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Author: Subject: interview: Derek Trucks will not be a part of any Allmans reunion.

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  posted on 5/13/2016 at 01:46 AM
http://www.pressofatlanticcity.com/attheshore/headliners/derek-trucks-is-co ntent-with-being-oz-in-the-tedeschi/article_23675da4-1611-11e6-878f-dbebfb5 30675.html

I read an interview linked on facebook that I linked above where Derek said he will not be a part of any sort of Allmans reunion when or if it happens.

What do you all think about this? Would you go see the Allmans without Derek? I personally would even though I've always seen them with Derek as I first started seeing them in the summer of 1999 with my family.

I do understand his reason for not wanting to rejoin the band if/when it happens.

 

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  posted on 5/13/2016 at 04:49 AM
Derek has moved on. Good for him.
 

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  posted on 5/13/2016 at 05:11 AM
Does not surprise me at all, would have been shocked had he said he would....

 

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  posted on 5/13/2016 at 07:58 AM
That song writing interview video at the top of the article - whoa! Susan does NOT look like she wants to be there!

Also interesting how Derek described his ABB rode as a roller coaster all the way to the end. I am always fascinated by rock band soap operas, particularly the last non Dickey incarnation of the ABB, because when I think of the sh*t that I have to deal with on a daily basis I find it bewildering those guys would have so much trouble communicating and getting along while only having to get together a few times a year and play music! No animosity, just can't believe it.

I wonder what made the ABB a rollercoaster from 2002-2009? For a long time it all seemed ok. Guess not? One story I'd love to hear more about is Butch mentioning in an interview that, post Dickey, a band member came to him and complained about how another member was treating him. Who could that have been?

 

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  posted on 5/13/2016 at 08:04 AM
I too, would have been shocked if he said he would participate. He was more than loyal with his tenure (IMO they should have bowed out after the stellar 40th run and I wouldn't be surprised if he agreed) and has more than earned the right to chase his muse. ABB quit writing/TTB, love or hate 'em...is churning out new material; simple as that. As for potential ABB reunions...give me a well-rehearsed lineup with Pearson/Leavell...small tour/beautiful, acoustically-grand theatres. 5 night run at The Beacon (obligatory), for we Southerners...3-nighter at The Fox...maybe Orpheum dates for the Midwesterners, Orpheum in Nawlins...and throw in a two-nighter at Red Rocks for the sake of the venue/out-West folk. Oh yeah...and finally hire some competent people to market/promote such an event.
 

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  posted on 5/13/2016 at 09:07 AM
Read the last statement by Derek a little closer. He simply says it "would be real hard" to revisit anything with the ABB. He doesn't speak in absolutes. Doesn't suit his style, imo.

2019 for the 50 year is a long way off and a lot can, and likely will, change between now and then.

Plenty of time for the "Kill Your Daddy" phase in the creative sense to subside I would think.... At least I hope!

 

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  posted on 5/13/2016 at 11:25 AM
It is a lot more than getting together a few times a year to play music. Career, business, art all rolled into one.

DT wants to be in something alive, writing, recording, doing new material.

He gave them plenty.

 

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  posted on 5/13/2016 at 11:47 AM
Video link on songwriting credit is very interesting. His comment on Duane not receiving songwriting credit makes 100% sense to me, notwithstanding chords and lyrics creation.

Anyone think Gregg & Dickey told Duane how to recreate Dreams in the studio, LOL?

The way Derek & Susan award songwriting credit is much more equitable.

 

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  posted on 5/13/2016 at 12:18 PM
quote:
quote:
I do understand his reason for not wanting to rejoin the band if/when it happens.

You do? I don't. Kindly asplain.


Derek said it best himself, he's moved on from the Allmans and playing with them all as a band.

As to rumors the band’s retirement might not be final, Trucks says any reunion won’t include him.
“Once you’ve moved on, you gotta move on,” he says. “I’ve played with everyone in the band since in some form or another, but it would be hard to revisit.”

I guess if/when the band reunites or does reunion shows they'll just use Pearson instead of Trucks.

[Edited on 5/15/2016 by The_Newt]

 

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  posted on 5/13/2016 at 12:33 PM
quote:
Video link on songwriting credit is very interesting. His comment on Duane not receiving songwriting credit makes 100% sense to me, notwithstanding chords and lyrics creation.

Anyone think Gregg & Dickey told Duane how to recreate Dreams in the studio, LOL?



