Mind Games – Raising the spirit of peace and love. #MusicisLife #TedTocksCovers

Sometimes while writing Ted Tocks Covers I find myself balling up the years and just throwing them through a hoop like the past can be tossed away in one phrase.

When you consider the fact John Lennon released ‘Mind Games’ fifty years ago it is easy to get lost in the nostalgia, but then you reflect on the message within the song and realize every emotion he was trying to convey is still hanging over us like a storm cloud ready to burst. It is like no time has passed at all.

For John Lennon, ‘Mind Games’ began as the next chapter in his effort to share a message of peace. Out of concern that he was repeating himself, Lennon opted to shelve the song. In time, due to his personal circumstances, he turned his thoughts inward. The ex-Beatle was facing a degree of backlash from conservative America. He was seen as a radical, and an activist whose primary goal was to corrupt the minds of youth. His activity was being monitored, which led to questions related to his residency in New York City. While this was happening, there was marital discord with Yoko Ono. The era of Lennon’s life known as the ‘Lost Weekend’ spanned a period of 16 months where the couple was separated. Ono had actually asked their personal assistant, May Pang to serve as John Lennon’s partner. It turns out this was a power play, because it ensured that she could keep closer tabs on her husband.

Somewhat bizarre, but eventually they came back together under one roof at the Dakota.

This combination of circumstances seemed to challenge Lennon’s ability to focus on his music. His confidence had taken a hit. Despite the fact that he was wallowing in self-doubt he began to write enough material to produce the album that would become ‘Mind Games’. Across town, Yoko Ono had been working on her own solo album, ‘Feeling the Space’, so in order to record efficiently, Lennon employed the same session players. This included the seemingly ever-present Jim Keltner on drums. They became known as the Plastic U.F. Ono Band which was an evolution of the famed Plastic Ono Band that produced ‘Give Peace a Chance’ a few years previously.

It was generally agreed that ‘Mind Games’ was a lacklustre effort, but the title track did attract some positive attention due to its message.

Here is John Lennon’s assessment from David Sheff’s ‘All We Are Saying’ in 1980.

Mind Games’ was originally called ‘Make Love Not War, but that was such a cliché that you couldn’t say it anymore, so I wrote it obscurely, but it’s all the same story. How many times can you say the same thing over and over? When this came out, in the early Seventies, everybody was starting to say the Sixties was a joke, it didn’t mean anything, those love-and-peaceniks were idiots. [Sarcastically] ‘We all have to face the reality of being nasty human beings who are born evil and everything’s gonna be lousy and rotten so boo-hoo-hoo…’ ‘We had fun in the Sixties,’ they said, ‘but the others took it away from us and spoiled it all for us.’ And I was trying to say: ‘No, just keep doin’ it.’

John Lennon

In the beginning of this quote John Lennon alludes to the fact that ‘Mind Games’ was an old idea. This clip demonstrates that the song actually went back to the final days of The Beatles, during the ‘Get Back’ or ‘Let it Be’ sessions. In the end, he determined that peace is not something that needs to go out of fashion.

So, here you go.

This is the ‘Mind Games’ melody being sung as ‘Make Love Not War’ where John openly admits that he knows you have heard it before. Note that as ‘Mind Games’ concludes, Lennon summons the message of peace.

Raising the spirit of peace and love
(I want you to make love, not war
I know you’ve heard it before)”

John Lennon

This premise was never far from John Lennon’s mind and even in the deepest throes of turmoil and self-doubt he was able to inject this timeless message into ‘Mind Games’.

It all represents an interesting evolution, and it works as a message of unity or a personal mantra. Ultimately, John Lennon had determined that the world could not be changed all at once, so the focus turned to the individual.

