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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!


Please email me at Info@Bmansbluesreport.com
Showing posts with label Warren Haynes. Show all posts
Showing posts with label Warren Haynes. Show all posts

Thursday, December 20, 2012

I Wish - Efrem Towns and Warren Haynes Band with the Dirty Dozen Brass Band

Dirty Dozen Brass Band trumpeter Efrem Towns is recovering at home in New Orleans from a vicious attack by a dog in an Atlanta motel. He missed performances in Colorado and New Orleans after the attack on Nov. 18, and tells The Times-Picayune that he doesn't know if he'll make the band's next scheduled gig on Dec. 28. He and baritone sax player Roger Lewis say the dog surged from an open door after Towns knocked at Lewis' room. Towns was transported to Grady Hospital, where he received 30 stitches in his groin. The Dirty Dozen Brass Band formed in 1977, and is credited with creating the contemporary, funk-infused brass band sound. It's been featured on albums with David Bowie, Elvis Costello and the Black Crowes. The Dirty Dozen Brass Band is a New Orleans, Louisiana, brass band. The ensemble was established in 1977 by Benny Jones together with members of the Tornado Brass Band. The Dirty Dozen revolutionized the New Orleans brass band style by incorporating funk and bebop into the traditional New Orleans style, and has been a major influence on the majority of New Orleans brass bands since. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

