Other Assorted Love Songs)”…essential Eric Clapton, Duane Allman, and don’t forget Carl Radle, Bobby Whitlock, and Jim Gordon

Earlier today, I drove the hour and forty-five minutes to the St. Charles Coffee House in St. Peters, MO, and I have to say, it’s an excellent place to perform open mike anything. It’s clean, there’s no cover, the coffee is delicious, and everyone is nice.

Everyone else was doing the singer-songwriter thing, so I was the only funnyman, which in a way made things a lot better. Doing open mike (mic? abbr. are not my spec.) comedy with fifteen other up-and-coming¹ comedians means that you’re inevitably compared to all the rest of them, and no matter how good you do, there’s always someone who told a joke that got a bigger laugh, or had fresher material, or was more comfortable on stage, and that can be a little disheartening. Being the only comedian meant that my performance could be judged independently. I was also able to make a few introductory jokes about being the only one not singing, so that was nice, too.

Tonight, one of the open mike musicians happened to be Devon Allman, Greg Allman’s son, and therefore, Duane Allman’s nephew. He was apparently old friends with the MC: they met each other in “the pen,” as Devon explained it. The MC clarified that he meant Guitar Center. Having been to a few Guitar Centers myself and witnessed first-hand the overly-aggressive sales tactics they employ, I think I side more with Devon’s version.

I wanted to say something to Devon, but having never heard his band (or even of him) before tonight, I was at a loss. “I’m a big fan of your late uncle’s”? Doubtful. He sat right next to me though, and I eagerly texted every Allman Bros.-fan that I knew to tell them. He played a few songs with the MC, including a cover of “All Along the Watchtower” that was really great.

When the show was over, I claimed I had joked so well that I made Devon Allman look like the son of a talentless hack. (And Andrew’s trying to use that comment to start a feud between me and the rocker. When I told him this could only end bad, he said that rappers do it all the time, so what’s the worst that could happen? I reminded him that rappers get shot all the time, too.) That’s not true, though. He rocked it out, and I did pretty well. It ain’t like I’m Jerry Seinfeld’s kid or anything, though, so I’m gonna call it a wash.

And, since Devon went on before a guy who went on before a girl who went on before a guy who went on before me, by the transitive property, he opened for me. That’s one for the resumes, right?

–

1. Patton Oswalt discusses the three kinds of people you see at open mikes in his brilliant Werewolves and Lollipops. They are as follows: the people who are funny but unoriginal, the unique voices perfecting their art, and the crazies.

En 2005 Derek Trucks participa en el disco The Road to Escondido, de J. J. Cale y Eric Clapton, y que es la última grabación de Billy Preston antes de su muerte. Clapton queda contento con la experiencia, y invita a Trucks no sólo a ser su telonero, sino también el segundo guitarrista en su banda durante el tour mundial de 2007 (lo que viene siendo tocar toda la noche).

Los conciertos tienen un alto contenido de canciones de Derek and the Dominoes, con Trucks encargándose de las partes de Duane Allman.

En 2009 los Allman Brothers han celebrado su cuadragésimo aniversario (ahí es nada). Se cumplían también veinte años de su primera actuación en el Beacon Theater de Nueva York, donde suelen tocar anualmente. Decidieron celebrarlo tocando quince conciertos en dicho local, y con la idea de recordar a Duane Allman, decidieron invitar a diversos músicos que tocaron con él. Los invitados fueron muchos (miembros de grupos amigos como Grateful Dead o Phish, viejas glorias como Buddy Guy), pero quizás destacan las dos noches que supusieron la primera actuación en directo de Clapton con los Allman Brothers (más allá de aquella noche de improvisación, en 1970), y donde de nuevo hicieron acto de presencia muchas canciones de Layla and Other Assorted Love Songs. Los Allman Brothers empujaron a Clapton de la misma forma que en su día lo hizo Duane Allman, logrando que se marcara la versión de Why does love have to be so sad más feroz que se le ha visto en años (sólo audio, un vídeo con peor sonido puede verse aquí; memorable el momento en que Clapton mira lleno de admiración y orgullo el solo de Warren Haynes):

