Today, we go all the way back to December of 1964 and the early days of the Rolling Stones and the underrated Jagger/Richards classic ‘Heart of Stone’.
This gem was released as a single in the United States in late 1964, and then subsequently added to the 1965 U.S. released album, ‘The Rolling Stones Now’. Down the road a little, it became part of the British album release known as ‘Out of Our Heads’.
To aid in the promotion of the U.S. album release, producer Andrew ‘Loog’ Oldham wrote this piece of advertising copy.
This is THE STONES new disc within. Cast deep in your pockets for the loot to buy this disc of groovies and fancy words. If you don’t have the bread, see that blind man knock him on the head, steal his wallet and low [sic] and behold you have the loot, if you put in the boot, good, another one sold!
Andrew ‘Loog’ Oldham
It didn’t go over well and it was subsequently removed.
But it did serve well in adding to The Rolling Stones bad boy image which existed in carefully crafted contrast to The Beatles.
Just sit back and listen to ‘Heart of Stone’ and you will feel the blues and soul influence that was so instrumental in the Stones rise. But, there is something more. Hidden in the subconscious of this band, and just waiting to emerge about five years later was a strong country direction.
In 1975, The Rolling Stones released a compilation called ‘Metamorphosis’. This album included an early demo of ‘Heart of Stone’ that is jaw dropping good. Early in the track you hear the more pronounced backing vocals which create a sombre mood but it is the bridge that takes everything to Nashville. Listen to that guitar. The solo at 2:04 is none other than Jimmy Page who adds a phenomenal layer to Keith Richards homage to the other half of his music roots. It should be noted that ol’ Keef does a solid job too. Two legends. This version also includes Clem Cattini on drums. Absolute gold.
This was the first time that Jimmy Page lent his talent to a Rolling Stones track, but not the last. In 1985 The Rolling Stones released ‘Dirty Work’ and at the behest of his old friend Ronnie Wood, Page added his guitar prowess to the single ‘One Hit to the Body’. Jimmy Page can be heard playing the B-bender solo beginning at 2:27. Here you go.
This exists as just one more example of the lineage of the country rock sound, and how it meanders its way into some of the biggest hits. Sometimes it’s subtle, but it is there. Here is one of the creators of that sound; Gene Parsons, discussing his role in putting some more magic in Jimmy Page’s strings.
I installed StringBenders in two of Jimmy Page’s guitars—one in a Tele and one in a Les Paul. I think he always appreciated [Byrds guitarist and B-bender pioneer] Clarence White, and might have even been a fan. It must have been that ‘Clarence sound’ that convinced him to have the StringBenders installed.”
Gene Parsons
Just a Stones throw away is much discussed friendship between Keith Richards and Gram Parsons which fed a ton of material the band released between 1969 and 1974.
As always, when you trace a Rolling Stones song you open the doors to anywhere from a half century to a century of undeniable influence. They may be the greatest rock and roll band ever, but they would be the first to tell you that they owe a lot to the artists that blazed the trails. This is why Ted Tocks Covers loves writing about this band.
For today’s cover versions we head back to an interesting project from Andrew ‘Loog’ Oldham and his Orchestra in 1966. This is from ‘The Rolling Stones Songbook’.
Here is a fun live version by Mitch Ryder in 1988. A quality rocker who emerged from the Detroit rock and roll scene in the late ‘60s.
To conclude today’s feature, let’s move on to a band that in the early ‘70s presented a rival to The Rolling Stones in terms of popularity and live gate revenue. Unfortunately, a combination of drug and alcohol addiction, internal strife and tragedy strangled their ascent. Of course, I am talking about the Allman Brothers Band who much like the Stones drew from a strong blues, country, jazz and soul influence and rode that musical blend to great heights. Listen to this incredible cover of ‘Heart of Stone’ from their 2003 album ‘Hittin’ the Note’. It is difficult to describe how good this cover is.
First you get Gregg Allman’s vocals which, with all due respect to Mick Jagger, are better. Both tell a story, but somehow Allman does break hearts.
Accompanying Allman, is the superlative guitar work of Warren Haynes and Derek Trucks. It’s hard to imagine but they outperform Page and Richards.
Add to this, the rhythm section that includes the great Oteil Burbridge on bass along with Butch Trucks and Jaimoe on drums.
To top it all off Gregg Allman lends his distinctive Hammond B3 organ.
It just doesn’t get any better.
As fate would have it, ‘Hittin the Note’ would be the final studio album from The Allman Brothers Band. What a way to put a stamp on a career that offered a dozen studio albums and a wealth of staggering live albums. Fortunately for all their fans they continued touring through late October of 2014. Since that time the Allman Brothers family has lost both Butch Trucks and Gregg Allman.
Truth be told, as good as the Allman Brothers Band was in studio, they were that much better live.
To me, this is where the Allman Brothers Band outshines The Rolling Stones. If pressed I would rank them higher in my list of favourites. This may not be a popular opinion, and it could likely create some fun debates with a host of listening props to back up some carefully considered points.
Let me know your thoughts.
When it all comes down to it, we are so lucky to have the vast catalogue of material created by both acts.
Today’s post will continue what has become an annual tradition for Ted Tocks Covers. I will share the top 10 original posts for 2022. As an added bonus I will include the most read Ted Tocks feature of 2022 and the Ted Tocks feature that has garnered the most readership over the duration of this blog.
Once everything is compiled, readers will (hopefully) be able to enjoy at least 12 songs and a (seemingly infinite number of quality cover versions.
Before I move on, I would like to share some interesting observations about how the site continues to grow.
