Tag Archives: Warren Haynes

“Rock-Rock”: The Lasting Legacy of the Allman Brothers Band

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Words by Tim Newby

Forty-years ago, a younger brother went to visit his older sibling who was home sick. The younger brother had brought a few gifts along to help cheer up his ailing brother – a bottle of Coricidin pills and bluesman Taj Mahal’s first album.

 

The Allman Brothers Band 8-1-12 at Chastain Park Amphitheatre in Atlanta Ga. Peachtreeimages.com/Lisa Keel2012A few hours after dropping off his gifts, the younger brother received an excited phone call from his older brother imploring him to come back over and see what he had done. Gregg Allman rushed back to his Brother Duane’s side, and discovered that he had emptied out the pills from the Coricidin bottle and was using it as a slide to play “Statesboro Blues,” an old Blind Willie McTell tune that Mahal covered on his album. Using the empty Coricidin bottle, Duane was emulating the slide playing that gave the old blues standard its distinct feel.

 

It was from that moment of discovery, on that day over forty years ago, that the seeds of what would become the defining sound of a band and style was first born.

 

Gregg Allman once said, “Rock n’ Roll was pretty much born in the south, so was the blues, or at least a certain kind of blues. So saying Southern Rock is like saying Rock- Rock.”

 

IMG_8476While there were deep southern rock based roots before the Allman Brothers Band existed, and bands that toyed around with that roots-rock sound (Creedence Clearwater Revival, The Band), that feeling, that spirit, that soul that we associate with that Southern Rock or Rock-Rock sound was born in the heat and humidity of Florida and Georgia. As the newly formed Allman Brothers Band looked to find their place in the musical landscape, they incorporated the sounds they found around them in their home in the south – blues, country music, and rock n’ roll – but added an edge and attitude to it that gave it an aggressive sheen. They also looked to influences outside their region and combined it with their love of playing live. Drummer Butch Trucks recalls, “The way we evolved was instrumentally with the jams. We would do a lot of jamming. We would set up and play, and play, and play. And then we would listen to what he had done, and then go listen to Miles Davis and John Coltrane and all the old blues cats, Robert Johnson and those guys. That’s where it came from.”

 

The Allman Brothers Band formed shortly after that day when a bed-ridden Duane Allman first played “Statesboro Blues” with a Coricidin bottle. The band went on to reinvent rock ‘n’ roll around their own Southern roots – bringing elements of country music, blues, and rock and channeling it through Duane’s guitar. This new sound came to define a region, and provide an identity to many other bands that followed on the wide path that the Allman Brothers Band blazed. The Marshall Tucker Band, Lynyrd Skynyrd, Charlie Daniels, The Outlaws, Molly Hatchet, .38 Special, and many others carried the Southern Rock torch brightly through the 1970s and into the 80s.

 

IMG_7843The Allmans rose to fame with the release of the career-defining live album At Fillmore East and Eat a Peach, only to see it nearly come to a premature end with the untimely death of Duane and bassist Berry Oakley, both in motorcycle accidents a year apart in the same neighborhood, mere blocks from each other.

 

The band soldiered on despite their loss for the next decade – breaking up and reuniting multiple times. Through this time they had moments of pure greatness – the Dickey Betts-dominated Brothers & Sisters, “High Falls” from Win, Lose, or Draw, “Crazy Love” from Enlightened Rogues, but they also had some painfully low moments.

 

The band eventually dissolved amidst infighting and mistrust for good in 1982. Both Allman and Betts formed solo bands and headed out on the road. They each achieved moderate success, but nothing compared to what they had done together.

 

In 1986 they got back together to play a benefit show for Bill Graham. This proved to be the catalyst for the rebirth of the Allmans. Allman and Betts’ solo bands toured together over the next year. At each show both bands would play a set, followed by a night ending set of both bands playing Allman Brothers’ songs together.

 

img_8023Eventually they decided to reform. The surviving members of the original line-up returned intact, with the addition of a young guitar player from Betts’ solo band, Warren Haynes, and Allen Woody on bass rounding out the line-up. It was this line-up that would return the Brothers back to the level of greatness that was expected from them.

 

This new line-up marked the start of a new-found interest in the band. With a burgeoning jam-scene that looked to the Allmans as a founding father, The Allman Brothers Band found a new lease on life and released a trio of albums to start the 1990s that could stand shoulder to shoulder with their classic albums from the past.

 

Over the course of the next decade, they went through a series of line-up changes before settling on the current line-up of founding members Allman (keys), Butch Trucks (drums), Jaimoe (drums), joined by Haynes (guitar), Oteil Burbridge (bass), Marc Quinones (percussion), and Trucks’ nephew, guitar prodigy Derek Trucks who seems to channel the spirit and playing of Duane’s distinct slide guitar. This current line-up brings new life and energy to the band, yet at the same time plays in a way that recalls and remembers those past greats they have lost.

 

When the Allman Brothers broke up for a brief period during the 80s, so did it seem that the torch of Southern Rock started to dim. But soon a fresh crop of Georgia bands, including Widespread Panic, Bloodkin, Drivin’ ‘n Cryin’, and the Black Crowes, rekindled the still smoldering embers with their fresh, youthful approach to the Rock-Rock sound. The Allman Brothers reformed around the same time and a rebirth of Southern Rock was well under way. This revival saw the birth of Gov’t Mule, the North Mississippi All-Stars, the Drive by Truckers, and a slew of other like-minded young bands that led a wave of new southern talent that harkened back to the soul and spirit of the Allman Brothers.

 

The Allman Brothers Band 8-1-12 at Chastain Park Amphitheatre in Atlanta Ga. Peachtreeimages.com/Lisa Keel2012For every band that has twin lead guitars, adds a bit of country to their rock n’ roll, or has Georgia clay between their toes, they can trace their musical heritage back to the Allman Brothers. The Allmans have been blazing their path for forty-years, playing what Gregg Allman called “rock-rock”, and many have followed in their huge footsteps.