Friday, October 12, 2012

Tush - Grace Potter & the Nocturnals w/Warren Haynes

Grace Potter (vocals/ keyboards / guitar) Matt Burr (drums / vocals) Scott Tournet (guitar / bass / keyboards / vocals) Benny Yurco (guitar / bass / vocals) Grace Potter & the Nocturnals’ self-made 2005 debut album, Nothing but the Water revealed a musically sophisticated young band inspired by the music of the late ’60s/early ’70s and fronted by a then-21-year-old dynamo whose nuanced singing, organ playing and songwriting belied her age. The follow-up, 2007’s This Is Somewhere, confirmed that the band had no interest in following trends but was instead in pursuit of timeless expression as it forged its identity. On 2010’s self-titled third album, GPN, toughened by a half decade of nonstop roadwork, flexed their rock ’n’ roll muscles and confirmed that they were in it for the long haul. Now, seven years after hitting the radar, GPN take an exponential leap with the widescreen opus The Lion The Beast The Beat (Hollywood, June 12, 2012). With this musically combustible and conceptually dazzling work, the Vermont-based band forcefully takes its place alongside the best of its peers while building on the rich legacy of its inspirations. During this a la carte age, Grace Potter & the Nocturnals have boldly pushed against the current, making a bona fide album that demands to be heard in its entirety . . . not that its 11 songs don’t utterly beguile on their own. “This album is really a different animal than our previous records—no pun intended,” says Potter. “I think what people love about us is the energy we generate playing together and feeding off each other,” says guitarist Scott Tournet. “There’s a lot of drive in our band, and we managed to capture that on this record. We love the music that we cut our teeth on and it’ll always be part of us, but we’ve reached the point where we’re consciously trying to push things forward.” The Lion The Beast The Beat was produced by Potter and veteran producer Jim Scott (Tom Petty and the Heartbreakers, Wilco, the Tedeschi Trucks Band). Adding to the firepower of the project is Dan Auerbach who produced and co-wrote the track “Loneliest Soul” and also produced and co-wrote the band’s first single “Never Go Back,” and “Runaway,” both of which were co-produced by Scott. David Campbell (Beck, My Morning Jacket, Jackson Browne) arranged and conducted the strings on the album. The LP was mixed by fellow Vermonter and Grammy award winner Rich Costey (Foo Fighters, TV on the Radio, Bruce Springsteen’s Wrecking Ball). Alongside the band’s original guitarist/songwriter Scott Tournet, drummer/band co-founder Matt Burr, guitarist Benny Yurco (who joined in 2009), Potter commenced recording the album in October, 2011. They later invited multi-instrumentalist Michael Libramento (from Floating Action) to join them on the sessions. The band tracked the majority of the record live off the floor at PLYRZ, Scott’s studio in Santa Clarita, 30 miles northeast of L.A. “When I first met Jim, I knew I wanted to make this record with him,” says Grace. “He totally gets us. He brought the perfect balance of sonic integrity and laid-back finesse.” The feeling is mutual. “Grace is a rock ’n’ roll superhero,” says Scott. “She can really bring it. She’s full of ideas, she never misses a note and the band is badass.” Last November, while Potter was in Nashville for the CMA Awards, she and Auerbach got together in his studio. “It was a concentrated environment,” Grace says of the breakneck Nashville sessions. “Dan and I were writing lyrics together, singing melodies and trading off ideas, while Benny, Scott and Matt were working up the tracks with us. I love the way Dan’s mind works, because it’s so out there, but he balanced it really well by stepping back and behaving like a producer/writer.” At the end of the three days, they had the spines of “Never Go Back” (the throbbing first single) and “Runaway,” while nailing the madcap “Loneliest Soul.” “In late November, as the song list continued expanding, I felt the priorities starting to shift,” Grace recalls. “I began to look at the whole project through new eyes. I realized then that making this record wasn’t about just putting a bunch of great songs together; it needed to be a cohesive piece of work with connections between the songs.” Not long after the band returned to Scott’s studio, Potter surprised everyone by abruptly calling the project to a halt, despite the fact that the band was playing better than ever, Scott was capturing the performances in all their eruptive immediacy and the record company was excited by the quality of the tracks that were being delivered. Potter, for whom everything musical had always come so easily, had hit the wall for the first time in her life as an artist. “I knew within a few weeks of being in the studio that something didn’t feel right. At first I was in total denial, and we just kept chugging along like we always do – but deep down, I just didn’t love the direction the music was going in,” Grace recalls. “It wasn’t the band or Jim, it was me. There was an unsettling voice in my head telling me to pull back and look at the bigger picture. I realized that I had no idea what kind of record we were making until we were already two months deep.” This shocking realization led to a round of intensive soul searching. “It was a scary moment for me, because stopping is not really in my genetic makeup,” she says. “Pulling out was a real bummer for everyone else because the band was just hitting its stride—but I wasn’t hitting mine. So I called the record company and said I needed a month to work on the existing songs and write some new ones from scratch, plus another week with the band away from the studio to just play music together. Then I jumped in my car and disappeared. I needed to refocus my intentions for this record without any distractions or outside opinion.” Potter pointed her car north and drove. “I did the thing I always wanted to do: the real fantasy road trip. For years we’d be traveling through beautiful country in the tour bus, and I would look out the window and see all these long dirt roads that look like they go nowhere – so this time I decided to drive down them.” Potter’s journey took her up the west coast until she reached the rocky coastline and redwood forests of Big Sur. By the time she arrived, Grace had begun to unlock the riddle of the album. After a week in the California wilderness, she flew back home to Vermont, where she tramped the snow-covered hills, invigorated by the winter air—“and the music came pouring out of me,” she says. “I wrote four new songs in Vermont. Then I traveled again to a quiet place by the ocean, holed up in a hotel room and finished some songs I’d written over a year earlier that just needed a second chance. I had no guidelines, which was part of the problem at the beginning, but also part of the breakthrough at the end.” Potter’s soul journey unlocked the thematic riddle, yielding, among other things, a pair of new linchpin songs in “Timekeeper” and “The Divide,” while also completing the title track, “The Lion The Beast The Beat.” With these key pieces in place, the tracks they’d cut prior to the break, including the stomping rocker “Keepsake,” the yearning “Parachute Heart” and the three Auerbach collaborations, now snapped right into place, conceptually and dynamically. “Once I found what I’d been looking for,” she says, “the floodgates opened, and we cut the rest of the album in two weeks.” With the help of her eager and talented band and co-producer, Potter had achieved what she’d set out to do: to create a musically audacious and thematically unified Big Statement. Less a concept album than a panoramic sonic terrain across which various thematic vectors collide and combine, The Lion The Beast The Beat “plays on the duality of human nature—the fact that we all have our demons and we all have the ability to be good.” Grace explains. “More than ever, I think outside perception affects how we view ourselves… I started thinking about these archetypes: everyone perceives a lion as a powerful, glorious animal and a beast as a flawed, scary, unpleasant creature…but that’s just on the outside. You only have to read a few children’s fables to see those themes: the ‘Cowardly Lion’ from The Wizard of Oz, the Beast from Beauty and the Beast – I’m fascinated by the idea that we all hold such a broad spectrum of impulses and how we choose to act on them makes us who we are.” “’The Lion The Beast The Beat’ is a big part of what made this record what it is,” Grace says of the title song. “It had to be absolutely undeniable, and I think that song lays it all out on the table. It’s a dynamic journey, taking the listener on a series of emotional twists and turns. It took a long time to take shape, but when it did, it became a pillar of the album.” The dark, sinuous “Timekeeper,” which opens with the ticking of a clock, provides the thematic bridge between the album’s epic bookends, while also serving to “transition between the two stages of making the record,” says Grace. “It was a reckoning – a breaking point. I wrote the song while I was in the thick of it. It’s a manifestation of a lot of fears, not just around the making of the album, but around life. This really sums up The Beat… – the beat of a heart, the turn of a page, the tick of a clock…the inevitable reality that time will pass.” The other pillar is the progressively building showstopper “The Divide.” Just as “The Lion The Beast The Beat” demanded to be the opening track, “The Divide” could only be the closer. The album’s denouement is unlocked in the latter song’s recurring passage, “The lines are blurring/I can’t tell the lion from the beast.” “’The Divide’ really presents a question rather than making a declaration,” Potter explains. “The search continues. The end of this album takes you right back to the beginning again. It’s an ellipsis.” “It’s been a journey, but Grace really stepped up to the plate,” says Tournet. “She had a vision and she stuck with it. When I listened to the mixed album, I was blown away by how slammin’ and ballsy it turned out. We went way deeper on this one, and it’s gonna be incredible to play live.” The Lion The Beast The Beat represents a rite of passage for a band that is knocking on the door of greatness. “This process was more painstaking than on any other record we’ve made; a complete labor of love and hate. I credit the Nocturnals for courageously jumping off that cliff with me,” Potter acknowledges. “We all took a risk and I hope that resonates when people hear the album.” “To laugh often and much; to win the respect of intelligent people and the affection of children; to earn the appreciation of honest critics and endure the betrayal of false friends; to appreciate beauty; to find the best in others; to leave the world a bit better, whether by a healthy child, a garden patch or a redeemed social condition; to know even one life has breathed easier because you have lived. This is to have succeeded.” - Ralph Waldo Emerson If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