We’re playing those mind games together
Pushing the barriers planting seeds
Playing the mind guerrilla
Chanting the Mantra peace on earth
We all been playing those mind games forever
Some kinda druid dudes lifting the veil
Doing the mind guerrilla
Some call it magic the search for the grail

Love is the answer and you know that for sure
Love is a flower you got to let it grow

So keep on playing those mind games together
Faith in the future out of the now
You just can’t beat on those mind guerrillas
Absolute elsewhere in the stones of your mind
Yeah we’re playing those mind games forever
Projecting our images in space and in time

Yes is the answer and you know that for sure
Yes is surrender you got to let it go

So keep on playing those mind games together
Doing the ritual dance in the sun
Millions of mind guerrillas
Putting their soul power to the karmic wheel
Keep on playing those mind games forever
Raising the spirit of peace and love
(I want you to make love, not war
I know you’ve heard it before)”

John Lennon

Yet here we stand. Looking out over the humanitarian crises that dominate today’s news cycle and it is difficult to reconcile that some of the most influential figures throughout world history carried a torch for peace, love and social responsibility.

Here is one version of John 4:20.

We love because he first loved us. If anyone says, “I love God,” yet hates his brother, he is a liar. For anyone who does not love his brother, whom he has seen, cannot love God, whom he has not seen. And he has given us this command: Whoever loves God must also love his brother.”

John 4:20

Seems reasonable, right?

Philosophically speaking, these are words to live by, but as long as religious institutions remain fronts for power, greed and control over the masses, we are doomed. Way too many people appeal to this higher power as a means to an end. They commit atrocities in the name of their God, and then beg forgiveness. They have yielded control; lost in an eternal fog.

Clearly there is no God in control of their behavior. They are being manipulated. Globally, there are approximately 4000 official religions, but they tend to be categorized into five faiths:

Buddhism, Christianity, Hinduism, Islam and Judaism.

Everything branches off from there into tributaries that run far, and wide. If you want to understand the root cause of virtually every conflict, you can likely bring it back to disputes over religion that have been masterminded by government controls with clear connections to corporate entities.

In other words, follow the money. Here is Timothy 6:10.

For the love of money is the root of all evil: which while some coveted after, they have erred from the faith, and pierced themselves through with many sorrows.”

Timothy 6:10

Why can’t I get past the disturbing thought that the crises in Ukraine, the Gaza Strip and even the philosophical divide in the United States is being orchestrated by a cabal of evil and manipulative power- hungry megalomaniacs?

This is all by design.

We have been lied to all our lives.

We need “faith in the future out of the now”, but this begins with us, and no religious doctrine will save the collective us.

Here is the gospel according to John (Lennon).

You make your own dream. That’s the Beatles’ story, isn’t it? That’s Yoko’s story. That’s what I’m saying now. Produce your own dream. If you want to save Peru, go save Peru. It’s quite possible to do anything, but not to put it on the leaders and the parking meters. Don’t expect Jimmy Carter or Ronald Reagan or John Lennon or Yoko Ono or Bob Dylan or Jesus Christ to come and do it for you. You have to do it yourself.”

John Lennon

It begins with YOU.

While we search for the grail, music provides a solid foundation so let’s look at six high quality cover versions from an interesting assortment of artists and genres. Right out of the gate, we get this soaring version of ‘Mind Games’ from the master of ‘funkadelic’, George Clinton. The combination of guitar, strings and backing vocals border on a warning of the impending apocalypse. This is from the 1995 John Lennon tribute album ‘Working Class Hero: A Tribute to John Lennon’. The guitar work is courtesy of Dewayne ‘Blackbird’ McKnight. The string ensemble is courtesy of the Detroit Symphony Orchestra and the backing vocals include a group of ten supremely talented singers. Appropriately, this version closes the album.

From a chronological perspective, I am jumping around a little. In 2009, Sinead O’Connor re-released her 1990 album ‘I Do Not Want What I Haven’t Got’ and it included an eleven-song bonus disc. Right smack in the middle is this gripping version of ‘Mind Games’. Two thumbs up to Sinead for her beautiful voice, and a nod to John Reynolds for the amazing drum track. Reynolds was Sinead’s first husband and father to their son, Jake.

The quality covers continue. Here is Arcade Fire at Lollapalooza in 2017.

There’s so much fuckin’ poison in the air…Don’t believe everything you read.”