 

As the last notes of the double encore of “Whipping Post,” and “Trouble No More,” (the first song the Allmans ever played together) rang through the hallowed halls of the Beacon Theatre for the last time last night – marking the end of the over four-decade plus run of the legendary innovators of Southern Rock – a legion of bands inspired by the incomparable sound that the Allman Brothers created gave thanks for the wide trail they blazed. It is a trail that allowed every band with a twang in their voice and a soulful edge in every guitar solo to follow in their lead and prove that the flame the Allman Brothers Band ignited so many years ago still burns brightly.

The Allman Brothers Band 8-1-12 at Chastain Park Amphitheatre in Atlanta Ga. Peachtreeimages.com/Lisa Keel2012

Warren Haynes And Derek Trucks To Depart Allman Brothers Band At End Of 2014

The Allman Brothers Band 8-1-12 at Chastain Park Amphitheatre in Atlanta Ga. Peachtreeimages.com/Lisa Keel2012

 

In a joint statement Warren Haynes and Derek Trucks have confirmed they will be leaving the legendary Allman Brothers Band at the end of 2014 to focus on other projects.

“For 25 years and 15 years respectively,  we’ve had the honor and pleasure of playing, living, learning, and  traveling with the Allman Brothers Band, one of the truly legendary rock  and roll bands. We will be forever grateful for the opportunity and the  experience, and for the love, enthusiasm, and support of the incredible  fans. We are both preparing to dig even deeper into our various  creative and musical endeavors and, as a result, 2014 will be our final  year as part of the band. We are looking forward to seeing our loyal ABB  fans at the Fox Theatre in Atlanta this Friday night January 10th and  in March at the Beacon Theater in New York City as we celebrate the 45th  Anniversary of the band.” – Warren Haynes & Derek Trucks

As The Allman Brothes prepare to celebrate their 45th year, take a look back at Honest Tune’s week long coverage of their 40th Anniversary in in which we marked he momentous occasion with a retrospective of the band, interviews of artists, features, and an overall synopsis of what the band means to our music landscape.

40 years of The Allman Brothers Band

Both Haynes and Trucks also released individual statements expressing their gratitude and fond memories of their time with the band.

From Warren Haynes:

I  joined the Allman Brothers Band in 1989, at age 28, for a reunion tour  with no promise or expectations of it going any further. Based on the  success of the tour and the uncanny chemistry between the original  members and the new members, we decided to continue and see where it all  led. Now, here we are, 25 years later, and it has been an amazing  experience. I’ve always said that if I were to join a band that I grew  up listening to the ABB would be at the top of that list. The original  version of the band was a huge influence on me and I’m sure that the  countless hours I spent listening to and studying that music helped  shape me as a musician. As proud as I am of being a member of such a  legendary band, I’m even more proud of the music that we’ve made  together and of being a part of carrying their original vision into the  future.

As someone  who’s been fortunate enough to juggle a lot of musical projects and  opportunities I look forward to maintaining a vigorous schedule which  will include many more years of touring and recording with Gov’t Mule in  addition to my solo projects and to enjoying more family time as well.  Being part of the ABB has opened a lot of doors for me and that’s  something I don’t take for granted nor do I take for granted the  friendship and musical relationships I have with each of the members.  The 45th Anniversary of the ABB is a milestone amidst too many  highlights to count and I’m looking forward to an amazing year creating  music that only the Allman Brothers Band can create.

From Derek Trucks:

I  got the call to join the Allman Brothers while on tour with my own band  at the age of 19.  It was out of the blue and felt surreal.  I leapt at  the chance.  This was the music that I had cut my teeth on and it was  the distinctive sound of Duane’s guitar that inspired me to pick up the  instrument in the first place.

When  I started with ABB I didn’t know how long it would last, only that I  would let the music lead me and teach me.  Amazingly that led me past  the band’s 40th anniversary, to the band’s 45th, and now my 15th year as  a member of this incredible band.   Five years ago the 45th seemed like  a lofty goal but I thought if we could make it to that milestone it  would be a logical time to move on.

 While  I’ve shared many magical moments on stage with the Allman Brothers Band  in the last decade plus, I feel that my solo project and the Tedeschi  Trucks Band is where my future and creative energy lies. The Tedeschi  Trucks Band tour schedule keeps growing, and I feel the time has finally  come to focus on a single project, which will allow me to spend that  rare time off the road with my family and children.  It’s a difficult  decision to make, and I don’t make it lightly.

I’m  proud to have made a small contribution to the masterful music they  have created over the past forty years, and will continue to create. Now  seems like a good time to go out on a high note with a great 45th  anniversary in 2014, and the mutual respect and friendship of the other 6  members of ABB.

Allman Brothers Band dates:

January  10 – Atlanta, GA – Fox Theatre – All My Friends: Celebrating the Songs  and Voice of Gregg Allman.  http://celebrategreggallman.com

 Beacon Theater in New York City March 7, 8, 11, 12, 14, 15, 18, 19, 21 and 22.

John Ginty: They can’t take the organ away from me

John Ginty 8x10 Longtime sideman and session player John Ginty has long been known for his tasteful, adventurous work on the Hammond B3 organ.  Over the past fifteen years his soulful touch has graced over sixty albums, including albums by Bad Religion, The Blind Boys of Alabama, Santana, Matthew Sweet, Neal Casal, The Bridge, and Citizen Cope.  His keyboard skills are also in high demand for the inspired sound he can bring to any live setting.  He was an original member of Robert Randolph and the Family Band and has toured regularly with The Dixie Chicks, Santana, Jewel, Citizen Cope, and his own John Ginty Band.  Recently he has begun to play with the based Baltimore Band of Johns which is led by former Bridge guitarist/ singer Cris Jacobs and features Jake Leckie on upright bass, and John Thomakos on drums.  In addition to his work with the Band of Johns, Ginty has also maintained his usual busy session schedule as well as finding time to get out on the road with a number of bands.  In the midst of that typically full schedule Ginty found time to release his first solo album, Bad News Travels.