Considerando que Derek Trucks, sucesor de Duane Allman en los Allman Brothers, se llama como se llama por el disco que este último grabó con Clapton, queda un cierto regusto de justicia poética viéndolos tocar juntos las canciones de ese álbum bajo la bandera los Allman Brothers (por mucho que aún esté por grabarse una versión de Layla con la intensidad del original):

Former session guitarist, Dominoe and Allman brother, Howard Duane Allman passed on this date in 1971 after a motorcycle accident. “Skydog” is considered by many to be amongst the most elite guitarists of all time. His playing and virtuosity will forever be held in the highest esteem and respect. Click here to download a pristine recording of the Allmans at A&R Studios a mere two months before his death.

]]> http://reggpal.wordpress.com/2009/10/29/rip-duane-allman/ Fri, 30 Oct 2009 02:13:54 +0000 reggpal http://reggpal.wordpress.com/2009/10/29/rip-duane-allman/

One of my favorite guitarists, Duane Allman, died in a motorcycle accident 38 years ago today. Here is a great piece from RollingStone.com to honor him.  I often wonder whatDuane Allman could have accomplished.  He was gone too soon, but what he left behind will always be remembered.

“People can you feel it? Love is everywhere”

A Sunday night in the south, The Allman Brothers headlining with Widespread Panic taking the opening slot.  Pews replaced by rows of folding chairs. Holy wine replaced by beer. Stained glass windows replaced by speakers. The altar replaced by a microphone stand and church bells replaced by electric guitars. We are the congregation tonight, our hands will be the ones raised and clasped in celebration. We’ll be singing the gospels of Brother John and Brother Gregg with the heart of church choir, or at least something in the general vicinity, and both bands are the preachers. All this for a 52 dollar Live Nation donation (praise the Lor-DAH!!!).

For the second evening I found the area of the lot affectionately known as “Shakedown Street.” This area is set aside by nearly every venue as a wandering hippie mart. Homemade tie dyes, lot shirts featuring song names in place of well known store brand names, crystals, hemp products, and even a few unmentionables, everything either on display or carefully hidden, all for sale. And yes, the omni-present dollar grilled cheese, veggie burrito, pizza, pasta, or beer (“one for three, two for five”) are available as well from these folks as well. This is the way that a lot of these people fund their touring addiction and is one of the most colorful areas of any parking lot at a major jam band show. This wasn’t the largest Shakedown Street I’ve ever seen, but it was enough to bring me back to the days of seeing these on a much grander scale with the Grateful Dead on tour. While not as expansive, the reactions evoked are still the same.

Cool shirt!

Sorry buddy, I don’t have an extra ticket.

The guy that’s selling those crystals, he’s got some awesome tunes playing from his microbus.

If you touched that with your bare hands I’m not going to buy it, much less eat it.

The safe bet is that most of the people who were here last night are back tonight as well. With each band playing different setlists from night to night, it’s enough to keep a song chaser or setlist chaser busy. And I’m not complaining. With memories of last night’s show still very fresh in my mind, I couldn’t wait to take my spot, 15th row center, for tonight’s show. Tonight I believe my most commonly spoken phrases were, “that was hot,” “that was amazing,” and “thanks anyway pal, you smoke it.”