Win Butler

I love how Win Butler weaves in ‘Oh You Pretty Things’ by David Bowie and ‘Karma Police’ by Radiohead. A beautiful medley that melds the crowd into one. The power of music. Chanting the mantra.

There is a social commentary here. For a minute there we lost ourselves. I am afraid we are still lost, but I digress.

Still in 2017, here is a subdued cover by Patti Smith. Consider how important she was to the New York City punk rock movement, and then listen to her dial it all back to this plea. This is scaled down and infinitely honest.

Whenever I see a modern country artist on a potential list of covers for Ted Tocks Covers, I am skeptical. From my perspective the genre is formulaic and frequently tainted. Most concerning is the fact that they have been co-opted by corporate America. The music that is watered down in order to speak to the gullible masses. Having said that, this version by Eric Church had to be shared. Here is his introduction.

This for me is one of those bucket list nights. John Lennon wrote and made music that mattered. It said something. It meant something and at this point in time, we need to do more of that.”

Eric Church

Amen!

Admittedly, I am not big on his vocals but the sentiment is strong.

This is from John Lennon 75^th Birthday Concert in 2015.

Earlier this year, Noel Gallagher’s High Flying Birds recorded this phenomenal version of ‘Mind Games’. Gallagher has always expressed his love for John Lennon’s work. This is a heartfelt tribute.

All of this got me to thinking that John Lennon was not so much about absolutes. He was more about possibility.

For fifty years we have been spiralling.

What if…?

What if we played a different game?

What if we pushed barriers and planted seeds?

What if a bunch of druid dudes exposed the manipulative cretins behind the veil?

Could there be a new dance called the mind guerilla?

We could dance on the edge of magic, while searching for the grail?

It’s a possibility. It is worth contemplating. Is it an alternative worthy of consideration?

Absolutely…

Within You, Without You – With our love, we could save the world, if they only knew. #MusicisLife #TedTocksCovers #TheBeatles #GeorgeHarrison #SonicYouth #PattiSmith #Firefall #FlamingLips #CheapTrick #TheAnalogues

From the first time I heard ‘Within You Without You’ I was drawn to it. I was barely a teen; indoctrinated in Catholicism, but somehow knowing there was more. I knew our journey had a spiritual core, but the concept of organized religion did not rest well with me, even at a young age. Little did I know, a deep track on ‘Sgt. Pepper’s Lonely Hearts Club Band’ would help me articulate my feelings. All these years later ‘Within You Without You’ still offers a clear mantra that presents the fact that the answer exists within ourselves. Our conscience is a moral guide, and everything flows from this place, within us and without us, as a collective universe. It is when we truly recognize this reality, that we can and will move closer to self-actualization.

Here are the lyrics that remain almost hymn-like 55 years after ‘Within You Without You’ was initially recorded, on this day in 1967.

We were talking about the space between us all
And the people who hide themselves behind a wall of illusion
Never glimpse the truth, then it’s far too late, when they pass away
We were talking about the love we all could share
When we find it, to try our best to hold it there with our love
With our love, we could save the world, if they only knew

Try to realise it’s all within yourself
No one else can make you change
And to see you’re really only very small
And life flows on within you and without you

We were talking about the love that’s gone so cold
And the people who gain the world and lose their soul
They don’t know, they can’t see, are you one of them?

When you’ve seen beyond yourself then you may find
Peace of mind is waiting there
And the time will come when you see we’re all one
And life flows on within you and without you”

George Harrison

The distinctive music certainly stood out too. I was infatuated by the Indian influence, most notably presented through the use of sitar, tambura, swarmandal, tabla and diruba.

As much as ‘Within You Without You’ was a satisfying composition for George Harrison, it took a bit of trial and error to create something that would be accepted by the rest of The Beatles and George Martin. Here is the brief story that describes how the song evolved in order to become an important track on this celebrated Beatles album.

In many ways ‘Within You Without You’ was the companion piece to ‘Love You Too’ which was both a love song to Pattie Boyd and a cynical look at the materialism that Harrison saw taking over all aspects of life around him. He was looking for harmony, where he perceived little existed beyond him.