 

Born from an album he played on for blues-guitarist Albert Castigilia, Bad News Travels is a blast of gospel-tinged New Orleans flavored funk that can just as easily settle into a deep, bluesy groove as it can dive into a psychedelic-swirl of a Hammond B3 organ trip that can spin the off at any moment down some never before traveled musical path.  Ginty called on some of his musical friends, including Warren Haynes, Neal Casal, Martie Maguire, and Cris Jacobs among many others, to help out with the album. The addition of these guests helps each song develop a wholly unique personality that is all held together by the glue that is Ginty’s powerhouse playing.

 

While preparing to head out on a brief Canadian tour with the Dixie Chicks, Ginty checked in with Honest Tune to discuss the making of Bad News Travels.

 

Honest Tune: So how did the idea for Bad News Travels come about?

John Ginty:  It was kind of an accident really.  I have been a session guy my whole life.  I am on sixty or seventy records.  I spent a lot of time with Jewel, Robert Randolph and the Family band, and Citizen Cope.  I have always toyed around the idea of doing my own record, but it has just never been the right time, or it wasn’t the right material, and it was never the right situation.

Recently I did a record with a blues guy from Florida, Albert Castiglia at a recording studio in NJ (Showplace Recording Studios).  Ben Elliott the owner of the studio was like, “Man we got to do your record.  The timing is right now. We could get Albert to play on it.  You could use your session guy access to get some other players on it.”  And I thought the idea was really cool.  I had some Bad News Travelssongs I had written that really didn’t have a home and it all just came together.  We put together a list of demos and a list of special guests and I tried really hard to pair the piece with the right player.  It wasn’t necessarily about getting famous people, it wasn’t about any of that.  It was just a musical thing of like who would fit great on this and who would be great on that.

So I got Albert and he played on a bunch of songs and does a bunch of lead vocals.  I used Neal Casal from the Chris Robinson Brotherhood.  He is a great player.  I have played on all his records.  Cris Jacobs from Baltimore is on it.  Timing is everything.  He and I had just started doing the Band of Johns and it just seemed right to have him up.  I had a track that I thought would be perfect for him.  Warren Haynes has been a friend of mine for twenty-years and it was an honor to get him on the record.  And slightly difficult as he only had about 48 hours off of his schedule to come to the studio.  But we managed to jump through the hoops of fire we needed to get him on there.  It was just awesome.  Once again it was just a perfect track for him.  It took him out of his normal element a bit and I loved how he played on it.  Todd Wolfe is a label mate of mine, and a great blues guitar player.  I got Alecia Chakour a blues singer from Brooklyn.  I couldn’t be happier with all the guests on it.  Martie Maguire from the Dixie Chicks plays fiddle on one song.  I am actually playing keyboards with the Dixie Chicks right now.  We are leaving to go on tour next week, a tour of Canada.  I have been friends with Martie for a while now and I had a song that I thought fiddle would be great on.  So that is how all the guests showed up.

 

HT: How was it to go from being a sideman or session player to all of sudden being in charge?

JG:  It’s crazy man.  It’s so insane.   It’s an education that I wasn’t looking for and I didn’t necessarily want [laughs].  From the musical end it was a joy and I had a great producer leading the way.  Ben Elliot really led me through it.  I just gave up the control and worry to him.  Musically it was not a problem.  I would love to do it again.  But all the other end stuff, trying to get on the radio, and the press and selling it, all that stuff was never something I had to worry about.  But now it’s on my lap to get all that stuff done, so it has been a crazy education for me, especially with the music business on its ear right now.

 

HT:  It has to be a different feeling to go from being the guy on the side who just gets to play to the guy who has to be in charge and go do all the “other work” now.

JG:  It gave me a huge appreciation for what all these cats go through.  I also appreciate their help and advice.  You know Cris Jacobs has been up and back with this, first with The Bridge and now with his solo projects.  I have gotten a lot of great advice from these cats as well as their musical contributions.  I will say it is a lot of hard work, and it is kind of scary, and I don’t know all about this end of the music business, but it is also fun.  The record has been doing well.  It has been added to a lot of radio stations.  They play it on my local New Jersey big rock station.  I heard it the other day when I was I the truck.  To hear it on the radio is mind-blowing.  I have heard myself on the radio before, but it had always been someone else’s songs.

 

 

John GintyHT: You said lots of people gave you advice, was there one thing that really stuck out?

JG:  The one word that kept popping up was publicist.  I get that now.  It used to be we would be humping around for a record deal and things of that nature.  That’s not the case anymore.  The publicist can get you out there, and out there is the only place that happens because the record stores have closed.  You have to get out there and take it to the people, play the shows, go to the merch booth and sign your stuff and sell your records.  It’s kind of all on the artist right now.  The publicist was one thing everyone mentioned that would help.

 

HT:  Things have really changed with how you have to sell a record now.

JG:  We are kind of reinventing this thing as we are going along.  What every artist has to realize is that no matter how crazy the business side may get, you can always go to the town and play a show and sell your CD there.  You will always have that.  People kind of complain about ticket prices being high, but there is no place for a musician to go make money anymore.  I spend my days hunting down illegal downloads of my records, of which there are still many.  It has become a full-time job getting these things taken down from the internet.  It is stacked against the artist in this day and age.  So we just have to adapt and try and keep our chins up.  I can’t really complain though, this is what I picked to do.  They can’t take the organ away from me.  So as long as I have that I will get it done somehow.

 

HT:  Let’s talk about something fun then. You talked about taking it to the people. Do you have any plans to take these songs on the road?

JG:  Absolutely.  I got some commitments with the girls, the Dixie Chicks, so I got a hold up until the end of the year, but then we are talking about some different ideas and plans.  I have also been talking with all the cats on the record because I feel like there is safety in numbers and I feel it is really good idea for all of us to get together and do a multiple artist thing.  There are all types of idea.  The record has done so well it would just be crazy of me to not take it out to the people.  It’s on the radio in Hawaii!  Who am I to turn down Hawaii?

 

HT:  As the weather starts to get cold in the Northeast it only makes sense to go where it’s warm.

JG:  Exactly.  It would be irresponsible of me to not go to Hawaii [laughs].  Seriously though, next year I hope to have a tour together.

 

John Ginty & Cris JacobsHT:  Is there a track or song off the album that really stands out for you?