Dickey gets no credit for Dreams either.

Songs like Whipping Post and Dreams should have been a band credit and has been a sore spot since. They were young and didn't understand till it was too late.

This gets Gregg full credit? A little bit more to the song than 8 lines of lyrics.

Just one more mornin, I had to wake up with the blues.
Pulled myself out of bed, yeah, put on my walkin shoes.
And went up on the mountain, to see what I could see.
The whole world was fallin, right down in front of me.

'Cause I've a hunger for the dreams I'll never see, yeah, baby.
Ah, help me baby, or, or this will surely be the end of me, yeah.

Pull myself together, put on a new face.
Climb down off the hilltop, baby, get back in the race.

 

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  posted on 5/13/2016 at 02:35 PM
quote:
quote:
Video link on songwriting credit is very interesting. His comment on Duane not receiving songwriting credit makes 100% sense to me, notwithstanding chords and lyrics creation.

Anyone think Gregg & Dickey told Duane how to recreate Dreams in the studio, LOL?



Dickey gets no credit for Dreams either.

Songs like Whipping Post and Dreams should have been a band credit and has been a sore spot since. They were young and didn't understand till it was too late.

This gets Gregg full credit? A little bit more to the song than 8 lines of lyrics.

Just one more mornin, I had to wake up with the blues.
Pulled myself out of bed, yeah, put on my walkin shoes.
And went up on the mountain, to see what I could see.
The whole world was fallin, right down in front of me.

'Cause I've a hunger for the dreams I'll never see, yeah, baby.
Ah, help me baby, or, or this will surely be the end of me, yeah.

Pull myself together, put on a new face.
Climb down off the hilltop, baby, get back in the race.



That is the way it worked back then... much like now I suppose... unless I'm mistaken Duane had very few songwriting credits (?)

Also while I think it is great for Derek & Susan to have the attitude of total group effort in terms of credit... they also have never written a #1 type song where the money coming in would be a different stratosphere... my guess would be that the opinion might change...

[Edited on 5/13/2016 by redhouse1969]

 

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  posted on 5/13/2016 at 02:49 PM
Why would Dickey get song writing credit on Dreams?

He's been quoted multiple times that he did not play on it. Dreams was the song that Duane was most proud of in terms of ABB studio songs according to multiple quotes in books and articles on the ABB. IMO one of the most complex songs the band ever put out of the studio.


[Edited on 5/13/2016 by DeadMallard]

 

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  posted on 5/13/2016 at 02:54 PM
quote:
quote:
quote:
Video link on songwriting credit is very interesting. His comment on Duane not receiving songwriting credit makes 100% sense to me, notwithstanding chords and lyrics creation.

Anyone think Gregg & Dickey told Duane how to recreate Dreams in the studio, LOL?



Dickey gets no credit for Dreams either.

Songs like Whipping Post and Dreams should have been a band credit and has been a sore spot since. They were young and didn't understand till it was too late.

This gets Gregg full credit? A little bit more to the song than 8 lines of lyrics.

Just one more mornin, I had to wake up with the blues.
Pulled myself out of bed, yeah, put on my walkin shoes.
And went up on the mountain, to see what I could see.
The whole world was fallin, right down in front of me.

'Cause I've a hunger for the dreams I'll never see, yeah, baby.
Ah, help me baby, or, or this will surely be the end of me, yeah.

Pull myself together, put on a new face.
Climb down off the hilltop, baby, get back in the race.



That is the way it worked back then... much like now I suppose... unless I'm mistaken Duane had very few songwriting credits (?)

Also while I think it is great for Derek & Susan to have the attitude of total group effort in terms of credit... they also have never written a #1 type song where the money coming in would be a different stratosphere... my guess would be that the opinion might change...

[Edited on 5/13/2016 by redhouse1969]


Knowing Derek I don't think so. Pretty easy going and I think would want credit given where it is due.

Duane's family lost lots of money because of that fact. Back then is the same as now. Some are just so happy to be making a record that they will go along without realizing what it means later.

Gregg never should have gotten full credit for those songs. It hurt the band later and affected Gregg's songwriting which dried up shortly after. The reason? He didn't write the music and Dickey sure wasn't going to do it for him and get no credit. Dickey decided to do it all on his own and even the score. The rest were left with little to no credits at all.

Berry's bass lines were unlike pretty much anyone before him in rock and are a huge part of those songs. Nothing.