In 2022, Ted Tocks Covers enjoyed readership in 108 countries around the world. I share this because I find this level of engagement to be both fascinating and validating.
It is interesting to note that the top five countries for Ted Tocks Covers readership are:
#5. Ireland
#4. Australia
#3. United Kingdom
#2. Canada
#1. United States
I love the range of readership. Slightly more than half of Ted Tocks Covers readers in 2022 came from the United States.
Over the calendar year, 150 posts were created. My goal was to create new content anywhere from two to three times per week and I managed to achieve that level of production.
As a result, I was astonished to discover that this generated nearly 300,000 words. It should be noted that oftentimes, Ted Tocks features the lyrics to the songs I highlight, and quotes that speak to the creations, so by no means can this degree of verbosity all be attributed to Ted Tocks Covers. That is a lot of words though.
To quote Alex Lifeson:
“Blah, Blah, Blah”
The 150 posts contributed to some degree, to over 21,000 page views. Here it should be noted that as a result of everything being archived on my blog site https://tedtockscovers.wordpress.com/ these articles are generating a high degree of visibility on search engines. It is pretty remarkable to see it grow.
For example, in 2022. Ted Tocks Covers had over 16,400 Visitors, which is easily the best year ever.
In 2022 Ted Tocks Covers achieved a milestone. The blog site surpassed both 50,000 page views and 1500 posts. In the first half of 2023 we expect to reach site visitor 50,000.
Once again, this is all shared because none of it would be possible without your support. The fact you take time to read this personal exploration is appreciated beyond words.
Now let’s move on to the music. Before unveiling the Top Ten for 2022 there are two songs I want to highlight.
First, the most viewed post over the 2022 calendar year is ‘Keep Me In Your Heart’ by Warren Zevon.
In 2022, it had over 1200 page views. This marks the second consecutive year that this evocative song by this incredible songwriter was the most viewed Ted Tocks feature. Since it was published in September of 2019 it has received over 2500 page views. ‘Keep Me in Your Heart’ is second all-time to ‘He Was in Heaven Before He Died’ by the great John Prine which presently sits at 5060 page views.
#10. 45 Years of Rumours – In early February, Ted Tocks Covers shared this brief retrospective which highlighted 45 years of the celebrated Fleetwood Mac album ‘Rumours’. It was a fun look back, especially when several quality covers of the incredible songs that make up the album were shared. Sadly, this post repeated in late November when the news of Christine McVie’s death shocked the music world. The outpouring of love for this classy performer was heartwarming. We are so lucky that her music remains, and the legend of Fleetwood Mac continues to grow.
#9. Nine Pound Hammer – Ted Tocks Covers has featured John Prine so many times that it has become a challenge to offer something unique in any way. I approached this tribute in what amounted to a short story. It was a fantasy piece. This look back on a bluegrass standard with a touch of history was fun to write. Truth be told, John Prine was the central character, but much like he was in life, the humble artist gave all the credit to the many artists who covered this song through the years. I miss John Prine.
#8. Blue Sky – This beautiful song by the Allman Brothers Band celebrated 50 years in 2022. It resides as one of the last Allman Brothers tracks to include the work of the legendary Duane Allman. We have Dickey Betts to thank for this musical walk through a sunny day. The success of ‘Blue Sky’ and the reception of ‘Eat a Peach’ gave them the strength and conviction to carry on. What a band; no matter what lineup shared the stage.
#7. Your Flag Decal Won’t Get You into Heaven Any More – The second John Prine track to appear in the Top 10 for 2022. Yet again, Prine blows everyone away with his lyrical brilliance. He packed this song away on a few occasions thinking it was no longer relevant. In a case of ‘never underestimate the power of stupid people in large groups to astonish you’ the same themes keep popping up and this song enjoyed a handful of resurgences on his set list over the years. Of course, John was able to get it across with his trademark sense of humour because laughter truly is the best medicine. It serves to keep us sane in an increasingly divided world.
#6. Wishing You Were Here – Without question, this was the most difficult Ted Tocks I have ever written. Technically speaking, it is not actually a ‘Covers’ piece. There was no cover version included because I ran out of words to share about the loss of a dear friend. The words and emotion came pouring out. It was all encompassed within the words and music of Alison Moyet. This powerful piece of music encapsulated my feelings perfectly. I was honoured to share these words at Alistair’s funeral at the request of his husband Derek. I still can’t tell you how it feels. Countless friends were there for Derek, and for each other.
#5. Rock Me on the Water – Through the years, Ted Tocks Covers has featured Jackson Browne on several occasions. Whenever I do, I share it to Jackson Browne fan pages on Facebook and the engagement is always positive. Much like John Prine fan pages, the people are top notch. Just like the music. ‘Rock Me on the Water’ is a warning to people to look after each other and the planet. Browne got this message through on his debut album, and he has managed to sustain this level of morality for over 50 years. Just a quality human being. He also happens to be a phenomenal songwriter whose offerings continue to be relevant.
#4. Tired of Waiting for You – Part of the fun of writing this blog is dipping my toe in the water of various fan groups on the internet and social media. So far, I have mentioned John Prine and Jackson Browne. A couple of years ago I shared a Ted Tocks Covers post that featured ‘Living on a Thin Line’ to www.kindakinks.net and the page views took off. I reached out to the site’s webmaster ‘Dave’ and said thank you. He invited me to share my Kinks related material any time. In February, Ted Tocks featured the 1964 Kinks classic ‘Tired of Waiting for You’ and with the assistance of fans of this one-of-a-kind band, from all over the world, helped to make it the #4 Ted Tocks for 2022. Not bad for the Ray Davies penned song that was written as a means to follow up the success of ‘You Really Got Me’.