JG:  They all have their thing to it.  My personal favorite is one that is getting the least amount of attention, “Trinity.”  It’s the gospel song, the last one on the album, the one with Cris [Jacobs] on it.  I said to the band there is no way we can make Hammond B-3 record without putting a gospel song on it, it has to be there.  I had written this little thing and it was three different pieces and I couldn’t decide which one would be the song, so I glued all three together and it turned out to be this really cool thing and I love the way everybody played on it.  There is like a thousand tambourines going.  All the musicians picked up tambourines and we had a little church service in the studio.  It was the last track we cut.  It was the finish line.  That’s my personal favorite.  There is stuff about each song that is special and cool to me as well.  The sessions with Albert were totally live.  The way you hear it, it was just four guys looking at each other playing music.  I really love the way that came out.  Martie’s violin part is amazing.  Warren’s part is amazing.

 

HT: How long did the whole process to record the album take?

JG:  It took a couple of months to get it down.  We were recording it very quickly.  We would go in for two or three days and get four or five songs.  We were moving at a good pace in the studio, but it was really just a matter of scheduling.  I had to go to Austin to record Martie’s part.  I had to go to Connecticut to get Warren’s part.  We had to book a couple different studios.  There was some running around.  That took the longest.  That was longer than recording it.  You know we probably could have got the whole thing done in about ten days if we had been able to line up all the stars.  But it was definitely worth waiting for Martie and worth waiting for Warren, and worth waiting for Cris.  Once we had the idea for who would play on what track, it was just a matter of it will take as long as it takes.

 

Band of Johns

 

 

HT:  Did the process scare you away from wanting to do this again or did it entice you to want to jump right in and start working on another album?

JG:  I am into it man.  I think as long as people want to hear records like this then I would love to keep making them.  I don’t think I will ever be able to stop being a session guy, playing organ for other people because that is what I do and what I love to do.  I love playing with the Dixie Chicks. I love playing on Charlie Mars’ records.  It keeps it interesting and fun.  But this was an incredible, unique experience that is worth a follow up.  I can at least guarantee there will be one more.  Also my list of guests was longer than my list of songs, so I got some people up my sleeve for the next one as well.  I think it will be really fun.

 

 

HT: Finally, looking back was there one moment that was the ultimate highlight of the whole process that will always stay with you?

JG:  I will never forget the first ten notes that Warren Haynes played [on “Mirrors”].  When we got our sound together and he had listened to the track and he made a couple of notes.  We turned the lights down and we went in and it was the first time we were going to play the song and I said, “Ok, you ready?” And he said, “Yeah, I’m ready.”   I said, “Can you just play something with the piano, can you just dance around the intro?”  The first ten notes he played are the first ten notes you hear him play on the record.  They went right on the record from that very first take.  Those are ten notes I will never ever forget.  I am still a music fan at heart. I have loved the Allman Brothers for twenty-five, thirty years and I always go see them at The Beacon Theatre and to see Warren standing in front of me playing those notes, to my song, that is as good as it gets.  There is nothing that can top that.  That is as good as gets for me.

 

A contest for every day of the week ft. some favorite guitarists! Enter here…

 

 

For every music fan, there is a favorite time of year. There are those that relish in festival hopping or the shed tours of summers. Others appreciate spring for its innate ability to bring its new life into our lives and thereby draw us from within the warm confines of our homes that, for the preceding months, had been almost solely about the NFL, network programming and financial belt tightening, courtesy of overdoing yet one more way overdone holiday season. But with that said, Winter isn”t all about icicles and houses that smell like forest fires; there are destination music events, like Jam Cruise, Mayan Holidaze, or newcomers like  (Yonder Mountain String Band, Railroad Earth) or Mountain Song at Sea(Del McCoury, Grisman, Punch Brothers). Destination gigs not your bag or a bit out of your wallet”s current comfort zone? Hit up Bear Creek, the event that relies on funk for warmth and hails from a host site, the Spirit of the Suwannee Music Park, that”s as good as any calendar at determining what time of year it is.

The fact of the matter is that there is something absolutely unique and awesome about each quarter of the year; and the one that we are currently experiencing is perhaps the best example of seasonal individualism of them all.

 

Perhaps John Keats described autumn best when he wrote, in part, that it is the…

 

Season of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

 

This alignment of our Mother Earth with Helios yields a bountiful harvest that has every bit as much to do with beloved new music for fans and listeners as it does apples, butternut squash or sweet potatoes.  It is a season when well rehearsed bands hit the road, oftentimes on the heels of a fresh studio or precisely culled and mastered live release. It is when bands or solo artists have to compete, bringing nothing short of their “A” game. Sound issues cannot be blamed on lack of a thorough soundcheck or an unassuming chap working front of house at ____________ Music Festival and was “inept and therefore, missed his cues.” Nope, the onus falls squarely on the shoulders of the players and those within their production outfit. It is all intensely exciting.

This year, the harvest is abundant. Some of the greats from within our most tracked niche are out on tours, some of which are present quite a unique opportunity. Still others are either about to release a new album or have just recently done so. Because of this, we at Honest Tune have amassed quite a collection of awesomeness and since our primary job here is to share what we have — whether in the form of news, articles, reviews, videos, photos or in this case, goods — with you, the folks that give this little labor of love a purpose.

Over the coming weeks, the giveaways will be grand and therefore, we figured that we should get things underway in a large fashion in hopes that you will embrace us, share what we are doing and if nothing else, enter to win some free shit… some of which will make you yearn with  hope for a win, while one is just downright ridiculous, to the point that we should probably see a shrink before announcing the item(s) included.

 

It all began yesterday, with Warren Wednesday, through ________ Monday, 10/22/12 there will be a contest announced.

 

Each contest will recognize some of our most favorite guitarists. In most cases, names will coincide with days of the week. In one, it won”t, but the fact that we were celebrating guitarists overtook the desire to be cute… and any Honest Tune celebration of guitarists will always include the person whose name simply doesn”t fit with a day.

 

One word to the wise before beginning: READ EVERYTHING AND FOLLOW ALL CONTEST RULES in today”s contest, whether it be Wednesday, Thursday, Friday, Saturday or Monday. 