“We’re gonna summon the holy ghost to the battlefield”

Taking the opening slot tonight, Widespread Panic came out with The Talking Heads’ poly-rhythmic “Papa Legba.” “Come and open the gate“ . . . it is Sunday after all. “Worried” continued the slightly odd time signature style songs yet the band was still a force of nature behind everything they played. Jimmy Herring was very much on his game from the start, flinging searing leads like an old time gunslinger, a spot he’d stay on for the entire evening. “Pigeons” was bassist Dave Schools’ showcase, melodically and furiously attacking his bass, taking the rest of the band with him. This was the first song of the night that contained that earth crushing Widespread Panic groove. Finally, something that drives into your chest or loosens plaster from a venue’s ceiling. “Angels on High,” similar to last night’s “This Part of Town,” provided the band a chance to slow down a bit and for the rest of us to catch our breath. “Heroes” was perfectly placed as a the more mid tempo rocker segued into the pulsating, swamp groove of “Ribs and Whiskey.”  If your front porch had a mean streak, this is what you would hear playing from its radio. A bit later into the set Widespread Panic gave us our dose of religion, summoning the holy ghost to the battlefield and to “show me the way Lord.” By the time the band started playing “Blue Indian” with its backwoodsy swagger, it was clear that they were both in complete control of their craft as well as their audience. The band hit an extremely confident stride knowing it could do know wrong. Nearing the end of the set Warren Haynes, guitarist for The Allman Brothers, made his first appearance of the weekend after missing last night’s show. The last thing I remembered anyone saying to me was, “We’re about to hear a ‘Henry Parsons’ that you’ll never forget” before the chaos hit. The band seemed barely able to contain this version of the ZZ Top-ified “Henry Parsons Died.”  That control would nearly be lost again during the final song of their set, a cover of Buffalo Springfield’s “Mr. Soul”. With Todd Nance’s driving rhythm and Dave Schools’ rolling bass lines to provide a heavy foundation to fall back on, John Bell’s rhythm guitar and JoJo Herman keeping that Rolling Stones “Satisfaction” riff in check, Domingo “Sunny” Ortiz pounding furiously on his percussion instruments, Jimmy Herring and Warren Haynes just let it fly. Bell’s snarling vocals could barely be contained.

Bring it home boys!!!! Take no prisoners and turn ‘em ALL into believers!!!

This was the band’s final statement for the weekend here in Charlotte, determined to end their sets on a ferocious rock and roll note. Okay, so they didn’t really make the earth move beneath us but they did far better than that. They made us move. Which was okay because we needed the ground below intact. We had one more set to go.

“And the road goes on forever”

The Allman Brothers brand name turned 40 this year. Twelve lineups of varying degrees, most of the later years only slight, the core of Gregg Allman and Butch Trucks being the only combination still together from the very beginning. Jaimoe would miss only two years. Gregg Allman would credit Warren Haynes as being the man who saved the Allman Brothers. Six wives couldn’t keep Gregg Allman home, a bout with Hepatitis C couldn’t keep him off the road. The Allman name is associated with some of the greatest music in the classic rock genre, so much of it on display in Charlotte over these two nights. Warren Haynes back in the lineup meant another vocalist to take the pressure off of Gregg Allman. Saturday night’s show was an 8 song, two hour extravaganza that wasn’t for those with short attention spans due to Haynes’ absence. With Haynes back in the lineup the song count nearly doubled, reaching 14. Anyone who went to two nights witnessed two somewhat different Allman Brothers shows, both of them beyond stellar. When all was said and done by 11 pm on Sunday evening, were there any words left?

We could talk about the show opening “Don’t Want You No More” with Warren Haynes and Derek Trucks’ twin guitar leads, the signature Allman runs consisting of the second guitar playing the same runs in bluesy harmony with the first. There would be plenty to talk about with the soul/blues of “It’s Not My Cross to Bear.”

Lord knows there would be more than enough to talk about with the show stopping gospel of “Revival,” one of those songs made for a Sunday and made for the masses to raise their hands high and rejoice. I sure did and I know full well I wasn’t the only one.

We could certainly go over the Bo Diddly infused “No One To Run With” which included an extended outro that Santana would’ve been proud of, one of my personal highlights of the weekend.

“Midnight Rider?”  The anthem adopted by nearly every overnight traveler,  it was one of the songs on my wish list for the weekend, played to near perfection.

Then there’s “Little By Little” with Derek Trucks’ wife Susan Tedeschi guesting on guitar, standing toe-to-toe in what’s clearly a man’s world. Bonnie Raitt with sharper teeth, trading guitar licks with two other guitar heavyweights without a hint of intimidation. This chick can play!

