I always loved that cut, totally different from the Boz Skaggs version with Duane. I would have loved to have heard Dickey do an album of swinging jazzed up country blues.
There's a lot of just that kind of stuff on his 2003 CD Collectors Vol. I -- the remake of JJ's Alley into the acoustic swing/jazz feel of OSBBop is just great, & there's other of that jump-blues type of sound here & there too -- he & Danny T & whole band just shine on this album, esp on Willie & Po' Bob, the gutbucket-blues remake of CMWOLiving etc --
great WFATrain -- you really hear how much Dickey loves this stuff, & don't we all
____________________________________________________________________________
"I'll tell you one thing, Clapton's got nothing on Dickey Betts"
Duane to Joe Dan Petty at the airport after arriving from the Layla sessions
from Galadrielle's wonderful book Please Be With Me
"We'll do this un for the two brothers, Huh" Sail Away
I always thought this was Dickey's calling so to to speak. Imho, instead of playing the same old set lists in gin joints in front of very small crowds, he should/could have re-invented himself playing country tunes. "Highway Call" could have been his home base rather than "Statesboro Blues" and all of the attempts to be the ABB with the cast of characters he assembled including two drummers and 3 guitar players...
DB&GS-- Bougainvillea
[Edited on 11/15/2015 by IF]
I always thought this was Dickey's calling so to to speak. Imho, instead of playing the same old set lists in gin joints in front of very small crowds, he should/could have re-invented himself playing country tunes. "Highway Call" could have been his home base rather than "Statesboro Blues" and all of the attempts to be the ABB with the cast of characters he assembled including two drummers and 3 guitar players...
Agreed, was listening to one of the shows from the Highway Call tour and it was such a great listen.
Allmusic on the Collectors 1 cd.
After being fired from the Allman Brothers Band in 2001, a band he was a founding member of in the late '60s, Dickey Betts dealt with his pain, anger, and loss by putting together a new band, hitting the road, and issuing a new album only a few months after the dirty deed. Let's Get Together is a good-time, swinging, blues and New Orleans R&B-drenched romp through the roots of American music. From the Elmore James/Johnny Otis-inspired R&B of "Rave On" (not the Buddy Holly tune) that opens the album, Betts plays it loud and proud, blasting from the rafters with his own Les Paul and employing a second one via Mark May. Stinging his way through the raucous choruses, Betts reveals he's lost none of his fire nor his impeccable taste as he slips jazz chords, rock pyrotechnics, and shimmering Chicago blues lines into the mix, driving a band whose Hammond B-3 and saxophone punch (courtesy of Matt Zeiner and Kris Jensen, respectively) is fierce. The title track is a throwaway lyrically, but musically it stomps the tar out of anything Brian Setzer tries to accomplish with raw American swing.
Betts churns up the tempo and the volume and leaves the production out of the track, preferring an edgy, slippery groove. Betts also proves he can still write a gorgeous country song in "Tombstone Eyes," with its shimmering acoustic guitars and B-3 crescendos. The balladry is simple but the emotion is complex. Betts' voice may have lost its sheeny country whine, but he more than makes up for it with sheer guts. Given its tune, lyric, and instrumentation, there is no reason country program directors shouldn't be playing the hell out of this one. On "One Stop Be-Bop," Betts showcases his immense knowledge of American musical forms as this ten-minute instrumental courses through bop, gypsy swing, Brazilian samba, rock, blues, country, and jazz fusion, all of it done with taste and aplomb; Betts is too much of a musician to have to show off, and he has nothing whatsoever to prove -- though it's true no one could have guessed he was such a fine arranger.
The only drawback tracks -- and they wouldn't be if they weren't juxtaposed with Betts' own wonderful songs -- are those written by his sidemen. But here again, if Betts has erred -- and this is personal taste reflected here after all -- he has erred on the side of democracy in his band, and he can hardly be faulted for it. The album closes with the blazing rocker "Sing While I'm Walkin'." Using a Wilbert Harrison riff (from "Let's Get Together" no less!), Betts takes it out with a stomping rouser that uses the I-IV-V progression in inverted fashion and good-times it to death with a slippery backbeat and crunchy rhythm guitar as he slashes the very air with his solo.
Though he hasn't done any solo records in a while, this cannot be considered Dickey Betts' comeback; he's simply stepped out on his own again and, in sharp contrast to other acts that are usually more than the sum of their parts, as a result of his split with the Allmans, listeners now have two fine acts to take pleasure in instead of just one.
http://www.allmusic.com/album/lets-get-together-mw0000589907
I always thought this was Dickey's calling so to to speak. Imho, instead of playing the same old set lists in gin joints in front of very small crowds, he should/could have re-invented himself playing country tunes. "Highway Call" could have been his home base rather than "Statesboro Blues" and all of the attempts to be the ABB with the cast of characters he assembled including two drummers and 3 guitar players...
This!
.... and this:
DB&GS-- Bougainvillea
[Edited on 11/15/2015 by IF]
Ditto. Such a beautiful song.