 

Each  contest will have its own set of requirements for entry, with some being only slightly different and one being entirely different. So please, for your sake, pay attention to everything you fill out and/or complete all steps in regards to what you are asked to do in order for your entry to be valid*.


 

Links to Days 1-3


 

 For Warren Haynes Wednesday, click HERE

For Trey Anastasio Thursday, click HERE

For Jimmy Herring Saturday, click HERE.

 

 

 UPDATE: Sunday”s contest will come out this Sunday, 10/29/12

 

 

Rules & Eligibility

 

1) All of the entered names will be collected from the survey site and pasted into a computer generated random name picker. All of this will be videotaped so that nobody can cry foul. To see examples of us using this tool, click here. If we are lucky, maybe we will bump into Col. Bruce and get him to draw names out of a beer pitcher again.

 

2)The deadlines for entry for each days” giveaways are as follows

Wednesday, 10/17/12: Deadline- 10/26/12 at 11:59PM CST – Warren Wednesday

 

Thursday, 10/18/12: Deadline- 10/27/12 at 11:59PM CST (Trey Thursday)

Friday, 10/19/12: Deadline- 10/28/12 at 11:59PM CST- Jimmy Herring Friday

 



3) For any contest that has tickets involved, such as today”s or “Warren Wednesday” did, the winner will be announced the following day. Other winners will be announced within 7 days from the entry deadline.

 

 


Eligibility requirements:

 

1) Only entries that conform to ALL of the specifications outlined in “How to Enter” will be considered.

2) No previous or current Honest Tune editor/staff may enter

3) Contributors (senior and otherwise) may enter.

4) Only one entry per person/ per “prize” will be allowed and IP Addresses are logged on the survey site.

5) Applicants must be 18 years of age or older and from within the continental United States.

6) All applicants must be at least 18 years old at the time of entry and may be required to prove age prior to prize being sent, particularly in cases when an album may contain explicit lyrics or when concert or festival tickets are being offered. 


 

GOOD LUCK!

 

 

** Winner is responsible for all travel fees, to include but not be limited by hotels, parking expenses, food, gasoline, other ancillary expense, etc. The winner will only receive complimentary entry to the show specified and NO NAME CHANGES will be allowed. “Entry” does not necessarily mean “ticket.” It may mean “guest listing” or other means of entry. In other words, don’t enter if you already know you cannot go. Lastly, entry to event(s) based upon winning entitles winner to a place in the venue and does not imply a “great seat” though it very well may be; it also does not imply “press, photography, other media or backstage access or privileges unless otherwise stated as such.
*** See Fine Print
*** See Fine Print


 

 


Fine Print
This contest is solely the responsibility of Honest Tune and no purchase is necessary to win. Enrollment in any site is not mandatory, albeit preferred. In a case where a prospective entrant would like to enter without subscribing to a 3rd party site, he/she may send a postcard with information asked for in the official web entry form. ONLY postcards will be accepted and any envelopes will be discarded immediately upon receipt. In no case shall Honest Tune use any information provided by entrants to any second or third party. Information may only be kept for internal database and may be used for future emails directly and solely related to interest for which this site is categorized and only regarding interests expressed solely by Honest Tune. This contest is not affiliated with nor is it endorsed by any artist , band, group or venue featured or any other representatives, promoters, owners or management thereof. In each case, an agent of each has been notified of these proceedings as a courtesy, or in response to a promotional giveaway that may or may not be included in this offer. Odds of winning depend solely on number of entries. The winner will be contacted via his/her email address and must respond to the contact within 72 hours. If no response is received, it shall be deemed that winner wishes to forfeit his/her prize. All entries must be received from within the United States. Rules & eligibility requirements may be changed with or without notice within the first 72 hours of the contest’s launch. After 72 hours, any changes will be posted via Honest Tune’s Twitter or Facebook account. All entries must be submitted via the above listed criteria and Honest Tune reserves the right to disqualify entries based solely on its discretion and upon an entry’s lack of conformity to the standards outlined above. Postcards should be addressed exactly as follows: Contests c/o Honest Tune-Online 1 Independent Dr. Rainbow City, AL 35906. Prize Values will be listed within 60 days of contest closing due to the ongoing nature of this contest. Any questions regarding this contest should be directed to the the contact option on the Honest Tune Home Page.  

 

 

 

 

Day 1: Warren Haynes Wednesday — Enter Here

 

 

Please, for your sake, pay attention to everything you fill out and/or complete all steps in regards to what you are asked to do in order for your entry to be valid.


 

“Warren Haynes”

Wednesday | Day 1 of 5

 

What you are playing for

 

1) One GRAND PRIZE winner will walk away with:

 

Either of the following…

 

» One (1) new copy of the Gov”t Mule box set, The Georgia Bootleg Box Set (CD), that was released on October 12, 2012.

» Two (2) tickets to one of the following Gov”t Mule shows** (winner”s choice)

  • 10/30: The Pageant in St. Louis – w/ The Lee Boys
  • :Riviera Theatre in Chicago – A Halloween Experience
  • 11/01: Murat Theatre in Indianapolis – w/ The Lee Boys

 

2) One first place winner will walk away with whichever prize the “GRAND PRIZE WINNER” opts out of.

 


 

How to enter

 

This is a social media contest***. Therefore, there will be 2 steps that you will have to complete so that your entry will be valid. There will also be an optional third step that will gain you a bonus entry, should you opt to fulfill that obligation.

 

1) Log into your Facebook and/or Twitter account(s)

—–

2) Be sure that you are a “fan” of Honest Tune Magazine (NOT JUST A FRIEND OF HONEST TUNE) on Facebook and/or a “follower” of @HonestTuneMag on Twitter.

 

 

Honest Tune Magazine on Facebook

 

 

@HonestTuneMag on Twitter

 

3) Be sure that you are a “fan” of Warren Haynes on Facebook and/or a follower of @TheWarrenHaynes on Twitter.

 

—–

4) This is probably the most important part of the entry process and definitely the most often incorrectly done art. In the past there have been times that we have been somewhat lax. However, in fairness to everyone, this will definitely not be one of those times because as you will see over the next five days, the stakes are too high for this series of contests for us to stray from the rules and regs.