Duane? Nothing for all that genius.

Jaimoe and Butch - nothing.

Makes for completely different incomes between band members which causes obvious jealousy and resentment.

Gregg's part of Whipping Post is about one and a half minutes of an eight minute song.

 

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  posted on 5/13/2016 at 03:28 PM
I don't believe I would go to an ABB reunion show. They went out on a high note and I'd just as soon remember them that way. I'm with Derek. No reunion for me either.

 

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  posted on 5/13/2016 at 04:46 PM
Yes Derek is done with the Allman Brothers and so is Warren. Too much drama. The drama was suppose to be over when they finally moved against Dickey who did it his way or you get out of his way from the beginning. Even Duane had to be careful with Dickey. Nobody crossed him back then or got in his face with an attitude. That is a fact. But those rumors that tension was still there clearly was true. Supposedly some of it was between Butch and Gregg and involved the new direction of the band post Dickey which resulted in brand new "creative differences" to argue over.

Gregg Allman wrote Whipping Post and Dreams and he wasn't about to share the writing credit with anyone. And Dickey Betts wrote Liz Reed and protected his ground also. Gregg was fine with band wanting to craft a new arrangement as bands do that to someone's song all the time. Dickey has stated more than once that when Gregg brought Whipping Post to the band, it was like an acoustic song. The time signature on the first album was Butch's idea that say. Berry Oakley came up with the bass line and the classic opening of the ABB's version of the song. Duane wrote some changes for it and the guitar parts and Dickey contributed to that too as well as the build up toward the end. Gregg didn't come of with any of that stuff.

And when Gregg does solo shows he has stated he does Whipping Post, Dreams and Midnight Rider closer to the way he wrote them and NOT how the Allman Brothers rearranged his songs.

Dickey brought in Liz Reed and after the band heard Dickey's cords and melody and ideas, other band members began to become inspired and add things including Butch Truck composing a percussion part for the end of the song which Dickey and the band liked. When Butch found out he wasn't getting any credit for it he was disappointed then very upset when Dickey began to make a lot of money off that song. Butch remains pissed about it to this day. And it happened to him a second time with Dickey on the "Reach for the Sky" cut "Madness From Out of the West". Butch came up with a cool passage for percussion instruments and thought he was get a credit as it set the mood for much of the music but when the album came out Dickey was only credited and Dickey demanded it be that way.

The version of Midnight Rider on Laid Back is much closer to what Gregg wrote than the ABB version.

Now the question is...were these songs written for and with the ABB or were they Gregg Allman or Dickey Betts songs ARRANGED by the ABB? They were Gregg Allman and Dickey Betts songs which the ABB took and rearranged. If this had happened in Derek and Susan's band, then the song would include the new ideas that came from the development of the original ideas by the entire band and band members who added key elements to the song would get a credit. If the ABB were operating like that, then Berry Oakley would have shared credit with Gregg on Whipping Post because his bass line which opens the song is the foundation of the song. When Gregg did it again for "Searching For Simplicity", Berry Oakley's bass line and opening was gone.

I can see it both ways. Clearly when the ABB did a cover back in the day, they put their stamp on it with the arrangement but no way could they had any band member's name to the credit. They would have been sued. Trouble No More on Eat a Peach is not close to the way Muddy wrote it but it only has his name on the album.

On the other hand, they somehow, managed to share writing credit on Mountain Jam with Donovan without being sued. All six of the original members get a credit with Donovan.

On Hot 'Lanta Gregg came up with this cool riff on the organ, Dickey thought of a melody and ran into the room and hummed it in Gregg's ear and he added it to what he was playing. The rest of the band worked out an arrangement of those ideas and EVERYBODY got a credit on the Fillmore album. But if Dickey or Gregg walked in with a song and the band agreed to do it, they would had their ideas to it but it was ONLY Gregg's song or Dickey's song.

Gregg did agree to give Kim Payne a 5% cut of Midnight Rider for his contribution to the lyrics. When the checks come out on that one, Gregg gets 95% and Kim Payne gets 5%.

On "Standband" Berry came up with the bass line and the basic cords and when Gregg heard it, it took the song and finished it and they share that one.

Dickey has shared writing credit with others including several with Warren Haynes so it's confusing how they do that. On "Nobody Knows" Warren Haynes said he wrote the changes for that song but when they put it on the record, Dickey said that one is all mine what you did was part of the arrangement and that is how it came out. Dickey's writing credit ONLY.