Tuesday, June 12, 2012

Electric Hot Tuna - Jorma's 70th Birthday Celebration - New DVD Release Review


The hot band on tour right now is Hot Tuna! Yep, Jorma and Jack are back on the road and to kick off their road trip Fur Peace Ranch has release live footage extracted from 2 nights of concerts at the Beacon Theater in NYC on December 3&4, 2010. I don't know how many of you have seen Jorma and Hot Tuna live but I have had the pleasure many times over a number of years. The recording begins with I See The Light featuring Jorma on his J190 and Jack joined by Barry Mitterhoff on an 8 string Danelectro guitar with lipstick pickups and Skoota Warner on drums. The band is joined on stage by John Hammond for a cool version of I Can Tell with Hammond on 335 and Jorma pushing his trademark solos through a goldtop. Then the tension starts to build with Warren Haynes on 335, Bill Kirchen on Tele, Larry Campbell on fiddle and Mitterhoff changes over to an electric mandolin. Kirchen has been separated from his old tele (probably retired) but the new one can talk just fine. If you've never seen Tuna with Mitterhoff, man can play the mandolin and doesn't restrict his playing to traditional mandolin formatting but uses it often as a mini guitar creating an interesting sound. In this case he's playing a 4 string which could be a tenor electric guitar. Very cool. Haynes rips off a pretty nice solo on the 335 and these guys seem to have been playing together forever. Jorma steps in with the Goldtop and his distinctive sound and with Campbell playing great violin riffs you could close your eyes and swear you were hearing Tuna in the 70's.
For Water Song the crew is joined by Byron House on upright electric bass played both plucked and bowed. Mitterhoff switched over to an acoustic f -style and Jorma pulls out a beautiful maple capped hollow body electric with a particularly light acoustical sound. On Bowlegged Woman/Knock Kneed Man Casady opens the song with a a nice solid bass riff. This track has a particularly nice funky swamp funk enforced by Oteil Burbridge on Fodera 6 string bass. Mittenhoff again playing an unconventional electro mando like instrument with 5 strings rippin some pretty cool solos. Burbridge gets the spotlight playing some interesting jazz chord and lead jazz bass lines. You can see Jorma just groovin to what's being layed down. Bob Wier joins mid song and dons a 335. The band continues the groove for quite some time building the tension but without anyone stepping on top of anyone else. Jorma pulls the reins back in with a crisp solo and a refrain of the chorus. Wier takes lead vocals on a cool version of Walking Blues. Both Wier and Jorma take turns on lead guitar and Mittenhoff as well on the 4 stringer. Steve Earle joins the band for Hometown Blues which the band plays in a rag style. Earle plays a black electrified acoustic Martin. Jorma keeps the band in the rag style groove with 99 Year Blues. I particularly like Jorma's vocals on this track. He's always strong but this track is right on. Mittenhoff is back on the F style and rips a few solos. Casady gets a chance to step up for some melodic bass lines which is always a pleasure. The band takes it to the funk a little and Burbridge and Casady trade lead lines. The show is concluded with Jimmy Reed's Baby What You Want Me To Do. The entire force is onstage for a giant jam. This is a great conclusion for a great bunch of musicians. The attendee's certainly got their money's worth over this two night concert.