Please carefully review the next two sections and complete one or both of them.

 


Section 1

 

â–º For Facebook users…

 

» Complete the following process….

☼ First, type the following as your status on Facebook: I just entered to win Warren Haynes & Gov”t Mule goods from Honest Tune Magazine.

♫♪ Important: You must “tag” both Warren Haynes and Honest Tune Magazine. To tag, simply place the “@” symbol in front of the pages as you type. (ex. @Warren Haynes) ♫♪

If you do this correctly, each page name will appear in blue text once published.

Need help with tagging? Click HERE for visual examples created specifically for this contest and other help from around the web.

 

☼ Second, copy this page”s URL from your address bar on your browser and paste what you have copied in status update that you began in step one.

♫♪ Want to see how all of this will look when you finish? Click HERE. ♫♪


Section two

â™  For Twitter users

 

» Tweet the following:

Everyday this week (Today-Monday) @honesttunemag will be giving away some awesome stuff. I entered for something from @thewarrenhaynes today! http://bit.ly/S47LkN

 

If you do #4 correctly, it will look like the below example when you finish. (See Image)

 

 

 

 

 

 

 

 

 

Need more help with how to “mention” others (by placing the @symbol in fromt of their twitter name? Click HERE.


5) Fill out the brief entry form below, or if you would prefer, head HERE to fill it out.

 

 


 

Rules & Eligibility

 

1) All of the entered names will be collected from the survey site and pasted into a computer generated random name picker. All of this will be videotaped so that nobody can cry foul. To see examples of us using this tool, click here. If we are lucky, maybe we will bump into Col. Bruce and get him to draw names out of a beer pitcher again.

 

2) The deadlines for entry for each days” giveaways are as follows:

This contest”s deadline is 10/26/12 at 11:59PM CST

Trey Wednesday“s deadline is 10/27/12 at 11:59PM CST

Jimmy Herring Friday“s deadline is 10/28/12 at 11:59PM CST




3) For any contest that has tickets involved, such as Warren Wednesday, the winner will be announced the following day. Other winners will be announced within 7 days from the entry deadline.

 

 


Eligibility requirements:

 

1) Only entries that conform to ALL of the specifications outlined in “How to Enter” will be considered.

2) No previous or current Honest Tune editor/staff may enter

3) Contributors (senior and otherwise) may enter.

4) Only one entry per person/ per “prize” will be allowed and IP Addresses are logged on the survey site.

5) Applicants must be 18 years of age or older and from within the continental United States.

6) All applicants must be at least 18 years old at the time of entry and may be required to prove age prior to prize being sent, particularly in cases when an album may contain explicit lyrics or when concert or festival tickets are being offered.


 

GOOD LUCK!

 

** Winner is responsible for all travel fees, to include but not be limited by hotels, parking expenses, food, gasoline, other ancillary expense, etc. The winner will only receive complimentary entry to the show specified and NO NAME CHANGES will be allowed. “Entry” does not necessarily mean “ticket.” It may mean “guest listing” or other means of entry. In other words, don”t enter if you already know you cannot go. Lastly, entry to event(s) based upon winning entitles winner to a place in the venue and does not imply a “great seat” though it very well may be; it also does not imply “press, photography, other media or backstage access or privileges unless otherwise stated as such.
*** See Fine Print


 

 


Fine Print
This contest is solely the responsibility of Honest Tune and no purchase is necessary to win. Enrollment in any site is not mandatory, albeit preferred. In a case where a prospective entrant would like to enter without subscribing to a 3rd party site, he/she may send a postcard with information asked for in the official web entry form. ONLY postcards will be accepted and any envelopes will be discarded immediately upon receipt. In no case shall Honest Tune use any information provided by entrants to any second or third party. Information may only be kept for internal database and may be used for future emails directly and solely related to interest for which this site is categorized and only regarding interests expressed solely by Honest Tune. This contest is not affiliated with nor is it endorsed by any artist , band, group or venue featured or any other representatives, promoters, owners or management thereof. In each case, an agent of each has been notified of these proceedings as a courtesy, or in response to a promotional giveaway that may or may not be included in this offer. Odds of winning depend solely on number of entries. The winner will be contacted via his/her email address and must respond to the contact within 72 hours. If no response is received, it shall be deemed that winner wishes to forfeit his/her prize. All entries must be received from within the United States. Rules & eligibility requirements may be changed with or without notice within the first 72 hours of the contest’s launch. After 72 hours, any changes will be posted via Honest Tune’s Twitter or Facebook account. All entries must be submitted via the above listed criteria and Honest Tune reserves the right to disqualify entries based solely on its discretion and upon an entry’s lack of conformity to the standards outlined above. Postcards should be addressed exactly as follows: Contests c/o Honest Tune-Online 1 Independent Dr. Rainbow City, AL 35906. Prize Values will be listed within 60 days of contest closing due to the ongoing nature of this contest. Any questions regarding this contest should be directed to the the contact option on the Honest Tune Home Page.

 

 

Mountain Jam, May 31-June 3, 2012

Mountain Jam
Hunter, NY
May 31 – June 3, 2012

 

 

Setting out to once again deliver on its “Life is a Festival” mantra, Mountain Jam returned for its eighth consecutive year from high atop the hills of Hunter, NY.

Dually hosted by Radio Woodstock and venerable jam statesman, Warren Haynes, Mountain Jam  has managed to pull off what few could: maintain just enough tradition to keep the recidivism rate high, but not to a point that would scare away potential virgins.

Through the years, the event has developed a fervent following of “jammers.” For these folks, the festival has become an annual pilgrimage that is not only an event that allows them to get a high octane dose of guitar heroics from Haynes; it is also about community and reunion — a yearly respite from the everyday hustle and bustle, amongst like minded individuals. But this is in no way meant to take anything away from the tie that initially bound them all together and is also responsible for bringing welcomed new members into the fold each year.

Let’s face it, Mountain Jam is hosted by Warren and his spirit is infectious. There are times when one would swear that he has the ability to teleport. Just as he does with Christmas Jam or any other event that he hosts, the title is not just honorary.