Here is the famous "Blue Moon" by Jo Stafford. https://www.youtube.com/watch?v=pz_x-Yu15Bw

Here is the famous song "Blue Moon" by Frank Sinatra. https://www.youtube.com/watch?v=Jgi1txjrKZk

Here is "Blue Moon" by the Marcels. https://www.youtube.com/watch?v=v0fy1HeJv80

But the writing credit is Rogers and Hart on all three. But the arrangements are completely different on all three. So the musical ideas for the arrangement got no writing credit.

Now what if the Rogers and Hart were members of the Marcels and those arranging ideas were developed with Rogers and Hart there? In Susan and Derek's band others would get a writing credit too. In the ABB...probably not.




 

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  posted on 5/13/2016 at 05:27 PM
quote:
I too, would have been shocked if he said he would participate. He was more than loyal with his tenure (IMO they should have bowed out after the stellar 40th run and I wouldn't be surprised if he agreed) and has more than earned the right to chase his muse. ABB quit writing/TTB, love or hate 'em...is churning out new material; simple as that. As for potential ABB reunions...give me a well-rehearsed lineup with Pearson/Leavell...small tour/beautiful, acoustically-grand theatres. 5 night run at The Beacon (obligatory), for we Southerners...3-nighter at The Fox...maybe Orpheum dates for the Midwesterners, Orpheum in Nawlins...and throw in a two-nighter at Red Rocks for the sake of the venue/out-West folk. Oh yeah...and finally hire some competent people to market/promote such an event.


They would definitely play all around the Northeast in NYC, Philadelphia, Boston, but they're mainly popular in the Northeast and multiple band members have said in interviews how they prefer to play/tour i the Northeast than other areas of the country but it's been this way for decades. They would probably play in ATL and Charlotte in the south, and for the Midwest probably in Chicago, and Los Angeles on the West Coast.

Chuck enjoys playing as a guest with the band; but has no desire to rejoin the Allmans as he's with the Rolling Stones and prefers being a fulltime member of the rolling stones than the Allmans who he got tired of in the 70s.

I agree with you that they should have ended it after the 40th Anniversary. Towards the end when they would cover Eat a Peach or At Fillmore East with more frequency that made those play by numbers albums/sets a lot less special, especially when they would tell people in advance that they were going to do this.

A lot of the covers they would play towards the end were strange. I don't mean the blues standards, songs from Derek and the Dominos' Layla, or the ocassional dead cover but a lot of the other covers were just odd or out of place from the band we all love.

Tickets also became extremely expensive, and literally impossible to get for Beacon shows but the ticket brokering companies/scalping agencies had tons of them for way too much money.

[Edited on 5/14/2016 by The_Newt]

 

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  posted on 5/13/2016 at 05:29 PM
quote:
Yes Derek is done with the Allman Brothers and so is Warren. Too much drama. The drama was suppose to be over when they finally moved against Dickey who did it his way or you get out of his way from the beginning. Even Duane had to be careful with Dickey. Nobody crossed him back then or got in his face with an attitude. That is a fact. But those rumors that tension was still there clearly was true. Supposedly some of it was between Butch and Gregg and involved the new direction of the band post Dickey which resulted in brand new "creative differences" to argue over.

Gregg Allman wrote Whipping Post and Dreams and he wasn't about to share the writing credit with anyone. And Dickey Betts wrote Liz Reed and protected his ground also. Gregg was fine with band wanting to craft a new arrangement as bands do that to someone's song all the time. Dickey has stated more than once that when Gregg brought Whipping Post to the band, it was like an acoustic song. The time signature on the first album was Butch's idea that say. Berry Oakley came up with the bass line and the classic opening of the ABB's version of the song. Duane wrote some changes for it and the guitar parts and Dickey contributed to that too as well as the build up toward the end. Gregg didn't come of with any of that stuff.

And when Gregg does solo shows he has stated he does Whipping Post, Dreams and Midnight Rider closer to the way he wrote them and NOT how the Allman Brothers rearranged his songs.

Dickey brought in Liz Reed and after the band heard Dickey's cords and melody and ideas, other band members began to become inspired and add things including Butch Truck composing a percussion part for the end of the song which Dickey and the band liked. When Butch found out he wasn't getting any credit for it he was disappointed then very upset when Dickey began to make a lot of money off that song. Butch remains pissed about it to this day. And it happened to him a second time with Dickey on the "Reach for the Sky" cut "Madness From Out of the West". Butch came up with a cool passage for percussion instruments and thought he was get a credit as it set the mood for much of the music but when the album came out Dickey was only credited and Dickey demanded it be that way.