X2>ditto, and it became so enhanced in later years appended/segued to the ending of Melissa during 1990s ABB acoustic sets like it was
Xclnt GOAFTrain too, w/that pedal steel
[Edited on 11/18/2015 by Stephen]
Maybe We Can Go Back to Yesterday from Brothers of the Road. The redeeming track from that wretched album
[Edited on 11/18/2015 by linus]
Pegasus.
Allmusic on the Collectors 1 cd.
After being fired from the Allman Brothers Band in 2001, a band he was a founding member of in the late '60s, Dickey Betts dealt with his pain, anger, and loss by putting together a new band, hitting the road, and issuing a new album only a few months after the dirty deed. Let's Get Together is a good-time, swinging, blues and New Orleans R&B-drenched romp through the roots of American music. From the Elmore James/Johnny Otis-inspired R&B of "Rave On" (not the Buddy Holly tune) that opens the album, Betts plays it loud and proud, blasting from the rafters with his own Les Paul and employing a second one via Mark May. Stinging his way through the raucous choruses, Betts reveals he's lost none of his fire nor his impeccable taste as he slips jazz chords, rock pyrotechnics, and shimmering Chicago blues lines into the mix, driving a band whose Hammond B-3 and saxophone punch (courtesy of Matt Zeiner and Kris Jensen, respectively) is fierce. The title track is a throwaway lyrically, but musically it stomps the tar out of anything Brian Setzer tries to accomplish with raw American swing.
Betts churns up the tempo and the volume and leaves the production out of the track, preferring an edgy, slippery groove. Betts also proves he can still write a gorgeous country song in "Tombstone Eyes," with its shimmering acoustic guitars and B-3 crescendos. The balladry is simple but the emotion is complex. Betts' voice may have lost its sheeny country whine, but he more than makes up for it with sheer guts. Given its tune, lyric, and instrumentation, there is no reason country program directors shouldn't be playing the hell out of this one. On "One Stop Be-Bop," Betts showcases his immense knowledge of American musical forms as this ten-minute instrumental courses through bop, gypsy swing, Brazilian samba, rock, blues, country, and jazz fusion, all of it done with taste and aplomb; Betts is too much of a musician to have to show off, and he has nothing whatsoever to prove -- though it's true no one could have guessed he was such a fine arranger.
The only drawback tracks -- and they wouldn't be if they weren't juxtaposed with Betts' own wonderful songs -- are those written by his sidemen. But here again, if Betts has erred -- and this is personal taste reflected here after all -- he has erred on the side of democracy in his band, and he can hardly be faulted for it. The album closes with the blazing rocker "Sing While I'm Walkin'." Using a Wilbert Harrison riff (from "Let's Get Together" no less!), Betts takes it out with a stomping rouser that uses the I-IV-V progression in inverted fashion and good-times it to death with a slippery backbeat and crunchy rhythm guitar as he slashes the very air with his solo.
Though he hasn't done any solo records in a while, this cannot be considered Dickey Betts' comeback; he's simply stepped out on his own again and, in sharp contrast to other acts that are usually more than the sum of their parts, as a result of his split with the Allmans, listeners now have two fine acts to take pleasure in instead of just one.
http://www.allmusic.com/album/lets-get-together-mw0000589907
I really like Collectors 1. One Stop Be-Bop (JJ's Alley) never really worked for me as an ABB tune or on the Dickey Betts Band album, but it is great in that acoustic format.
That Allmusic review of Dickey's 2001 album is a bit generous....I like parts, but I wish it was as good as that review! (IMHO only).
That Allmusic review of Dickey's 2001 album is a bit generous....I like parts, but I wish it was as good as that review! (IMHO only).
Agreed, there's some good stuff on there in between some of the pretty average songs, but I give Dickey credit for diving right in and trying to find a new-ish sound and material. I really enjoyed Kris Jensen's sax on "Liz Reed" and "Back Where It All Begins" on that first tour.
It's really too bad Dickey never really knew what to do with "Tombstone Eyes". The version on Let's Get Together sounds like a Bon Jovi song. The Collector's is much better overall, especially the cover of "Tangled Up In Blue" which was a treat to hear in concert back in 2001. After back-to-back albums in 2001 and 2002, I think we all expected a #2 and a #3 instead of the same live album over and over (The Odeon, The Egg, Live at Antone's, Live at Rock 'n Roll Hall of Fame, The Official Bootleg, Rockplast...). The Collector's is the last time Dickey really stirred the pot.
"Pegasus" from Enlightened Rogues on both counts
I always thought this was Dickey's calling so to to speak. Imho, instead of playing the same old set lists in gin joints in front of very small crowds, he should/could have re-invented himself playing country tunes. "Highway Call" could have been his home base rather than "Statesboro Blues" and all of the attempts to be the ABB with the cast of characters he assembled including two drummers and 3 guitar players...
Totally agree with this.
I go with the Elizabeth Reed guitar solo from the "Wipe The Windows/Brothers And Sisters Super Deluxe CDs.
[Edited on 11/20/2015 by PaulColetti]