Warren is a man who musicians like to be around, irrespective of genre, and it is due to this (and the fact that he is a badass) that he is able to curate a lineup that is suitable to not only his style and what he feels will offer up necessary diversity, but also to the sought after Mountain Jam vibe.  Nothing against Girl Talk (well… maybe a little something) but you won’t find his plagiarism in Hunter, NY.  It wouldn’t fit — plus Warren couldn’t sit in with him. Nope, at Mountain Jam you will find bands like The Word (North Mississippi Allstars plus John Medeski and Robert Randolph), The Roots, Tedeschi Trucks Band, Anders Osborne, Gary Clark, Jr., Dawes and rising stars like Delta Rae.

Of course Mountain Jam wouldn’t be complete without the act that is under current Warren management (Gov’t Mule, this year) and the only other event staple (aside from Haynes), Michael Franti.

Elementally, Mountain Jam had it all again in 2012: a perfectly loving vibe, a well stocked lineup and once in a lifetime collaborations between some of the greatest bands of today and one of the top guitarists in rock history, Warren Haynes. When taken succinctly amidst the cool nighttime air and under the clear star-filled sky, the 2012 Mountain Jam experience was one of pure ecstasy… again.

 

Downloads

Courtesy of taper extraordinaire, Scott Bernstein*

(follow Scott on Facebook and Twitter)

 

Set of the Weekend

Gov’t Mule with second set Levon Helm tribute ft. Levon’s band, 6/2/12

 

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Anders Osborne

Ben Folds 5

Bustle In Your Hedgerow

Carolina Chocolate Drops

Dawes

Gary Clark, Jr.

Govt Mule, 6/1/12

The Lee Boys

Marco Benevento Trio

Michael Franti & Spearhead

Steve Winwood

Tedeschi Trucks Band (courtesy of groundhog)

The Givers

The Roots

The Sheepdogs

The Word

Zach Deputy

 

—————————————————————————————————————————————————–

 

Click the thumbnail(s) to view photos from the fest by Vernon Webb

(Vernon on Facebook & Twitter)

 

 

 

 

* Unless noted otherwise

Gov’t Mule (with Dr. John), 6/9/12

 

Gov’t Mule (with Dr. John)
Time Warner Cable Uptown Amphitheatre
Charlotte, NC
June 9, 2012

 

 

Gov’t Mule is back! Making their way across the country, it is as though Warren and company (Matt Abts on drums, Danny Louis on keys and Jorgen Carlsson on keys) never left the road, playing as tight as ever. On this night, the band welcomed legendary zydeco/boogie-woogie ivory man, Dr. John, a gentleman that can never be referred to as an “opener.”

To say that the folks in The Queen City of Charlotte were graced with a hell of a night of music would be quite the understatement.

 

Gov’t Mule Setlist

 

Hammer and Nails, Banks of the Deep End, Thorazine Shuffle, Don’t Step on the Grass Sam, Forevermore, Beautifully Broken, Is It My Body, Devil Likes It Slow, Bad Little Doggie, Red House, Slackjaw Jezebel, Goin’ Out West, Soulshine, Mule > Whole Lotta Love > Mule

Encore: Planet of the Ram Jam > Im a Ram > Love Me Do > I’m a Ram

 

Click HERE to download an audience recording of this set.

 

Dr. John Setlist

 

Lie Down, Ice Age, I Walk On Guilded Splinters, Right Place, Wrong Time, Save Our Wetlands, Big Shot, Food for Thot, Revolution, Indian Red > Down By The Riverside > Indian Red,  It Ain’t My Fault

 

Click HERE to download an audience recording of this set.

 

Click the thumbnail(s) to view photos from the show by Brad Kuntz

 

 

 

A Perfect Music & Charity Marriage: John Bell’s 13th Annual Hannah’s Buddies Classic

There is something about charity and music that go hand in hand. When looking back over the relationship of the two, immediately one will recall massive undertakings that have taken place over the years. Things such as George Harrison’s 1971 single  (“Bangla Desh”) and subsequent star-studded Madison Square Garden concert and film for Bangladeshi refugees — that featured performances by Bob Dylan, Eric Clapton, Mick Jagger, Keith Richards and many more –  pop into one’s mind.

And who could forget 1985’s “We Are the World” that featured artists ranging from Michael Jackson, Stevie Wonder and Diana Ross to Bruce Springsteen, Willie Nelson and Paul Simon, amongst 18 other soloists and a choir of 23?

Putting music alongside charitable contribution is an obvious choice for many reasons, but for these purposes, there are three that ride high above the rest.

First of all, it works because music is a universal soul stirrer. It provokes emotion and in order for people to be moved to the point of “giving” their money away, something deep within them must be tapped.

Second, some people simply aren’t willing or able to give, but are willing to pay for a service or good. Therefore, when receiving something in exchange for a “donation” (i.e. a concert or CD), those that would not or could not give in or under other circumstances are willing or able to do so.

Finally, for artists, as one musician (who will remain nameless) once stated, “playing a gig for charity keeps (musicians) honest. It reminds us of why we started doing this in the first place. Sometimes it is easy to get tied up in the life of this whole thing. But I picked up a guitar because I liked the way it made people smile when I played it not because I thought it was going to make me a bunch of money. When I do a charity gig, I go back to that place much easier than on other nights.” 

 

The first and third are where the true beauty is found, for it is within this spirit that a vibe is cultivated within a charity event, be it large or small, that yields special or even once in a lifetime occurrences that seemingly cannot happen elsewhere.

 

A classic example of this is Warren Haynes’ annual Christmas Jam, where, for 23 years, Warren has gathered up friends of both old and new to come to Asheville, NC to help raise funds for the local chapter of Habitat for Humanity. Each year, the music is exceptional and the collaborations are the type of things that only happen there. The spirit of the room is always on high, from the stage to the last row at the back of the balcony. This combination is what keeps people coming back year after year.