 In the fall of 1966, George and Pattie took a well-documented trip to India. At the time, Harrison felt detached from his role as a Beatle. Generally speaking, he was dissatisfied as a lesser light in the Fab four. Under the guidance of Ravi Shankar, George Harrison was captured by the physical and spiritual beauty of India. He was searching for a spiritual connection and in India he was able to find the answers that stayed with him for the rest of his life.

By the time he returned to the Abbey Road studio he was beginning to feel confined within his role as a Beatle. Being the ‘Quiet One’ was no longer fulfilling, nor was his place in the back seat watching John Lennon and Paul McCartney dominate the recording process.

A lot of the time … we weren’t allowed to play as a band so much. It became an assembly process – just little parts and then overdubbing… After [the India trip], everything else seemed like hard work. It was a job, like doing something I didn’t really want to do, and I was losing interest in being ‘fab’ at that point.” 

George Harrison

This sentiment was compounded by the fact he was manipulated into a business agreement with Northern Songs. This association became a major source of resentment. The publishing company was initially a venture for John Lennon and Paul McCartney that was arranged by Dick James. As George began to contribute more, he was encouraged to sign on as well. Northern Songs became publicly traded in 1965 and as the main songwriters John and Paul were named majority shareholders, receiving 15% royalties, while Harrison and Ringo Starr sat at a lowly .8%. Too summarize in one sentence, George Harrison did not own the copyright to his own music and as a result of the corporate structure John Lennon and Paul McCartney earned more from George Harrison’s compositions than George did himself. George channeled his frustration into ‘Only a Northern Song’ which he offered to The Beatles during the early days of the ‘Sgt. Pepper’s Lonely Hearts Club Band’ recording sessions.

Listen to the lyrics. This is classic George Harrison. He is being funny, while projecting his anger through his creativity. The therapeutic escape provided a gateway for George, and it became a turning point for the artist who emerged as Lennon and McCartney’s equal in the final years of The Beatles.

Back to the studio, and the process that saw the band gather to record what became ‘Sgt. Pepper’s Lonely Hearts Club Band’ in the early part of 1967. According to the notes related to the timeline that saw the album come together, Harrison unveiled his demo of ‘Only a Northern Song’ on February 13. George Martin is on record as saying that he “groaned inside” when he heard it, and declared it “the song I hated most of all.” Engineer, Geoff Emerick backed up this assessment saying it was “a weak track that we all winced at.” He followed up with the accurate assessment that George was not entirely happy with his place in the Beatle hierarchy. It was suggested that the song was not up to the standard of what was shaping up to be an album of quality material. Therefore, George was asked to come up with something better.

The seed for ‘Within You Without You’ was planted while Harrison visited the home of long- time friend and Beatle associate Klaus Voormann in early 1967. Over dinner, the pair became immersed in a discussion that spoke to the metaphysical space that prevents individuals from recognizing the natural forces that unite the world. This inspired the song’s opening line. In the Steve Turner book, ‘A Hard Day’s Write’ the dinner party that gave way to ‘Within You Without You’ was described in this way.

We were all on about the wall of illusion and the love that flowed between us, but none of us knew what we were talking about. We all developed these groovy voices. It was all a little bit ridiculous really. It was as if we were all sages all of a sudden. We felt we had glimpsed the meaning of the universe.”

George Harrison

While experimenting on Klaus Voorman’s pedal harmonium, George uttered the line that gave way to the rest of the song. He noted it along with the general melody and then went home and wrote the rest. Ultimately, the music existed as an homage to Ravi Shankar, based on a lengthy piece Harrison had heard on All-India Radio. He aimed to emulate Shankar’s stylings while sharing the basic tenets of Hinduism in the lyrical passage.

Where ‘Only a Northern Song’ was treated with disdain, ‘Within You Without You’ was warmly received, particularly by George Martin.

The tune struck me as a little bit of a dirge, but I found what George wanted to do with the song fascinating.”