Again Hot Tuna is on the road. Check the concert schedule below to see if they are coming to your town:
06/21/12 State Theatre
Ithaca, NY
Electric Hot Tuna
also Steve Kimock

06/22/12 Count Basie Theatre
Red Bank, NJ
Electric Hot Tuna
also Steve Kimock

06/23/12 The Wellmont Theatre
Montclair, NJ
Electric Hot Tuna With a brief appearance by Bob Steeler. Also Steve Kimock Tickets

06/25/12 The National
Richmond, VA
Electric Hot Tuna
also Steve Kimock

06/26/12 Grand Opera House
Wilmington, DE
Electric Hot Tuna
With Bob Steeler on drums. Also Steve Kimock

06/28/12 Sherman Theater
Stroudsburg, PA
Electric Hot Tuna also Steve Kimock Tickets

06/29/12 Theatre at Westbury
Westbury, NY
Electric Hot Tuna
also Steve Kimock

06/30/12 Venetian Theater, Caramoor Festival
Katonah, NY
Acoustic Hot Tuna
also David Bromberg

07/01/12 The Bull Run Concert Series
Shirley, MA
Acoustic Hot Tuna
two shows: 3pm & 7pm

07/05/12 Westbrook Performing Arts Center
Westbrook, ME
Acoustic Hot Tuna also Darol Anger Tickets

07/06/12 The Flying Monkey
Plymouth, NH
Acoustic Hot Tuna

07/07/12 The Theater at Newburyport High School
Newburyport, MA
Acoustic Hot Tuna Tickets

07/09/12 The Arts Center
Carrboro, NC
Acoustic Hot Tuna Tickets

07/10/12 Bijou Theatre
Knoxville, TN
Acoustic Hot Tuna

07/11/12 Diana Wortham Theatre at Pack Place
Asheville, NC
Acoustic Hot Tuna

07/13/12 Variety Playhouse
Atlanta, GA
Acoustic Hot Tuna Tickets

07/14/12 Tampa Bay Performing Arts Center
Tampa, FL
Acoustic Hot Tuna

07/17/12 One World Theatre
Austin, TX
Acoustic Hot Tuna

07/18/12 Kessler Theater
Dallas, TX
Acoustic Hot Tuna Tickets

07/20/12 Oriental Theatre
Denver, CO
Acoustic Hot Tuna Tickets

07/21/12 Third Street Performing Arts Center
Carbondale, CO
Acoustic Hot Tuna Tickets

07/22/12 Sheridan Opera House
Telluride, CO
Acoustic Hot Tuna

07/25/12 Mesa Arts Center
Mesa, AZ
Acoustic Hot Tuna

07/26/12 Orpheum Theatre
Flagstaff, AZ
Acoustic Hot Tuna Tickets

07/27/12 Anthology
San Diego, CA
Acoustic Hot Tuna Tickets

07/28/12 Rio Theatre
Santa Cruz, CA
Acoustic Hot Tuna Tickets

07/30/12 Sweetwater Music Hall
Mill Valley, CA
Acoustic Hot Tuna SOLD OUT

07/31/12 Sweetwater Music Hall
Mill Valley, CA
Acoustic Hot Tuna SOLD OUT

08/02/12 Tower Theatre
Bend, OR
Acoustic Hot Tuna

08/03/12 Aladdin Theater
Portland, OR
Acoustic Hot Tuna

08/04/12 Mount Baker Rhythm & Blues Festival
Deming Log Show Fairgrounds, Bellingham, WA
Electric Hot Tuna

08/11/12 Fur Peace Station
Pomeroy, OH
Acoustic Hot Tuna
SOLD OUT. Jack & Jorma. Also The Persuasions.