Fast forward to the encore and we could spend some serious time on the shuffle/blues of “You Don’t Love Me,” a hot way to end the weekend. We could talk about every set from the weekend, look for every superlative in the dictionary and find it a hard task. I think it could be summed up with one moment:

Under a cool Carolina sky and nearing the end of their set, Gregg Allman took to his acoustic guitar for “Melissa.” The band in back of him, a 7 armed beast of sorts, playing tenderly across the air, Gregg Allman’s soulful voice is at home here. No real strain necessary, just letting the song’s meaning take his voice where it needs to go.

“Crossroads, will you ever let him go?
Will you hide the dead mans ghost,
Or will he lie, beneath the clay,
Or will his spirit roll away?”

Take a picture of this while you can, but don’t lose this moment. It’s the perfect sense of setting, place and time, the culmination of the sounds and experiences from this entire weekend. This is why you wanted to be here. What you’re feeling now, your eyes closed and those few tears rolling down each cheek, that sense of weightlessness, is what you’re chasing after each time you come. Take your pictures but cherish this wonderful feeling of communal liberation provided by this wonderful music.

Holy ghost summoned, love everywhere, as Warren Haynes would sing during Sunday’s “Soulshine:” Gotta let your soul shine, shine till the break of day, which it would long after Monday morning. Four amazing sets by two incredible bands, a venue in the southeast creating an aura perfect for this type of music. By the time you read this just know one thing . . .

I’m still clicking my heels.

– Brian Hedden, Entertainment Editor

“Ain’t life grand”

Two nights of Widespread Panic and The Allman Brothers in the southeast. This isn’t just a dream weekend, this is a dream weekend come true. Somewhere along the way I must have had a prayer answered, done a good deed, or unknowingly clicked my heels enough times to land myself in the parking lot of the Verizon Wireless for both nights. I would’ve been thrilled with one night. Having tickets to both nights..maybe I am just dreaming this but I wasn’t about to poke anyone to see if they were real. The venue in front of me and the tickets in my hands were proof enough. Besides, I don’t think anyone appreciates a poke, never mind one from a complete stranger in a Widespread Panic shirt.

I pulled into the lot a few minutes after 3 and headed straight to the box office for tickets to that night’s show (here’s a tip: buy your tickets at the Verizon Wireless Amphitheater box office if at all possible to avoid additional Live Nation fees; it will cost you a bit less than ordering online or over the phone). It’s largely a gravel lot capable of reflecting enough heat to make you grab that next beer pretty quickly, if it doesn’t nearly force you into spending the four dollars for a water inside. There are no shortage of hippies with smiling faces, colorful tie dyes, grills, beer and illegal substances here. We’re talking something resembling an old fashioned Grateful Dead lot which, not coincidentally, would remind one of the line to get into Winterland in the 70’s. The paradox in the midst of this scene is this modern phenomenon of setting up a DirecTV dish to a computer monitor, sitting outside your car or SUV and watching a college football game. Now I was always in the mindset where you got into the lot, set up your grill, you had your beer and you blared your band’s songs louder than the car next to you. A satellite dish to a computer monitor? Really? What’s on TV that’s so important that you miss out on partaking in a real lot scene? Blast your band’s music! Take on the car next to you in “The Battle of Volume!” Nonetheless, it’s always a joy to walk through the lot of these particular types of shows, a show in and of itself and sometimes worth the price of admission. For someone like myself it’s almost like comfort food. I know this place. This is home. This is where I belong. I know these people. I know you even if I don’t really know you. The more colorful scene was apparently going on in the adjacent lot, a spot I wouldn’t hit until the following afternoon. Nevermind that though, it was time to hear some music, and oh,  did we hear music . . .