#3. Mr. Bad Example – From the early days of Ted Tocks Covers right through to the present, I have been unwavering in my opinion that Warren Zevon is one of the best songwriters who ever lived. My mission, on occasion has been to share this sentiment and back it up with facts. The fact is, his catalogue of great songs speaks to this truth. Countless musicians speak out on his behalf and in order to put a stamp on their love of Zevon’s music they have recorded some wicked cover versions of his songs. Intelligent and funny. The word genius has been thrown around, but that may have been his own tongue in cheek reference, and not directed at himself. He was complicated. David Letterman called him one of the true heroes of rock and roll. I for one agree.
#2. Time to Move On – This post was more personal than most. Another trend I have discovered over the years is when I am able to relate a song to my own day to day life it tends to get a little extra readership from the people in my more immediate circle. ‘Time to Move On’ is a deep track on the classic Tom Petty album ‘Wildflowers’. The lyrics perfectly described the way I was feeling when I opted to ‘retire’ from my career as a Print/Digital account executive for a prominent chain of community newspapers. Sadly, the industry had changed for the worse and I knew two things. First, it was clear that I was unhappy. I was like a deer caught in the headlights, wasting the meaning and losing the rhyme. I also had no idea what lay ahead. I still don’t. I am not a risk taker by nature. I just knew I had to get away. I know I made the right decision. This post reminded me of several things. It was clear that I had the support of many people. It also confirmed that for virtually every life experience there is a Tom Petty lyric that effectively conveys every emotion.
#1. – The Last Waltz – In late November Ted Tocks Covers featured a walkthrough of the setlist from the Last Waltz. It has been 46 years since that event and over five years of presenting Ted Tocks Covers, I have featured The Band on several occasions. I built those posts into this retrospective and then I added some phenomenal and more recent cover versions. The influence of The Band through to the present day really shone through here. It was a fun feature to write because the music and the energy is electrifying. Truth be told, it was a bit of a throwaway feature. I definitely didn’t expect it would gain any degree of traction. Initially it didn’t. When it was posted in the last week of November, it generated a modest 10 page views. Then something happened. Through the search engines that on occasion pick up my posts and carry them away, ‘The Last Waltz’ exploded, and became the top Ted Tocks Covers feature for 2022. Perfect. An evening that celebrated great music, was featured on a blog that simply aims to share the power of music on a daily basis. It just seems appropriate.
In the end, 2022 was the best year ever for Ted Tocks Covers. Over the course of the year the feature has averaged close to 60 page views a day. Hopefully, I can continue this upward trend in 2023.
This continues to reinforce the message that I often share. Music is a universal language. It is magic. In the words of Tom Petty:
Music is probably the one real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.”
Tom Petty
A perfect summation by one of my favourites.
If you missed these features the first time around enjoy them now. If you think a friend might like to spend a few minutes with some good music, please share because…
#MusicisLife
If you haven’t already, please sign up yourself or invite other people to follow Ted Tocks Covers at:
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I will close the same way that I did last year.
Happy 2023! Cherish every moment.
Thank you for continuing to read Ted Tocks Covers. I will be in touch. You can count on that. There are many great stories to come in 2023.
Listening to the Allman Brothers Band is therapeutic. One can get lost in their finely woven compositions. The musicianship is astounding, offering layers of brilliance. In short, songs like ‘Blue Sky’ provide comfort. When you immerse yourself in their music you can convince yourself that all is right with the world. The sun is always shining. It is a fine escape.
Fans of great music have Dickey Betts to thank for ‘Blue Sky’ but there were a few assists that need to mentioned. Here is the brief story and more appropriately, a whole lotta music because few bands jam better than the Allman Brothers Band.
Dickey Betts wrote ‘Blue Sky’ for his girlfriend at the time, Sandy ‘Bluesky’ Wabegijig. Sandy was a Canadian of Indigenous heritage. Betts wrote the song in the first half of 1971 and the band recorded it in September for its ultimate release on the classic album ‘Eat a Peach’. Betts and ‘Bluesky married in 1973, but divorced two years later. Their marriage produced a daughter named ‘Jessica’.
While writing ‘Blue Sky’ Betts opted to leave out any references to gender, because he felt it gave the song a spiritual depth.
Once I got into the song I realized how nice it would be to keep the vernaculars—he and she—out and make it like you’re thinking of the spirit, like I was giving thanks for a beautiful day. I think that made it broader and more relatable to anyone and everyone.”
Dickey Betts
Initially, the song was intended for Gregg Allman to sing, but fortunately Duane Allman was around to suggest that Dickey take the reins. As Betts recalls, the legendary guitarist said,
Man, this is your song and it sounds like you and you need to sing it.”
Duane Allman
That encouragement was all Dickey Betts needed to take the next step.
Through the years, fans of the Allman Brothers Band have been blessed with several alternate recordings, live performances, outtakes and rehearsals. Here is a very early version of ‘Blue Sky’ from what fans have labeled ‘The Gatlinburg Tapes’.
The ultimate studio version of ‘Blue Sky’ offers one of many stunning examples of the interplay between Dickey Betts and Duane Allman. The incredible guitar tandem alternate playing the song’s lead and it weaves its way through. If you close your eyes, you are taken away to a glorious sunny day, anywhere you would rather be. It is simply transcendent.
If there is a sad note to relate regarding ‘Blu Sky’ it is that it resides as one of the last songs ever recorded by Duane Allman with the Allman Brothers Band. The band played it during several live sets in September of 1971. Here, is perhaps the best-known live version of ‘Blue Sky’ with Duane and Dickey putting their brilliance on full display. This is from State University of New York at Stony Brook on September 19th.