09/01/12 Dark Star Jubilee
Legend Valley, Thornville, OH
Jorma Kaukonen 3pm

09/13/12 Stage One
Fairfield, CT
Jorma Kaukonen

09/14/12 The Colonial Theatre
Phoenixville, PA
Jorma Kaukonen also Loudon Wainwright III

09/15/12 The Stephen Talkhouse
Amagansett, NY
Jorma Kaukonen

10/04/12 The Birchmere
Alexandria, VA
Jorma Kaukonen

10/05/12 Rams Head On Stage
Annapolis, MD
Jorma Kaukonen also Peter Mulvey

10/06/12 Kirk Avenue Music Hall
Roanoke, VA
Jorma Kaukonen

10/07/12 Natasha's Bistro & Bar
Lexington, KY
Jorma Kaukonen CORRECT DATE

10/11/12 Infinity Hall
Norfolk, CT
Jorma Kaukonen CORRECT DATE

10/12/12 Earlville Opera House
Earlville, NY
Jorma Kaukonen

10/13/12 Narrows Center for the Arts
Fall River, MA
Jorma Kaukonen

10/14/12 YMCA Boulton Center for the Performing Arts
Bay Shore, NY
Jorma Kaukonen

10/18/12 Brewery Arts Center
Carson City, NV
Jorma Kaukonen

10/19/12 Napa Valley Opera House
Napa, CA
Jorma Kaukonen

10/20/12 Swedish American Hall at Cafe Du Nord
San Francisco, CA
Jorma Kaukonen Two shows: 7pm & 10pm

10/21/12 The Big Room at The Sierra Nevada
Chico, CA
Jorma Kaukonen

11/01/12* Dakota Jazz Club Restaurant
Minneapolis, MN
Jorma Kaukonen

11/02/12* The Redstone Room
Davenport, IA
Jorma Kaukonen

11/03/12 Stoughton Opera House
Stoughton, WI
Jorma Kaukonen

11/10/12 Fur Peace Station
Pomeroy, OH
Electric Hot Tuna
with Bill Kirchen. SOLD OUT!

11/15/12* Bell's Eccentric Cafe Back Room
Kalamazoo, MI
Jorma Kaukonen also Steve Kimock

11/16/12* City Winery
Chicago, IL
Jorma Kaukonen also Steve Kimock

11/17/12* City Winery
Chicago, IL
Jorma Kaukonen also Steve Kimock

11/18/12* 20th Century Theatre
Cincinnati, OH
Jorma Kaukonen also Steve Kimock

12/13/12 Zappa
Jerusalem, Israel
Jorma Kaukonen

12/15/12 Zappa
Tel Aviv, Israel
Jorma Kaukonen






The special features on the DVD include a photo gallery, the presentation of a Les Paul shaped birthday cake to Jorma and a brief discussion with Jorma and jack about Tuna's most recent release.

If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”



This appears to be a bootlegged video of the concert...not actual footage from the DVD but of the actual performance:

Please check the link to get a licensed copy of this concert with much better video and audio quality.

Thursday, April 19, 2012

Killer Mosquito - Bernie Worrell, Warren Haynes, Will Calhoun & Brett Bass

George Bernard "Bernie" Worrell, Jr. (born April 19, 1944) is an American keyboardist and composer best known as a founding member of Parliament-Funkadelic and for his work with Talking Heads. He is a member of the Rock and Roll Hall of Fame, inducted in 1997 with fifteen other members of Parliament-Funkadelic. Worrell was born in Long Branch, New Jersey and grew up in Plainfield, New Jersey. A musical prodigy, he learned to play the piano by age three and wrote a concerto at age eight. He went on to study at Juilliard and the New England Conservatory of Music. As a college student around 1970, Worrell played with a group called Chubby & The Turnpikes (later to be known as Tavares). The drummer in that band was Joey Kramer, who left in October, 1970, to be a founding member of the rock band Aerosmith. He then met George Clinton, then the leader of a doo wop group called The Parliaments. Soon, Worrell, Clinton, The Parliaments and their backing band (Funkadelic) moved to Detroit, Michigan, and became Parliament. During the 1970s the same group of musicians toured and recorded under both the Parliament and Funkadelic names as well as several others, collectively known as Parliament-Funkadelic. Worrell was a central figure in the group. He played the piano, keyboards and organ in both groups and co-wrote or did the arrangements for many of the bands' hits. He debuted the keyboard synthesizer bass in popular music on the Parliament song "Flash Light". He also recorded a 1978 album with the group, All the Woo in the World, under his own name. Since the late 1980s, Worrell has recorded extensively with Bill Laswell. He has also performed with Gov't Mule. Through the beginning of the 21st century, Bernie has become a visible member of the so-called Jam band scene, performing in many large summer festivals, sometimes billed as Bernie Worrell and the Woo Warriors. These new funk, groove, and rock bands have embraced Worrell's historical relevance and immense talent. He has appeared on many Jack Bruce albums, including A Question of Time, Cities of the Heart (live), Monkjack, and More Jack Than God. In 1994, Worrell appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time Magazine. Worrell has since joined the rock group Black Jack Johnson, with Mos Def, Will Calhoun, Doug Wimbish and Dr. Know. He appears with the band on Mos Def's 2004 release The New Danger. Worrell joined forces with bass legend Les Claypool, guitarist Buckethead, and drummer Bryan Mantia to form the group Colonel Claypool's Bucket of Bernie Brains. His project Baby Elephant is a collaboration with Stetsasonic member/De La Soul producer Prince Paul (producer) and longtime Paul associate Don Newkirk. Released September 11, 2007, Turn My Teeth Up!, features George Clinton, Shock G, Yellowman, Reggie Watts, Nona Hendryx, David Byrne and Gabby La La. In 2009 he joined with longtime Parliament-Funkadelic guitarist and musical director Dwayne "Blackbyrd" McKnight, bassist Melvin Gibbs and drummer J.T. Lewis to form the band "SociaLybrium". Their album "For You/For Us/For All" was released on Livewired Music in January 2010. His nephew is underground rapper Chino XL. Worrell appears in the 2004 documentary film Moog with synthesizer pioneer Bob Moog and several other Moog synthesizer musicians. In 2011, he was touring with Bootsy Collins, another major figure of the Parliament-Funkadelic. If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