“Wake up mama, turn your lamp down low”

The Allman Brothers started their 8 song, two hour set with a 30+ minute Mountain Jam, Widespread Panic’s Jimmy Herring standing in for the missing Warren Haynes, Gov’t Mule’s Danny Louis on keys Gregg Allman. Herring took little time asserting himself as one of the “Brothers,” matching Derek Trucks’ slide playing with his fiery, soaring leads. Gregg Allman had yet to take the stage but didn’t seem to matter much. This version hit extremely high peaks, Herring and Trucks trading wild solos, setting the tone for an amazing Saturday evening set. Gregg Allman finally took to the stage and took the guitar for a blistering “Don’t Keep Me Wonderin’” with the promise that “we’re gonna boogie!”  He would play the guitar for the evening, due to a temporary paralysis affecting two fingers. As those notes faded, the extremely tall guy next to me turned to get my attention and said simply: “I’d say he kept his promise.”

Next up was the slow, bluesy “Stormy Monday.” Sadly, many chose this song as their “bathroom” or “beer break” song, which is a shame as this version took its time to develop into a blistering blues jam.

Then the Allmans really took off and remained in flight for the rest of their set.

“Statesboro Blues” was nothing short of blazingly hot. I almost feel guilty in saying that I didn’t miss Warren Haynes all that much as Jimmy Herring more than made up for his absence. Oteil Burbridge took vocals for a cover of Derek and the Dominoes‘ “Anyday.” How could you not raise your hands to the heavens during the chorus? Dance like nobody’s watching? Sing like nobody’s listening and louder than you ever have in your life? How could you not have to hold back a tear of joy? This wasn’t just sound, this was aural happiness, a celebration of life punctuated by teasing the solo to “Blue Sky” in the middle of this joyous music. Herring flashing ear to ear grins, Trucks jamming so hard that he breaks a string, Brubridge’s fingers all over his bass, the music soaring and climbing, higher and higher, the crowd roaring in return. After “Trouble No More” the Allmans launched into the evening’s other major jam session, a half hour long “In Memory of Elizabeth Reed.” There’s a girl in front of me, long flowing hair, dress down to her ankles, twirling and gyrating, bending forward and leaning back, arms gently flailing to the blues/psychedelia pouring through the speakers. As the intensity picks up so does her dancing, making it impossible to not feed off of both the music and her energy. This was no longer the Verizon Wireless Amphitheater in 2009, this was the Avalon Ballroom in 1968. The Carousel. No, this was the Fillmore West (or East depending on your coast of preference) complete with liquid light show behind the band. This must have been what it was like. This version built to an eventual three man percussion jam that had to have been heard to be believed. Closing their two hour set was the classic “One Way Out.” All one could think of afterward was, “Widespread Panic has one hell of an act to follow.” I don’t think there was any doubt that they could do just that.

“Oh, kiss the mountain air we breathe. Goodbye it’s time to fly”

John Bell

Widespread Panic hit the stage a bit before 9. Lead singer and rhythm guitarist John Bell greeted Charlotte dressed in his normal button down shirt, sleeves rolled up to his elbows as usual, almost as if he were saying, “We got work to do, boys.” The band stormed out of the gate with an absolutely driving “Little Kin.” This is serious. Tonight they mean business. After a solid “Holden Oversoul” the band blasts into a potent “Surprise Valley” complete with one of their signature percussion breakdowns, drummer Todd Nance providing a solid bed of groove for percussionist Domingo “Sunny” Ortiz to pound a calypso style rhythm over. Whether you were sitting down (and shame on you if you were) or standing up, you were going to move to this. You were going to dance. You were going to groove and do so without any say in the matter. “Pilgrims” is a powerful traveler’s ballad, a drifter’s lament where your only best friend just might be your car radio.