The recording I shared at the outset of today’s post was recorded about a week later at Criteria Studios in Miami, Florida which was the studio where Duane Allman played on all but three tracks of Derek and the Dominos classic ‘Layla and Other Assorted Love Songs’ about one year earlier. The recording process for ‘Eat a Peach’ was a disjointed affair. They wrote and debuted songs on the road in order to save money. There was also a period of time where band members checked into rehab for what had become debilitating drug dependencies. Then, as we all know, Duane Allman tragically lost his life on October 29, 1971. The band was faced with a decision about their future. In the words of drummer Butch Trucks,
We thought about quitting because how could we go on without Duane? But then we realized: how could we stop?… We all had this thing in us and Duane put it there. He was the teacher and he gave something to us—his disciples—that we had to play out.”
Butch Trucks
The significance of ‘Blue Sky’ was not lost on the group. Duane Allman’s guitar contribution on this song and beautiful pieces like ‘Little Martha’ exist as a swan song. Here is engineer Johnny Sandlin.
As I mixed songs like “Blue Sky,” I knew, of course, that I was listening to the last things that Duane ever played and there was just such a mix of beauty and sadness, knowing there’s not going to be any more from him.”
Johnny Sandlin
The album ‘Eat a Peach’ remains as a tribute to Duane Allman by his band of brothers. Even the album title was a nod to a response Allman gave a writer when he was asked about the state of global politics at the time.
I’m hitting a lick for peace—and every time I’m in Georgia, I eat a peach for peace. But you can’t help the revolution, because there’s just evolution. I understand the need for a lot of changes in the country, but I believe that as soon as everybody can just see a little bit better, and get a little hipper to what’s going on, they’re going to change it. Everybody will—not just the young people. Everybody is going to say, ‘Man. This stinks! I cannot tolerate the smell of this thing anymore. Let’s eliminate it and get straight with ourselves.’ I believe if everybody does it for themselves, it’ll take care of itself.”
Duane Allman
Eat a peach for peace, was shortened to ‘Eat a Peach’. In addition to his unrivalled guitar work, it became Duane Allman’s lasting message to the universe. The album was an immediate success upon its release on this day in 1972. It peaked at #4 and it is considered a classic album from this era of music. Fans of the Allman Brothers Band have placed it on a pedestal.
Together, the Allman Brothers Band decided to soldier on. Dickey Betts became the de-facto leader. As part of the transition the group brought in the piano prowess of Chuck Leavell. Here is an example of how effectively Leavell’s talent blended with the Allman Brothers Band’s unique combination of musicians from New Year’s Eve 1973.
For a very different take on ‘Blue Sky’ please enjoy the wonderful voice of Joan Baez. This is from her 1975 album ‘Diamonds and Rust’.
Over the years ‘Blue Sky’ became a set standard for Dickey Betts with the exception of a period of time in the mid ‘70s where he refused to play it following his divorce from Sandy. Here is Dickey Betts and the Great Southern from 1978 at the famous Capitol Theatre in Port Chester, New York.
Like a family heirloom, ‘Blue Sky’ was passed down to the next generation. Here is Gregg Allman’s son Devon, along with Dickey’s son Duane, who was named after Duane Allman. As an added bonus you get the infinite piano talent of the great Chuck Leavell.
Even following the departure of Dickey Betts from the Allman Brothers Band lineup ‘Blue Sky’ remained a set list favourite. Here is Warren Haynes and Derek Trucks in 2013 from the Beacon Theatre.
One last cover to share that offers a continuation of the family lineage associated with ‘Blue Sky’ we have Frank Hannon, the vocalist for the heavy metal band Tesla doing a quality cover. Hannon married Dickey Betts’ daughter Christy. His brother-in-law, Duane joins him, playing a fantastic lead guitar track. I love this version. The admiration of the men who brought it their way shines through.
The world of music is a tightly woven quilt it seems. Very much like the Allman Brothers Band musical family tree.
A little over a month ago I posted a Ted Tocks feature that paid tribute to several colleagues (friends) who were leaving after several years (Against the Wind). Sadly, it is happening again. Today’s post is a brief tribute to my friend Susan, using the inspiring Warren Haynes song ‘Soulshine’ as the background. ‘Soulshine’ is a song that makes me think of Susan whenever I hear it.
A couple of Fridays ago I was sitting in my home office contemplating my next move when the phone rang. It said, ‘Susan and Danny’ (Danny is Susan’s husband). This is nice”, I thought, as I picked up the phone. Thanks to the COVID-19 lockdown, I have been working from home since mid-March. Other than frequent email exchanges with Susan, we hadn’t had many opportunities to talk. Another challenge associated with our current situation. People you are used to seeing every day become occasional email interactions. The phone call was a welcome break.
Susan’s friendly voice on the other end came through with a hint of excitement.
“I’ve got some news and I wanted you to hear it from me…”
This is becoming the story of COVID-19…
“I got a great opportunity and next week is going to be my last week with the Burlington office.”
…I kind of knew it was coming.
The beautiful thing about Susan’s departure is, unlike the handful of people who left in May, she is taking on another role in the company. As she explained where she was going, who she will be working with and what she will be doing, it became abundantly clear that the position will be perfect for her in many ways. I could detect the happiness in her voice from the initial greeting. I have worked with Susan for 23 years. You can just tell. The enthusiasm shone through in the same way that she described a book she was reading, a show she enjoyed, or a song she loved. Above all, the excitement rivalled the joy expressed when she relayed her enjoyment of a Dave Matthews Band concert. Dave Matthews Band is far and away Susan’s favourite. DMB is one of her passions. So how does this relate to Warren Haynes? I will do my best to explain.