The version of Midnight Rider on Laid Back is much closer to what Gregg wrote than the ABB version.

Now the question is...were these songs written for and with the ABB or were they Gregg Allman or Dickey Betts songs ARRANGED by the ABB? They were Gregg Allman and Dickey Betts songs which the ABB took and rearranged. If this had happened in Derek and Susan's band, then the song would include the new ideas that came from the development of the original ideas by the entire band and band members who added key elements to the song would get a credit. If the ABB were operating like that, then Berry Oakley would have shared credit with Gregg on Whipping Post because his bass line which opens the song is the foundation of the song. When Gregg did it again for "Searching For Simplicity", Berry Oakley's bass line and opening was gone.

I can see it both ways. Clearly when the ABB did a cover back in the day, they put their stamp on it with the arrangement but no way could they had any band member's name to the credit. They would have been sued. Trouble No More on Eat a Peach is not close to the way Muddy wrote it but it only has his name on the album.

On the other hand, they somehow, managed to share writing credit on Mountain Jam with Donovan without being sued. All six of the original members get a credit with Donovan.

On Hot 'Lanta Gregg came up with this cool riff on the organ, Dickey thought of a melody and ran into the room and hummed it in Gregg's ear and he added it to what he was playing. The rest of the band worked out an arrangement of those ideas and EVERYBODY got a credit on the Fillmore album. But if Dickey or Gregg walked in with a song and the band agreed to do it, they would had their ideas to it but it was ONLY Gregg's song or Dickey's song.

Gregg did agree to give Kim Payne a 5% cut of Midnight Rider for his contribution to the lyrics. When the checks come out on that one, Gregg gets 95% and Kim Payne gets 5%.

On "Standband" Berry came up with the bass line and the basic cords and when Gregg heard it, it took the song and finished it and they share that one.

Dickey has shared writing credit with others including several with Warren Haynes so it's confusing how they do that. On "Nobody Knows" Warren Haynes said he wrote the changes for that song but when they put it on the record, Dickey said that one is all mine what you did was part of the arrangement and that is how it came out. Dickey's writing credit ONLY.

Here is the famous "Blue Moon" by Jo Stafford. https://www.youtube.com/watch?v=pz_x-Yu15Bw

Here is the famous song "Blue Moon" by Frank Sinatra. https://www.youtube.com/watch?v=Jgi1txjrKZk

Here is "Blue Moon" by the Marcels. https://www.youtube.com/watch?v=v0fy1HeJv80

But the writing credit is Rogers and Hart on all three. But the arrangements are completely different on all three. So the musical ideas for the arrangement got no writing credit.

Now what if the Rogers and Hart were members of the Marcels and those arranging ideas were developed with Rogers and Hart there? In Susan and Derek's band others would get a writing credit too. In the ABB...probably not.






What sort of creative differences did the band argue about post-Dickey? Besides not producing or putting out a new album after 2003's hittin the note?

 

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  posted on 5/13/2016 at 07:10 PM
Copyright for a musical composition is the melody line and the lyrics sung over that melody line, if any.

Chords, arrangements, titles, and drum parts are simply not part of the formula.


 

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  posted on 5/13/2016 at 07:40 PM
quote:
Copyright for a musical composition is the melody line and the lyrics sung over that melody line, if any.

Chords, arrangements, titles, and drum parts are simply not part of the formula.




Lots of lawsuits and musicians that disagree with that statement.

 

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  posted on 5/14/2016 at 10:38 AM
Other than Whiter Shade of Pale I can't think of any, please list. Seriously curious. WSoP also a bit funny since the organ intro ripped off a classical peice. I guess that was in public domain by then.

Also, musicians think a lot of things, if you catch my drift. I have done a good bit of study on copyright and have registered a few tunes myself.

Always ready to be educated by examples of copyright based on title, chords, arrangement or drum part.

 

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  posted on 5/14/2016 at 11:44 AM
quote:
That song writing interview video at the top of the article - whoa! Susan does NOT look like she wants to be there!

Also interesting how Derek described his ABB rode as a roller coaster all the way to the end. I am always fascinated by rock band soap operas, particularly the last non Dickey incarnation of the ABB, because when I think of the sh*t that I have to deal with on a daily basis I find it bewildering those guys would have so much trouble communicating and getting along while only having to get together a few times a year and play music! No animosity, just can't believe it.