We left superstition on the roadside
A few cities ago
They spent our souls, maybe
But they didn’t take our smiles

If a song like “Pilgrims” came off as reflective, their next song, “Blackout Blues” came off as a controlled freight train. If you managed to resist the urge to groove during “Surprise Valley,” “Blackout Blues” took care of that. Honky Tonk on a roller coaster, what a barroom brawl might sound like if it were set to music. “This Part of Town” provided a much needed sit down for a lot of us and while the energy was there it wouldn’t come back quite to “Blackout Blues” level until “Diner” where it would stay for the rest of the evening. Their main set ended with a ferocious “Fishwater” with Gov’t Mule’s Danny Louis again onstage, guesting alongside JoJo Hermann on keys. The band is no longer playing guitars, keys and drums, they’re playing drills and jackhammers. They’re playing construction equipment, pummeling not only the stage but the earth below. This music is not for the faint of heart. As the song barrels towards its end, I find myself wishing I was holding onto something. Anything. Close your eyes, It’ll be over soon, but I don’t want it to end. Finally, and maybe with a bit of relief, the song ends. Yes, the ceiling has held up. There aren’t any visible cracks on the walls, columns or floor. Everything is still intact. The encore of “End of the Show” with John Keane on pedal steel and Danny Hutchens taking vocals, probably played by design to end things on a less adrenalized note, sent us on our way home. One phrase kept creeping into my train of thought driving out of the lot of the Verizon.

“I’ve got another night of this”

Ain’t life grand, indeed.

–Brian Hedden, Entertainment Editor

Check out this smoking studio session that catches the boys in their early prime. It’s over at The Great Southern Brain Fart’s blog and is totally worth the download. Poke around while you’re over there, you’re certain to like it. Click here to check it out.

On Friday, October 16th Widespread Panic opened for the Allman Brothers Band at the Super Pages Center at Fair Park in Dallas, Texas. Fair Park seethed with Texas State Fair attendees and jam band fans as the two audiences collided for a memorable night of festivities. I caught the end of Widespread Panic’s set. Derek Trucks joined Panic for rocking versions of “Second Skin” and “Blackout Blues.” Widespread Panic wound down their set with one of my favorite Panic songs “All Time Low”  and concluded with “Makes Sense To Me.” I like Widespread Panic, but I was glad the Allman Brothers Band filled the headline spot. I’ve seen Widespread Panic several times. And no doubt they impress everytime. And this time was no exception. Panic came with its A game to Dallas. But the Allman Brothers Band, I had only seen once and from a distance at a past Bonnaroo Music Festival. So I was pumped to see the creators of Jam Band music perform their craft for us North Texans, especially on their 40th anniversary.

Guitar phenoms Warren Haynes and Derek Trucks joined with original Allman members to pack a powerful punch of rock and roll as this new incarantion of the Allman Brothers Band. Greg Allman’s keys and voice anchor the band while Haynes and Trucks soloed atop the driving drums and percussion.  The musicianship was par excellence with fantastic versions of the instrumental masterpieces “Jessica” and “In Memory of Elizabeth Reed.” “Midnight Rider” brought the crowd alive and a killer version of “Statesboro Blues” displayed the skill and timing of these musicians. The Allman Brothers Band concluded their brilliant performance with the sweet sweet “Melissa” and a in your face “Whipping Post.” Georgia has a lot of music to offer the world and I am a big fan of the music coming out of this state. From the Allman Brothers Band to Widespread Panic to R.E.M. Georgians make good music. The Allmans Brothers Band performed above my expectations. If you get a chance see this tour.

Winnie Cooper Report:

Click here to go to WC to check the Allman Brothers “Midnight Rider (Emynd Honkey Breaks Edit)”, CCR’s “Down on The Corner (Emynd Drum Edit)”, and “Bad Moon Rising (Emynd Drum Edit)”

Help the Food Bank of Central & Eastern North Carolina “ROCK OUT HUNGER”! Widespread Panic and The Allman Bros join forces to help end hunger in North Carolina! Music is universal and so is hunger.

Please come join these two musical forces on October 11, 2009 at the Time Warner Cable Music Pavilion, listen to great music, bring any non-perishable food items you can, and help us “ROCK OUT HUNGER”!

Buy tickets at www.livenation.com, Pavilion Box Office, select Blockbuster stores, or charge by phone at 877-598-8698.