From the first day I met Susan, just over 23 years ago, we were connected by a love of music. The conversation turned to artists we enjoyed. Her, and colleagues Debbie and Erin and I would talk about a variety of acts. Admittedly, in the late ‘90s and early 2000s, I was coming out of my lost phase. Parenthood had kind of left me out of the loop when it came to contemporary artists. I am still trying to catch up. One band that Susan emphasized was the Dave Matthews Band. She described the scene, and it intrigued me. The immediate parallel I could draw was my experience frequenting Grateful Dead shows in the ‘80s and early ‘90s. I made a point to explore the DMB library. It was vast and the musicianship was impressive. One of my first discoveries was Dave Matthews Band in Central Park. One of his guests during this show was Warren Haynes. Earlier, I mentioned the Grateful Dead, but another direct comparison in terms of audience devotion can be linked to the Allman Brothers Band. Another one of my favourites. So, when I saw Warren Haynes jamming with the Dave Matthews Band I was hooked. I admit, I was a little bit late to the party, but I got there.
So, to make a long story short…when I think of Susan, I think of the Dave Matthews Band. From there I think of Warren Haynes. To me there are few artists who work harder than this prolific guitarist. He is everywhere, in terms of projects and collaborations. The one song I am always drawn to is his inspiring piece ‘Soulshine’. Because it was Susan who made me aware of that connection, whenever I think of ‘Soulshine’ I think of her, and on this day I share it with her, as a way of saying thank you for all you have done for me over the past 23 years. Sometimes thank you is not enough, so hopefully this puts an accent on how much I appreciate your endless support, and your ‘Soulshine’.
You’ve got to let your soul shine, shine till the break of day.”
Warren Haynes
‘Soulshine’ is a song about perseverance and breaking through in order to ensure positive change. For Warren Haynes, it came to him in the early ‘90s while he was rambling around Nashville in his beat-up Datsun station wagon. This was shortly after moving to the musical epicentre, and he was not sure where his life was headed. As he drove, the chorus for ‘Soulshine’ came into his head and he sang it over and over. The more he sang it, the more he liked it, but he had no means of writing it down. Since he had only left his house fifteen minutes previous, and because he had no particular place to go, he headed back home and wrote down the chorus and the essence of the verses. To Haynes, the song spoke to him in a B flat progression, so ultimately, the entire piece emerged in this flurry of creativity. It was born in a moment of moderate self-doubt, using the advice he had drawn from his father. The song title was ‘Soulshine’…his grandfather’s nickname for the young Warren Haynes as he was growing up.
Although the most famous version of ‘Soulshine’ may be from the Allman Brothers Band’s 1994 release ‘Where it All Begins’, that was not the original. In 1993, Larry McCray released ‘Soulshine’ on his album ‘Delta Hurricane’. This is a very honest performance with a strong guitar presence and some beautiful backing vocals.
Through the years Warren Haynes has taken ‘Soulshine’ wherever he goes. Here he is with his acclaimed project, Gov’t Mule. The introduction of this recording draws the listener in, before the familiar song bursts through. It is so soulful.
‘Soulshine’ has definitely become one of Warren Haynes’ signature pieces’. Naturally, when he plays solo, the song always makes its way onto the set list. This acoustic version has always made me smile. Warren and his guitar. Just like the day he wrote it.
For a bit of a departure from Warren Haynes’ immediate orbit, here is Beth Hart. Listening to ‘Soulshine’ from a female perspective makes it even more special. This is an amazing performance.
The final version I will share comes from the Allman Brothers Band’s 2003 release ‘Live at the Beacon’. To fans of Warren Haynes and the Allman Brothers Band this is the standard all other recordings of ‘Soulshine’ strive to achieve. Warren Haynes and Gregg Allman alternate vocals on the verses and harmonize on the chorus. The song hits new heights with the epic guitar work of Haynes and the slide guitar wizardry of Derek Trucks.
Cheers to you Susan, as you embark on your new journey. Hopefully you can enjoy these versions of ‘Soulshine’ as you drive along the escarpment, and look out over the lake. As you listen, please know I wish you all the best, along with the deepest gratitude for all you have done to help me for well over two decades.
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 40th 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.
Today’s feature is a cover version of
an old Muddy Waters blues standard. ‘Trouble No More’ was popularized by the Allman
Brothers Band in 1969 on their self-titled debut album and then again on their
groundbreaking 1972 release, Eat a Peach, which featured a live version from
their renowned Fillmore East concerts in 1971. I will begin with the Allman
Brothers’ version as we pay tribute to the great Duane Allman on the 48th
anniversary of his tragic death.
Eat a Peach was supposed to mark a new
chapter for the Allman Brothers Band. The previous year marked a ton of success
from a fan and critical acclaim standpoint, but internally the band had become
torn by rock and roll excess. Band members and their entourage, including Duane
Allman had checked into rehab to confront their heroin addictions. Allman and
bass player Berry Oakley came out of the facility not so much cured but at
least re-energized. They were on a mission to be better. To the Allman Brothers
Band, Duane was the catalyst and they fed off his energy.
“Duane was so happy and full of positive energy. He was always like that unless he was just totally wasted. He was the leader, the great soul, and he kept saying, ‘We are on a mission and it’s time for this thing to happen. He was moving forward, and that energized everyone else. Everyone fed off of that.”