George Martin

True to George Martin’s character he immediately set out to record the track. This is how members of the London Asian Music Circle came to be a part of the ‘Sgt. Pepper’s Lonely Hearts Club Band’ credits. In order to create the proper mood EMI’s Studio Two was covered with woven carpets, the lights were dimmed and candles lit. John Lennon remembers it this way.

George has done a great Indian one. We came along one night and he had about 400 Indian fellas playing there … it was a great swinging evening, as they say.”

John Lennon

The two Georges took complete control of the session. George Martin added a string score using Western instrumentation. It consisted of eight violins and three cellos. An enthused Harrison moved throughout the studio teaching each of the Music Circle participants their parts.

If you truly love George Harrison’s vision and enjoy the components that make up a song, this 25 minute breakdown of ‘Within You Without You’ makes for a fascinating insight into how the song came together.

The significance of ‘Within You Without You’ in Beatles lore is it represents the moment where George Harrison’s vision truly dominated a recording session. It was empowering. In the end, George Harrison was the only Beatle to perform on ‘Within You Without You’.  

Here is John Lennon’s assessment of the completed track.

One of George’s best songs. One of my favourites of his, too. He’s clear on that song. His mind and his music are clear. There is his innate talent; he brought that sound together.”

John Lennon

For George Harrison, there is no doubt that it resides as one of his favourite pieces of music.

It’s quite complex, but I did learn this little piece, one of my exercises that I used to practice, that was in a 5/4 timing. So, I did the solo in ‘Within You Without You’ into a 5/4, just to show how clever I was.”

George Harrison

One other element to the final recording that should be noted is the laughter heard at the end of the track. Some thought this levity was a sign of mockery that caused some to suggest the band was reluctant to give it a slot on the album, but in fact it was quite the opposite. It was simply felt that the happy sounds would balance what was initially perceived as five minutes of prayerful, mournful music.

As it turns out, ‘Within You Without You’s legacy is that in terms of ‘Sgt. Pepper’ being seen as the flagship of the psychedelic era, this song may be the one on the album that is most emblematic of that period.

Set within the dynamic of the song’s evolution this stands as not only ironic, but it speaks to the theme of karma that George Harrison was attempting to convey when he wrote the masterful piece. Above all, this becomes the lasting message.

When you’ve seen beyond yourself then you may find
Peace of mind is waiting there
And the time will come when you see we’re all one
And life flows on within you and without you”

George Harrison

Like so many songs by The Beatles, finding cover songs is not at all a challenge. The trick is always in narrowing it down to the best ones to share. As is so often the case the diversity of acts become almost as intriguing as the cover versions themselves.

Let’s begin with Sonic Youth and their recording in 1988. This recording was part of the deluxe edition of their album ‘Daydream Nation’.

As part of a 40^th anniversary celebration of ‘Sgt. Pepper’s Lonely Hearts Club Band’ in 2007 Patti Smith recorded a solid version of ‘Within You Without You’. Another intriguing cover because it combines The Beatles, psychedelia and one of the most integral artists of the New York punk movement.

Here is another 40th anniversary celebration. This time it is presented by Firefall in an acoustic rendition by Rick Roberts and Mark Andes.

In 2009 Cheap Trick recorded a live interpretation of Sgt. Pepper’s. This Rock and Roll Hall of Fame act is well known for their adulation of all things Beatles. It shines through in their original material and in their carefully crafted cover versions.

Another fascinating act that has been open about their love of the Beatles is Flaming Lips. This cover is from 2014 and their album ‘With a Little Help from My Fwends’ which features Birdflower and Morgan Delt.

The final cover is offered by The Analogues. Fifty years after the original release this Dutch tribute act provides a very true rendition that combines George Harrison’s spiritual vision alongside the incredible traditional Indian music stylings. Just an incredible combination of musical ability and interpretation.

Part of the mission of today’s post is to take the listener back to a time and place where philosophy and music came together. Perhaps the most important legacy George Harrison left us with us is his ability to interpret the human condition.

I felt it was important to try and be precise, to tell them and let them know. You know, to come out of the closet and really tell them. Because once you realize something, then you can’t pretend you don’t know it any more. I figured this is the space age, with airplanes and everything. If everyone can go around the world on their holidays, there’s no reason why a mantra can’t go a few miles as well. So, the idea was to try to spiritually infiltrate society, so to speak.”