On March 19, 2009, The Allman Brothers played one of their 17 straight nights at the Beacon Theatre in NY as they do each spring. This year was the 40th anniversary of the Allman Brothers Band and each night they had a special guest(s) play with them. On this historic night, the one and only, Eric Clapton was the guest for his first ever live appearance with the Allmans. I happened to be in NY that night. Here is my story, via an email i sent to my friend and colleague Bil Ossher.   This is a classic RnR War Story!

———————–

from: Jim Piccirillo(jimvpp@earthlink.net)

To: Bil Ossher(bilossher@msn.com)

3-23-09

I Saw God..

.. And he was playing a beautiful strat!

Okay..i have a great story for you… And just because you are one of the few who will truly understand and appreciate the effort that went it to this.. I am giving you the long version. (so you may want to read later when you get home!)

Short story: I saw Eric Clapton live with the Allman Brothers last Thursday night at the Beacon Theatre in NY!

Back Story: As you probably know, the Allmans are in the middle of their annual 15 night run at the Beacon Theatre in NY. However, this year is the 40th anniversary of the band’s formation and the entire run has been dedicated to the memory of Duane Allman.

Each night, they invite different guests to take the stage with them… Levon Helm, the two guys from Los Lobos, Buddy Guy, Boz Scaggs, Stanley Clarke, Southside Johnny and the Asbury Juke Horns, Sheryl Crowe, Bruce Hornsby, Bonnie Brammlett and Susan Tedechi.. To name a few.. Plus assorted side musicians, etc…   It has been quite impressive.

This year the Allmans launched Moogis.com, a subscription service that allows you to stream every show in its entirety live in your home. Naturally, I paid the 125. bucks and have watched every show either live or archived (you can watch for six months) hooked up to my 50″ plasma and sound system in my den each night. My wife and kids think I have absolutely lost it.

Of course, I blog endlessly with other peach heads before, during and after the shows.. To get the full effect!  The set list changes nightly as do the guests (ALLMANBROS.COM for complete set lists and guests each night)

I knew I was going to be in NY on the 19th and rumors were abound that Clapton was going to play that night (his first time EVER playing live with the Allmans).. So the blogs were a-twitter and speculation was intense.

Before I left, I checked all the usual sources for tix.. And balcony tix were already in the $200. range. So I thought.. I can do better there in person in NY.

I arrived in Ny, had dinner with Scott Kaye (who had seen the show the previous Tuesday.. And said it was a great tribute to Duane Reade!..(the NY drugstore)..so clueless as always)… Anyway.. We dined and drank and laughed and had a great evening.

Next day I go to MSG for meetings.. But had one thing on my mind.. Clapton tix.

By mid afternoon Balcony tix were in the 400. Range and Orchestra seats were approaching 1k to 1500! Panic set in.. And I decided to go to the Beacon.. I arrived by cab around 3p (show wasn’t until 8).  Obviously lines already formed at Box office to snag any extra seats.. So I immediately went to the four corners of the venue to talk to the scalpers… It looked grim. They all said there are absolutely no tickets on the street! They couldn’t figure it out.. I made friends of course with several and said I would check back periodically.

I then went to the back Stage Door of the Beacon.. And right when I walked up , I hear strains of DREAMS…aahh.. The Allmans doing a sound check! But wait.. I hear an extra guitar in there… Then they launch into Why Does Love Got to Be so SAD, and then ANYDAY.. And then LAYLA!  I had my proof.. Clapton was indeed in the house!

I tried everything to sneak into the sound check with every story I have ever known but was turned away by security each time. Eventually the head of security came out and told me I had to leave the back stage door.. And I asked him when it became illegal to stand on the sidewalk and listen?!  However, knowing I would see these guys again and again throughout the evening.. I moved on.