Linda Oakley
Sadly, it was on this day in 1971 that
Duane Allman was riding his motorcycle at a high rate of speed in Macon,
Georgia. A flatbed truck carrying a lumber crane stopped suddenly in an intersection
and Allman could not stop in time. He swerved to avoid it, but he hit either
the truck or the ball on the lumber crane and he was thrown from his Harley
Davidson Sportster. The bike landed on top of him and he incurred massive
internal injuries.
Most of the album was done before the
rehab sessions concluded. The additional tracks were laid down upon the release
of Allman and Oakley. The band was on a clear upswing but this accident
devasted the band and their close extended family. Despite the tragedy they
vowed to move on.
“We were all putting more into it, trying so hard to make it as good as it would have been with Duane. We knew our driving force, our soul, the guy that set us all on fire, wasn’t there and we had to do something for him.”
Butch Trucks
It
was as a part of this mission that Eat a Peach evolved into a double album, and
today’s feature became a part of the album. ‘Trouble No More’ was an integral
track during the Fillmore East sessions and to a person the Allman Brothers Band
and family wanted the album to be a tribute to their fallen brother.
“The music brought life back to us all, and it was simultaneously realized by every one of us. We found strength, vitality, newness, reason, and belonging as we worked on finishing Eat a Peach. Those last three songs … just kinda floated right on out of us … The music was still good, it was still rich, and it still had that energy—it was still the Allman Brothers Band.”
Gregg Allman
‘Trouble No More’ has roots that go
back to the mid 1930s and a song called ‘Someday Baby Blues’. Here is that
version by Sleepy John Estes.
The modified version by Muddy
Waters was recorded in 1955 as ‘Trouble No More’. It became a top 10 hit on the
Billboard R&B chart in 1956. Waters modified the song from its original
roots to a more Chicago blues style. Waters backup band included Jimmy Rogers
on guitar, Little Walter on harmonica, Otis Spann on piano, Francis Clay on drums
and the ever-present Willie Dixon on bass. Known as The Headhunters, this
ensemble worked with Muddy Waters and Chess Records to define the Chicago blues
sound.
So, even though today marks a sad day in music history, it is also a lesson in how the blues has evolved through the years. It makes one recognize that players like Muddy Waters, Willie Dixon, Duane Allman and the Allman Brothers Band served to carry a genre forward. Countless artists have grabbed the torch and held it high.
I will send you on your way with a version of ‘Trouble No More’ from the final Allman Brothers Band concert that featured Duane Allman on guitar.
In my opinion, the best guitarist that ever lived.
Today we are going to do something a little different. We
are going to play a game. Hopefully I will get some engagement and we can have
some fun with it.
You have the opportunity to get front row seats to a 3 day music festival. The first day the three headline acts are 3 living musical artists that you would want to see more than any others. The second day would be 3 acts that have died (if it’s a band all band members must have died). The third day will be 3 acts that reunites living band members with the members that have died.
I will choose one reader’s submission and then feature a
song and a cover by one of the acts that they presented in their group of nine
performers. I will do this as part of my November 3rd post.
Like I said, hopefully we can have fun with this, and I get
a lot of engagement. Ideally it will inspire some interesting conversation on a
Sunday. If three in each category is a little daunting just respond with one in
each.
Here are my choices. I admit, it is very difficult to narrow
down. My selections could change on a daily basis.
Day 1
Rush – My favourite band for 40 years. Three of the best
musicians to ever grace a stage. Although they have retired as an act, for the
purpose of this post I add them because the opportunity to be in the front row
to see them live once more would be a dream come true…for me and thousands of
other music fans.
Bruce Springsteen – It’s about the honesty as a performer
and the energy he pours out on stage. He gives everything he has got to his audience
every night. This is still the case and he is 70. Somebody once asked Bruce
Springsteen how he can give it his all so consistently and he said, and I
paraphrase “If someone buys a ticket to see me play in Detroit and I put on a lackluster
performance, they are not going to care that I rocked the joint in Cleveland
the night before.” Like I said, the man defines integrity in every way.
Tedeschi Trucks Band – In my limited scope there is no
better band going right now. They have it all. The presence of Susan Tedeschi,
a stunning array of songs that draw the listener, an incredible blend of talent
across the stage that culminates with the virtuosity of Derek Trucks on guitar.
There are no superlatives to describe how good he is. They don’t make their way
up to Canada very often but when they do, I make it a priority to see them.
Front row seats? Count me in. I would be the guy sitting there in stunned
amazement for the entire show. It is a musical extravaganza. If I could choose
my venue for this three day exercise, it would be Red Rocks in Colorado. If I
had a bucket list it would be to see a live show at this gorgeous, natural venue.
Day 2
Warren Zevon – I have featured Warren Zevon on a handful of
occasions and each time I make sure my adulation comes through. He died way too
young and I miss his wit and wisdom. I never had the opportunity to see him
live. The only way I could appreciate his music and brilliant lyrics more would
be if I had the chance to see him live. His library of songs is amazing. The
thing is, once he got clean, he just got better and better as the years went
on.
Stevie Ray Vaughan – I had one chance to see Stevie Ray Vaughan
and I was unable to go. I regret that. The first time I saw him on TV I remember
telling everybody I knew who cared about music. I had never seen anybody play
like this, other than Jimi Hendrix. I couldn’t believe it. Music was lucky to
have this performer, even if it was for just a short period of time. A shooting
star, but he was a supernova.