George Harrison

And herein lies the problem.

Most of the world is fooling about, especially the people who think they control the world and the community. The presidents, the politicians, the military, etc., are all jerking about, acting as if they are Lord over their own domains. That’s basically Problem One on the planet.”

George Harrison

We are living this today on so many levels.

Will we ever learn?

We need George Harrison more than ever, but we still have his words, and the message he was trying to impart on the people. Sadly, too few have bothered to pay attention.

Midnight Rider – The road goes on forever. #MusicisLife #TedTocksCovers #GreggAllman #AllmanBrothersBand #JoeCocker #BobSeger #PaulDavidson #WillieNelson #WaylonJennings #PattiSmith #StephenStills #SteveEarle #BlackberrySmoke

In Memory of Gregg Allman

Today’s post will be mostly about the influence of Gregg Allman. His contribution to music spanned five decades. He passed away three years ago today. His legacy remains and it can be clearly traced through his signature song, ‘Midnight Rider’. Although the original release did not chart, like many songs by the Allman Brothers Band it has left an indelible mark on musicians and fans for nearly have a century.

To truly understand the song ‘Midnight Rider’ you have to place yourself in Gregg Allman’s headspace during the time of writing. The Allman Brothers Band had released their critically acclaimed debut album in late 1969 and they spent the end of ’69 and the first half of 1970 touring relentlessly, writing and recording. By the time they committed to put together a follow up to ‘The Allman Brothers Band’ they had a combination of road tested blues classics, a couple of stellar Dickey Betts’ creations in ‘Revival’ and ‘In Memory of Elizabeth Reed’ and a couple of songs penned by Allman. They found themselves in need of an additional original creation. The scene to create was established at a farmhouse the band had rented on a lake outside of Macon, Georgia. The country locale became known as “Idlewild South’. It was here that Gregg Allman was able to unwind. He felt free to smoke marijuana and reflect on the whirlwind that life had become. It was during this period of contemplation that ‘Midnight Rider’ came to him in a flurry. He wrote and composed the first two verses in less than an hour. As legend has it, the third verse was giving him some trouble. Allman recognized that the verse was important because “it was kind of the epilogue to the whole thing”; the point where the narrator transforms. This is where he turned to his friend and band roadie, Kim Payne for his thoughts. Kim Payne was in charge of watching over the warehouse where the Allman Brothers Band stored their equipment. Payne’s account of his resulting contribution borders on hilarious.

We were getting high and, honestly, he was starting to irritate me—because he was singing this song over and over and I got sick of hearing the band play the same shit over and over again until they got it right. So, I just threw out the line, ‘I’ve gone past the point of caring / some old bed I’ll soon be sharing.'”

Kim Payne

Gregg Allman loved the line and promised Payne if the song became successful, he would list him as a contributor. Initially, this did not happen, but ultimately, the band and management gave him 5% of royalties. I would love to know what that has added up to. As legend has it, Payne actually stole Gregg Allman’s motorcycle as collateral against the ultimate fulfillment of this promise. The internal strife within the Allman Brothers Band was a never-ending saga.

Now that the essence of the song was written, Allman was anxious to record. This did not include waiting around for the entire band. He needed to record it NOW.  Capricorn Sound Studios was next door to the warehouse so Payne and Allman figured they would just head over and lay down a track and then share it with the group. The problem was, they did not have keys. It was a shortly after midnight, and all efforts to get anyone to share in their excitement went with a “go to hell, come back in the morning” response, or worse. The pair were not dissuaded. They smashed a window on the back door and broke into the building. Once inside, they turned on the console and microphones. Allman recorded himself on an acoustic guitar and vocals. Later on, he had his friend Twiggs Lyndon hack out a rough bass line even though he had only a rudimentary idea of how to play. For the final piece of the demo, he was able to get Jaimoe to play congas. In the final studio recording Duane Allman and Dickey Betts introduced layers of acoustic and slide guitar and all of the elements merged to form the song we all know. Ultimately, the very nature of the recording lent itself perfectly to the song’s classic folk/blues theme of a man who is on the run and determined to do whatever it takes to survive. Here is an early outtake with the pronounced conga rhythm and an extended outro.