I called back the brokers.. And had 4 going at once on my blackberry.. By this time Balcony seats were 550!  However, one guy I had been talking to all day has one orchestra seat for 650. I pull the trigger, buy it over the phone, and walk back to my hotel (in the rain) to wait and see if the ticket actually gets delivered. As I walked, I pondered just how crazy or stupid I was to buy a ticket for 650. bucks .. But was somehow able to keep justifying it in my mind.. of course.

When I get to the hotel.. Another contact had left a message.. She has two tickets for me, behind the sound board at face value (100. Each!).. So I grab those two as well.. NOW I HAVE 3 TICKETS AND I AM IN FOR AROUND 850. BUCKS!

Not to panic, I took another cab back to the Beacon.. By this time it was a mob scene, hundreds of old heads wondering around dazed and confused looking for tickets..! It was an incredible vibe.. I felt like I was back in college.. It was so much fun, so much excitement in the air. I knew the average fan would not pay the freight on such high end tickets.. So I sought out my old friends, the scalpers that I had met earlier… After some haggling and negotiating..I sold the pair of seats behind the sound board to a scalper for 650. ( he probably was able to get 900 to 1200 for them. But I didn’t want to stand around and deal with the crazies).. I had checked NY law and made sure I was at least 1500 feet from the box office when re-selling tickets..

So I ended up keeping the orchestra seat, row N, on the aisle for a total of 200 bucks! I was feeling good.. On top of my game.. At the height of my powers.. Yes! I still have it.

Now, there was still about an hour and half to go before the show.. So I started hitting all the bars in the near vicinity.. All filled with Allman fans that had traveled from all over the country.. Cincinatti, Florida, Michigan.. Etc.. I snuggled up to the bar and immediately started telling them my story about listening to the sound check and confirming that Clapton was indeed there! People started buying me drinks and bringing their friends over for me to tell them the story and verify that Clapton was indeed going to be there!  I was like a folk hero.. And when I tell them my story of swapping and selling tickets for the last couple of hours.. They buy me more drinks! I am approaching major peach head status!

As show time approaches, me and about twenty of my new found “brothers” walk down to the Beacon entrance.. It was like going back 30 years…cops on horseback, people everywhere, weed smoke everywhere, but everybody cool to each other with a great friendly vibe.

I finally get in the venue, and the Beacon has been totally refurbished.. It is beautiful.. I find my 14th row seat.. On an aisle.. On Clapton’s guest side. The skies definitely parted and the stars aligned. My seatmate next to me was a lawyer from CA.. He paid 800. For his seat.. But didn’t seem to care. Neither did i… They open with Little Martha while a video tribute to Duane rolls… The guy in front of me lights a big joint.. Passes it back to me.. And the band launches into Statesboro Blues!

The brothers played an incredible set.. And after intermission they brought out Clapton.. And he stayed for the next two hours playing incredible licks with Derek Trucks and Warren Haynes.

Clapton definitely cannot play any longer like the young Trucks, who is a monster and master of the guitar… But his stage presence and tasty playing were something to behold. KEY TO THE HIGHWAY, DREAMS, WHY DOES LOVE GOT TO BE SO SAD, LITTLE WING, ANYDAY & encore with LAYLA.   WHEW!

I have not had such a fun evening in many years… It was truly an historic night for a rock fan. Clapton playing live for the first time ever with the Allman Brothers since the by-gone days of Layla being recorded in Miami in 72…on the Brothers 40^th anniversary of being a band!

I was so drunk and exhausted after the show.. I fell into  a coffee shop, poured about 5 cups of coffee, ate a big breakfast..got back to hotel about 230am.. Got up at 6am.. Got to the airport with the nastiest hangover known to man, caught an 8am flight back to LA.. And end up sitting next to Jimmy Fallon’s wife! Who smelled good and invited me to see his show next time in NY.. Which I will..

But it will be hard to top my last show in NY ..do doubt. The Road Goes on Forever for the Midnight Rider…

Take care, pic

Ps.. Check out Moogis.com

I can let you use my login and password.. And you can watch the show(s) so far… They are saying tonight or tomorrow will be Dickey Betts as guest.