I wonder what made the ABB a rollercoaster from 2002-2009? For a long time it all seemed ok. Guess not? One story I'd love to hear more about is Butch mentioning in an interview that, post Dickey, a band member came to him and complained about how another member was treating him. Who could that have been?

Can you please post the quote from Butch Trucks that you wrote about in your post?

 

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  posted on 5/14/2016 at 02:11 PM
Given hardly anyone actually pays anything for music these days I really wonder what type of money we're actually talking about in the year 2016. Seriously, royalties aren't what they used to be.

Maybe when music is licensed for commercials, movies, etc. serious coin is to be had, but actual single or album sales? I wonder just how big the impact is of the low cost of digital downloads, free on-line, file sharing, etc....Plenty of new and old artists have been quoted as saying they make their money from touring, merchandise, etc...


Take for example Prince's catalogue being worth supposedly $500 million. Really? Of course he had a very unique business arrangement, own label, etc. but in the year 2016 and moving forward I'd really love to know how and where this number came from..

[Edited on 5/14/2016 by Chain]

 

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  posted on 5/14/2016 at 04:28 PM
The best case I have realistically let myself hope for is a very short 50th Anniversary Beacon run in 2019, like 2-3 shows. Not a Blues Bros We're Putting the Band Back Together tour, just a few shows to commemorate the 50th. If Derek is not interested there is a guy named Jack who has something to offer. It would be a great time.
 

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  posted on 5/15/2016 at 08:04 AM
Newt - I wish I could provide a link or remember where I saw Butch talk about this but I just don't remember. I do remember that it was around the time the One Way Out DVD came out, that year or maybe a year or two before or a year or two after. I remember getting the DVD a watching the interviews and backstage clips trying to detect any signs of tension. The thing that made the comment by Butch strange is the fact that Butch usually tells the same stories over and over again and I only heard this one once.
Looking at the One Way Out DVD, maybe he was talking about Jaimoe and promoter Ron Silverman (? Not sure about that last name) Joking but what a funny exchange.

 

Peach Head



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  posted on 5/15/2016 at 11:07 AM
Hi Newt. I had an uncle by marriage named Newt. I always liked the name.

I'm not entirely sure what were the arguments which made the post Dickey ABB a roller coaster ride with creative differences. I was surprised when I began reading remarks about that from Warren and Derek and Otiel.

I have a hunch is may have been tension between Gregg and Butch. Back in 1975 Butch was quoted in a rock magazine I still have when there was great tension during the recording of Win, Loose or Draw with much of it around Gregg's refusal to be in Macon with the rest of the band and Butch said " You can't count on Gregg Allman for anything". Gregg was in LA with Cher and Johnny finally flew out there and recorded Gregg in LA to move the album along. Dickey came in ready to record in Macon and they couldn't find Butch and Jaimoe and Dickey demanded they record two songs he said would be on the album right now. So they did Sweet Mama with Johnny and Bill Steward on drums and Gregg isn't on the track at all. That turned out to be an uneven album and was a bit disappointing coming after the huge success of Brothers and Sisters which was by far the bands biggest selling new material album.

In recent years Gregg said in an interview that they were going to do a follow up to "Hitting the Note" and if Butch Trucks didn't want to do it then they would do it without him. I guess that is a hint. But as you know, the album didn't happen anyway.

I agree with the post that the band should have ended on the 40th. Warren and Derek were ready to leave and thought that would be it. But it kept going 5 more years until Derek and Warren said they were leaving.

Gregg did say in an interview just before the 40th that sometimes he thinks he should let Derek and Warren go as they want to do their own thing but who would they get to replace them. Probably nobody.

In 2001 when Jimmy Herring refused to be Dickey's permanent replacement, Gregg said then that if Warren hadn't come back (as you know he left in 1997) then it wouldn't have been anybody as he was ready to fold the band. That not just anybody could fit in the ABB.

Did you see the video of Gregg getting his doctor of Humanities degree yesterday with President Carter? I think it brought tears to Gregg's eyes.

I'm happy for him. Gregg Allman is a true classic and legend. He has been through so much and is still a major player as a performing artists. So many times he has been counted out but came back everytime.

Hat's off to the great Gregg Allman. May he have many more years of success.

 
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