Listening to the alternate takes of ‘Midnight Rider’ is an enjoyable experience. The listener gets lost in the possibilities. The official track that emerged on ‘Idlewild South’ is just one of many versions. The very nature of the composition leads to an open-ended series of musical interpretations. Ultimately, ‘Midnight Rider’ stands as Gregg Allman’s pre-eminent gift to the music world. In his own words Allman called it:

The song I am most proud of in my career.”

Gregg Allman

When you consider his legacy, this is quite a statement.

Speaking of the legacy, let’s enjoy the song through the eyes of several artists who have covered it through the years. Fittingly, the appropriate way to lead it off is a revised version by Gregg Allman himself. This is from his 1973 solo album called ‘Laid Back’. This version actually did make the Billboard Hot 100 top 20; peaking at #19. The horn section adds such a powerful element. This was producer Johnny Sandlin’s idea. In the category of ‘the music world is a tight circle’, it is fascinating to note that Cissy Houston is one of ten backing vocalists on ‘Laid Back’. Cissy Houston is Whitney Houston’s mother.

Few artists have the capacity to cover other performers as well as Joe Cocker. Here is Cocker, in 1972 on his self-titled album, modifying the delivery along with his ever-present buddy Chris Stainton on piano. So good. Love the backing vocals.

Long before he became a household name Bob Seger recorded a version of ‘Midnight Rider’. This is also from 1972. It appeared on his ‘Back in ‘72’ album. The album is long out of print, but this edited and remastered version was released as part of Seger’s ‘Early Seger Vol. 1’ compilation in 2009.

A few years later, in 1976, Jamaican reggae artist Paul Davidson recorded a cover of ‘Midnight Rider’. It hit the top 10 in the United Kingdom.

In 1980, there was a Robert Redford movie called ‘The Electric Horseman’. I vaguely recall seeing it in the theatre. As part of the soundtrack for the movie Willie Nelson recorded this cover version of ‘Midnight Rider’. The harmonica makes this version stand out.

While mentioning Willie Nelson, it would not be appropriate to leave Waylon Jennings out. Here is the outlaw country legend doing his own take on ‘Midnight Rider’ on his 1974 album appropriately titled ‘Ramblin’ Man’.

There is even a ‘punk’ version of ‘Midnight Rider’ presented by the legendary Patti Smith. This is from her 2007 release ‘Twelve’. She owns it.

I am bouncing around a fair bit here. I acknowledge that. Back in September of 1989 I saw Crosby Stills and Nash at Massey Hall. I was in the second row of the balcony, side stage, looking right down on this legendary trio. During the show, it was customary for each of them to do a mini solo set. I distinctly recall Stephen Stills coming out and doing an energized version of ‘Midnight Rider’. I couldn’t find an on-line version of the Massey Hall performance, but I did find this version from the United Nations Assembly in New York, just a couple of months later.

Three more versions, and then I am out. Here is a great rendition by Steve Earle. It is made even better but his introduction. Steve Earle is a storyteller and he ties in his admiration of Gregg Allman in his own unique way. This is from the ‘House of Strombo’ with host George Stroumboulopoulos.

Most recently, I have become aware of a fantastic cover by one of the latest acts to carry the Southern rock torch. Here is a fantastic cover by Blackberry Smoke. This is recorded at the very same Capricorn Sound Studios that Gregg Allman broke into over fifty years ago.

The most fitting way to close this post is with a latter day version of ‘Midnight Rider’ by the Allman Brothers Band. The 40^th anniversary edition to be exact. This features the dynamic guitar duo of Derek Trucks and Warren Haynes along with Oteil Burbridge on bass.

I could listen to this song all day. Like Gregg Allman said…

The road goes on forever”

Gregg Allman

The music of the Allman Brothers band just makes the trip all the more enjoyable.