Monday, January 16, 2012

Ventilator Blues - Gov't Mule


NPR tipped me to this band a long time ago...now that is wierd...finding out about a band from NPR... but there is Warren Haynes belting out Grinnin In Your Face... I was hooked. That was a long time ago
Gov't Mule (pronounced Government Mule) is a Southern rock jam band formed in 1994 as an Allman Brothers Band side project by Warren Haynes and Allen Woody.
The band released their debut album Gov't Mule in 1995. Gov't Mule has become a staple act at music festivals across North America, with both its members and frequent guests boasting members from other notable bands, adding various funk and blues rock elements to the band's sound.
When The Allman Brothers Band reformed in 1989 in response to the popularity of their Dreams box set, Warren Haynes was added on lead guitar and Allen Woody joined on bass guitar. The two shared a love for 1960s power trios like Cream, The Jimi Hendrix Experience, the James Gang and Mountain.[1][2] Haynes, Woody, and drummer Matt Abts, who played with Haynes in the Dickey Betts Band, came together as Gov't Mule during Allman Brothers breaks. They released their debut album Gov't Mule in 1995. Live from Roseland Ballroom was released in 1996, consisting of their 1995 New Year's Eve set opening for Blues Traveler.

When The Allman Brothers Band were not forthcoming with any new material, Haynes and Woody left to concentrate full-time on Gov't Mule in 1997.
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Saturday, June 4, 2011

Grinnin In Your Face - Govt Mule


The first song I ever heard Govt Mule do... it was a good introduction...Son House!!

Gov't Mule (pronounced Government Mule) is a Southern rock jam band formed in 1994 as an Allman Brothers Band side project by Warren Haynes and Allen Woody. They released their debut album Gov't Mule in 1995. Gov't Mule has become a staple act at music festivals across North America, with both its members and frequent guests boasting members from other notable bands, adding various funk and blues rock elements to the band's sound.
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Saturday, May 7, 2011

Little Wing - Allman Brothers and Eric Clapton


This may be the nicest of all Jimi songs. As you probably all know, it was made more popular yet by Derek and the Dominos, a project that Eric Clapton was doing on the side when he met Duane Allman. Inside the circle it is widely known that it was Allmans guitar playing that made the recordings so outrageous. If you know the recordings, you know what I mean. If not, Layla is one of the worst songs on the cd. Check out the dueling guitars throughout and the nice finesse that the two guitar kings make together. A must have cd for any contemporary blues lover.

This is a nice tribute with heir to the slide throne, Derek Trucks. Oh, and Warren Haynes is no slouch either...more on him later.

Tuesday, May 3, 2011

Trouble No More


I was a huge fan of Duane Allman. When Duane Allman died, the life of the Allman Brothers died. They continued on playing tunes previously done with numerous guitar players trying to fill the bill and even with success under the direction of more country oriented Dicky Betts... but the Allman Brothers have new life with the young blood of original member Butch Trucks nephew Derek on slide. Wail on Derek. He has breathed new life into the band. Check out Allman Brothers live at the Beacon.