 

This past Sunday — and for 12 years previous — was another classic example, when Warren Haynes Band joined forces with John Bell for his 13th Annual Hannah’s Buddies Charity Classic that benefits the very worthy cause of fighting Spinal Muscular Atrophy. SMA is a neuromuscular disease that causes afflicts infants, children and adults by causing degeneration and death of the motor neurons in the brain stem and spinal cord produces weakness in the muscles of swallowing, breathing, and limbs. This disease afflicts infants, children, and adults worldwide. (FightSMA.org)

 

Celebrating its 13th year, the event’s proceeds again went to support Hannah’s Buddies, an organization named after John Bell’s goddaughter and niece who, in spite of her beautiful and inspiring smile, lives with the aforementioned illness.

 

Philanthropy is not something from which John Bell shies. Since 2005, he and his Panic band mates host Tunes for Tots to support advancements in art and music education. Amongst other efforts, Widespread Panic participated in the Make It Right Foundation‘s efforts by purchasing a house in the Lower 9th Ward in New Orleans. They have sponsored many events and contests for Nuci’s Space and have food drives at every live show amongst donated songs to numerous projects. But through it all, John Bell’s “solo” heart has remained fully centered in accelerating a cure for SMA, raising over 2 million dollars to fund research.

 

Each year, Bell hosts the event (that directly contributes funds to its parent organization, Fight SMA) that takes place over a two day period. Historically, it has taken place in January but with Panic En La Playa, Wood Tour and an upcoming hiatus, this year’s classic was pushed back to March.

 

Its home is the tourism capital of the land, Orlando, FL and it offers fans a weekend long vacation experience that combines a sanctioned golf tourney (if that’s your bag) or any of the other 1,684 things there are to do in Orlando, a silent auction filled with items for every sized wallet and a culminating evening of music unlike most others.

 

Initially billed as “JB & Friends,” the lineup was soon revealed to be “friends” in the form of Warren Haynes’ most recent project and the one that he has toured most extensively behind Man In Motion, Warren Haynes Band. With that announcement, there were now two acts that could easily sell out the near 2000 capacity venue on any given night on the same bill. Expectations were high… and they would be exceeded.

 

After what most deemed a “miss” of an opening set by Nickel and the Polar Bears, JB took the House of Blues stage to thunderous and raucous applause.

 

Though freshly off from the fully acoustic Wood Tour, there was still something special about seeing Bell alone with his acoustic guitar or Dobro, strumming and crooning into the room that was filled with nothing but admirers of the venerable jam veteran of song.

 

For the last threesongs of the evening, Warren Haynes was welcomed into the fold for “Me and the Devil Blues,” a stunning rendition of Neil Young’s “This Old Guitar” and an even more mind blowing take on Willie Nelson’s “Whiskey River.”

 

John Bell Setlist

Coconut, Blue Indian, Tickle The Truth Into Submission, Gradle, Mercy, Taildragger, Chilly Water, ?, Me and the Devil Blues, This Old Guitar, Whiskey River

—————————————————————————————————————————————————–

 

Warren Haynes Band followed Bell’s set and demonstrated exactly what almost a year and a half of touring together will do… hone a band into near perfection. They were as tight as they have ever been, sounding like a united beast fully intent on taking no prisoners.

 

Highlighted by the always delightful insertion of the “Tupelo Honey” rap in “Soulshine,” Haynes and company had the packed multitude of Widespread sympathizers fully engaged in the set from the word “go.”

 

As many expected, the man of the evening, JB, returned to the stage to close things out and he even managed to bring a friend along with him, the guy who can literally sit in with anybody at any place at any time, Roosevelt Collier (The Lee Boys), who came out with his pedal steel to add an element of “sacred” to the closing ceremonies.

 

Between the familiarity of Bell’s vocals, the piercing riffs from Warren and the interplay between he and Collier, it was quite the way to seal the deal on the 13 years of value that goes far deeper than simply being a “great show.”

 

Warren Haynes Band Setlist

Tear me Down, Rivers Gonna Rise, Sick of My Shadow, Change is Gonna Come, Dreaming the Same Dream, Real Lonely Night, Invisible, You Don’t Know Nothing About Love, Soulshine (with Tupelo Honey rap),Man in Motion

Encore: Can’t Find My Way Home (w/ JB), Use Me (w/ Roosevelt Collier and JB)

—————————————————————————————————————————————————-

 

As the night closed and fans wandered out into the streets of Orlando, looking forward to the next week of their lives, filled with paperwork, chores and all of the other things that make up day to day living, there was something different in the air. There was not the typical “downer” feel that is common after all of the endorphins have been spent and that post-show crash settles in amongst one’s comrades in the proverbial cattle call walk toward the exit. In fact, there wasn’t much of a cattle call at all. Most hung back, not to do the whole “antisocial, I’m really just too cool for the cattle call” thing, but to actually embrace one another, to shake hands and exchange thoughts.

 

Something had been pricked and it had not been done with ulterior motives. There was a singularity in purpose and result, to make music and raise money. That resonated from the stage and through the crowd.

 

Purity in sound, vibe and connection had been found and for that, $125.00 is quite the bargain… plus it was for a good cause, Hannah’s Buddies.

 

Click the thumbnail(s) to view photos from the show by Ian Rawn

(Click HERE to follow Ian’s photo journeys via his Facebook group)

 

 

Live, Backstage & Unplugged w/ Derek & Susan at The White House (Video)

 

While we at Honest Tune pride ourselves on our still relatively new Live, Backstage & Unplugged series (most recently, welcoming Dawes into the fold), we are pretty sure, actually positive that we will never be able to host one of the beloved segments at 1600 Pennsylvania Avenue.

Well, some lucky White House staffer did when he or she snagged Derek Trucks and Susan Tedeschi prior to them stepping on stage for their Red, White and Blues performance.

For your convenience, here it is for your listening and viewing pleasure. And just in case you missed it, Derek and Susan’s onstage performance of Etta James’ “I’d Rather Go Blind” (with Warren Haynes)  is below as well.

 

Derek and Susan: Backstage at the White House

 

Derek, Susan & Warren: “I’d Rather Go Blind” (Etta James)

at the White House

 For more on Tedeschi Trucks Band, log on to www.tedeschitrucksband.com