Jimi Hendrix – I chose ‘Voodoo Child’ above because it leads
right into this choice. One can only dream, but can you imagine seeing Stevie
Ray Vaughan and Jimi Hendrix play back to back on the same bill? No doubt, Jimi
would bring Stevie out to play a few songs…and then they would drift away into
the cool Colorado night. Again, this is all a dream, but when you dream, dream
big.
Day 3
Allman Brothers Band – A band that in their prime and their
original form were right up there with The Rolling Stones in terms of
popularity and critical acclaim. They were also relatively cursed in their
earliest incarnation and this took its toll. The edition of the band that I
would want to see would be circa 1970. The original Allman Brothers Band with
Berry Oakley on bass and the legendary Duane Allman sharing lead guitar with
Dickey Betts. Allman was so good that when Eric Clapton saw him play live, he
was literally amazed. He needed to play with him and did whatever he could to
make it happen. We all know the result of that collaboration. Allman and Oakley
died tragically in 1971 and 1972 respectively. Somehow the Allman Brothers Band
forged through. As an act they had nine lives. In the 2000s they had an amazing
run that included Warren Haynes and Derek Trucks as their duo guitar attack.
This was combined with original drummers Jaimoe and Butch Trucks and Gregg
Allman presiding over everything on his Hammond organ. Another musical
spectacle, but to see the original act would be a rock and roll fantasy.
Grateful Dead – When Heather shared this exercise with me
one night last week, it inspired a fair bit of discussion. Sebastian had come
home earlier that day. We all agreed that the Grateful Dead would be on our
list. Sebastian and I can never agree on the era. He loves the early ‘70s with
Pigpen; circa 1972. For me it would be the late ‘80s with Brent Mydland on
keyboards. This is the era I was fortunate to see live 13 times and this is
where the memories reside. Don’t get me wrong. I love the Pigpen days, and
Keith Godchaux on piano in the ‘70s were amazing, but for me it always
gravitates to the spirit and soul of Brent. When he and Jerry Garcia got into a
groove it was something to behold. So many of my favourite concert experiences
can be traced to the Dead.
“We’re gonna stay here ‘til we soothe our soul, if it takes all night long.”
The Band – So I managed to recreate Summer Jam, 1973. On
July 28, 1973, the Grateful Dead, the Allman Brothers Band and The Band
gathered at Watkins Glen Grand Prix Speedway. They played before 600,000 fans
at this venue. For today this blend is purely coincidental. It is not by design.
I would love to have seen The Band in their prime. They are one of the most renowned
and influential acts in music history. Their influence is still felt. I was
able to see them once in 1984. They played a show with the Grateful Dead at
Kingswood Music Theatre at Canada’s Wonderland. Obviously, this was the version
of the act that saw Earl Cate on guitar. Cate adequately replaced Robbie
Robertson, but it was not the same. It was my first Dead show. The memories are
etched in my mind. The thing is, I was just learning about the Dead and I was
not nearly as familiar with either the Dead or The Band and their material, to
appreciate the experience in the moment. I have listened to this show countless
times because several live recordings exist. In retrospect, I was so lucky to
have been there. My lawn ticket cost me $10. The best $10 I ever spent.
Versions of today’s feature song range from five minutes to twenty-two minutes. In the opinion of fans of The Allman Brothers Band fans, the longer, the better. Today’s post will present a few versions of the song by this iconic band as they evolved through the years. As always, we will explore a few covers of a song that many point to as one of the best jam songs ever written. All of this occurs as we commemorate the life and musical contribution of Gregg Allman who died two years ago today.
Gregg Allman was 21 years
old when he wrote ‘Whipping Post’. It was early 1969 and The Allman Brothers
Band had just formed. He had been in Los Angeles trying to make a name for
himself as a musician, but all efforts had failed. Meanwhile, back in Jacksonville,
Florida, his older brother Duane, who had established himself as a top notch
session guitar player, was assembling an intriguing group of musicians
including himself and Dickey Betts on guitar, Berry Oakley on bass and Jaimoe
Johanson and Butch Trucks on drums. All they needed was a keyboardist and
singer. Gregg fit the bill. Oh…they also needed songs. This was another area
where Gregg Allman was trying to polish his craft. By the time the younger
Allman brother arrived he had twenty-two songs. The new group rejected all but
two. ‘Dreams’ and ‘It’s Not My Cross to Bear’ made the cut, but in order to
record an album they needed more. Over a productive five day period Gregg
Allman wrote several songs designed specifically for his new partners. One of
the songs was ‘Whipping Post’.
It is here that brings out
the stories I love about how musicians create. It is clear that Gregg felt some
pressure to come up with some good material, but in this flurry of writing he
was inspired, and the ideas came fast. The inspiration for ‘Whipping Post’ came
from an analogy to the struggles he experienced through his early days as a
musician trying to break through. The original lyrics were written on an
ironing board cover.
“It came so fast. I didn’t
even have a chance to get the paper out. That’s the way the good songs
come—they just hit you like a ton of bricks.”
I have heard of songwriters
writing lyrics on napkins, airplane barf bags and even studio walls, but never
an ironing board cover. This is priceless!
Ultimately, the song that
resulted was a masterful combination of the unique Allman Brothers musical
collective. The true beauty lies in the fact that its structure opens the door
to infinite possibilities. In the words of Rolling Stone magazine.
“Whipping Post is an
enduring anthem…rife with tormented blues ballad imagery.”
Based on the popularity of
‘Whipping Post’ one may think that it was a favourite right from its release
nearly 50 years ago, but that assumption would be wrong. The song nor the band’s
debut album barely registered a blip on the U.S. album charts. Where it
succeeded was in its placement on the Allman Brothers Band debut album. It was
the closing track. The thinking was you need to close the album on a strong
note in order to leave the listener wanting more. They definitely checked off
that box. The next piece of the puzzle was the album received a ton of airplay
on FM radio stations that were bigger on the album format rather than singles.
‘Whipping Post’ was a call in favourite, especially late at night. The more the
better. Out of this popularity The Allman Brothers Band became known as one of
the hardest working touring acts of the era. They were recognized as a must see
act because they could do it all. The combination of Gregg Allman’s uncanny
ability to channel earlier blues giants, the unrivalled duo guitar act
featuring Betts and Duane Allman, the thunderous drumming combination of Jaimoe
and Butch and the impeccable feel provided by Berry Oakley on the bottom end
left fans in awe across the country. For a period of time The Allman Brothers
band were the standard for live performance. It was out of this observation
that the band and their management team made the best decision they could have
ever made. Rather than focus on releasing a studio album, which was good; it
did not really capture their essence, they opted to release At Fillmore East as
a double live album release. Their debut album, nor their second album,
Idlewild South, sold well but the 1971 live release from the famous New York
City night club jumped out and grabbed listeners by the throats. Record stores
couldn’t keep it on the shelves. It is considered one of the finest live albums
ever. Here are a couple of quotes.
“No wasted notes, no
pointless jams, no half-realized vocals—everything counts”
And
“Whipping Post” was
“what the band would become famous for, an endless climb of heightening
drama staked out by the twin-guitar exorcisms of Duane and Dickey Betts and the
cool, measured, almost jazz-like response of the rhythm section.”
Here is the 22 minute
version of ‘Whipping Post’ from At Fillmore East. If you get it, you embrace
every note, if you don’t just scroll on. It’s an Allman Brothers Band thing…
Out of the immense
popularity of At Fillmore East, and in particular the intense ‘Whipping Post’
jam, an interesting tradition evolved. Audience members began yelling out
‘Whipping Post’ at other artists’ concerts. It became a bit of a joke for a
while. This was the trend in the early ‘70s before it gave way to ‘Freebird’.
The one benefit of this activity is a few artists opted to learn the song and play
it for their audience. This was exactly what Frank Zappa did in 1974 by
adapting the words to his song ‘Montana’ to reflect allusions to ‘whipping
posts’ throughout the lyrics. On a 1981 tour Zappa added it to his repertoire,
featuring his keyboard player Bobby Martin on vocals. He later released a cover
on his 1984 Them or Us album. Here is a recording from the tour promoting that
album.
For almost fifty years Gregg
Allman graced music fans with his soulful voice and distinctive Hammond organ
sound. To see him play live was like watching a king sitting on a throne before
his court. His presence was a sight to behold and for someone forced to mostly
sit in order to perform he had a strong capacity for engaging his audience.
When you trace the lines of music history from blues to what became the
southern rock style, all dots connect to The Allman Brothers Band. To close out
this post, here is another version of ‘Whipping Post’ performed by the final
incarnation of the band which featured Gregg, Butch and Jaimoe along with two
of the finest guitarists of the modern era, Warren Haynes and Derek Trucks as well
as the amazing bass player Oteil Burbridge who now plies his craft with Dead
and Company. You can add percussionist Marc Quinones to the mix for good
measure. What a blend of talent and sound. Listen to it build…It literally
takes you to another place.
One thing about the blues is any one song can take you down a twisting, turning road to find its origin. Today’s song ‘One Way Out’ is one such example. As a result I am going to share four versions to help tell the story. So here is where it begins…I think. The great Elmore James recorded ‘One Way Out’ in late 1960/early’61 with a full band arrangement but he didn’t release it at that time. Later in 1961 and in 1963 another blues legend, Sonny Boy Williamson II recorded two versions, the second of which included legendary guitarist, Buddy Guy. The first version was more harmonica based and the second with Guy’s presence was more guitar dominated. It was the second release that grabbed the attention of the Allman Brothers Band. Getting back to Elmore James…his version was actually released posthumously in 1965, but due to Sonny Boy Wiiliamson’s efforts the song became more associated with Wiilamson than James. Through the years the writing credits for the song have varied which add to the fascination. No matter what, the song’s narrative is a classic blues tale and it opened the door to yet another reworking of the same theme. Here is the opening passage:
Ain’t but one way out baby, Lord I just can’t go out the door —
Ain’t but one way out baby, and Lord I just can’t go out the door!
‘Cause there’s a man down there, might be your old man … I don’t know.
‘It’s a Man Down
There’ was released by blues man G.L. Crockett. Crockett’s song made it to #10
on the Rhythm and Blues charts in 1965 with a slow tempo soft blues vocal
style.
So for those of you
keeping score you’ve got:
Sonny Boy Williamson
II
Elmore James
G.L. Crockett
…and then you have the classic version recorded by the Allman Brothers Band in 1971 as part of their Live at the Fillmore East double live album. This is widely regarded as one of the best live albums ever. ‘One Way Out’ is an example of the ABB power train, offering the best of the Dickey Betts/Duane Allman guitar combination. ‘One Way Out’ was an Allman Brothers live standard right through ’til their final performance just a few years ago. In this version, listening to Betts and Allman trade solos never gets old. There are few better. Magical! My ‘school of rock’ included taking my two older sons to see the Allman Brothers Band play at the Molson Amphitheatre in 2007. it was an unbelievable show and we were fortunate to see them joined by the great Chuck Leavell on piano. We sat about fifty feet from Gregg Allman on keyboards and vocals. They opened with…’One Way Out’. Just awesome.
Ted Tocks Covers 