Dickey is taking good care of Duane Betts too. Duane had a real nice crib out in Malibu, California years ago. Duane flies to nice vacation spots several times a year. Duane has three of Dickey's best guitars as his main axes. A 2001 aged Dickey Betts custom shop Gibson Les Paul, 1956 Fender Stratocaster hardtail and a big dot neck 1961 Gibson ES-335.
Now if you want to compare Dickey's 40 million to some other guitar players....Keith Richards 340 million. Eric Clapton 250 million. David Gilmore 200 million.
Gregg was worth 20 million and owned 42 guitars. Devon Allman said Gregg gave him all of them.
Writing the song = bringing the song, lyrics and melody
Arrangement = tempo and timing
If I rearranged midnight rider to include a distinctive drum intro,
I didn't write the song, I ARRANGED it.
Ta da!
The Dicky DVD is pretty hard to watch. He's done.
I've seen plenty of artists past their prime. Some bring it,
some don't.
Gregg's last output was particularly listenable, live and studio.
gregg has whipping post, dreams and midnight rider and what else?
Every nontraditional or old blues song not written by Dickey. Gregg was the main songwriter for the for the first 3 records. Gregg was the ONLY ABB songwriter on the first record, Dickey kicked in Revival and IMOER on Idlewild South. Blue Sky and Les Brers on EAP
Every Hungry Woman
Black Hearted Woman
Don't Keep Me Wonderin
Leave My Blues At Home
Ain't Wastin Time No More
Standback
Melissa[Edited on 7/5/2019 by BrerRabbit]
the what else was talking about hits or radio staples. other than "melissa" i have never heard a single one of those tunes on the radio. thats why betts is worth more than greg and the rest of the band
I heard those songs constantly on FM radio all through the 70s and into the 80s it drew me and a million other people to the band, and made them who they are, along with Dickeys tunes and picking.
thats awesome you heard some album cuts 40 years ago. how much money do you think that generated for gregg? since "classic rock" stations became a thing about 30 years ago i have never once hear any song that was listed played on classic rock FM stations except "melissa" and that was my point. betts is the writer for the 2 most played ABB on classic rock radio and wrote another 2 that get played alot . plus he wrote most of the singles starting with the album brothers and sisters even if they were played for a few months on radio the year they were released and then never heard from again.
https://www.google.com/amp/s/www.bankrate.com/finance/personal-finance/fame-and-fortune-dickey-betts.aspx/amp/ Dickey made 3/4 of his money on the road (when he was with the brothers) merchandising being a big part of it. Post ABB it was 1/2 performance 1/2 royalties. Dickey also had a great investment team. Don't say Gregg's tunes weren't played and he didn't earn much money from them, it's just not the case.
[Edited on 7/7/2019 by pops42]
i am going to say that. I even just called my local classic rock station in Richmond va 96.5. the playlist of songs related to the ABB the are allowed to play in order of most played
1 rambling man
2 Jessica
3 midnight rider (the solo Gregg version)
4 whipping post
5 blue sky
6 Melissa
there you go. they said thats it unless its a special segment where they play multiple songs in a row by classic artists. if its like that all over most cities dickey wrote the top 2 . each guy wrote 3 songs of the top 6. I can look at the rest of the singles released by the band starting with brothers and sisters and see dickey as a writer or co-writer on most of them. even some singles from the 1989-2000 timeframe that Gregg sings dickey wrote
When Butch called Gregg in 2000 to say he found out from his wife Gregg was quiting the band, Butch said let's vote him out rather than folding the band because we can't legitimately call this the Allman Brothers with no Allman. Butch also said he was quiting too but lets vote out Dickey and keep going. Gregg said the contract probably won't allow it. Butch said there isn't a contract. It's just a gentleman's agreement. When Jaimoe was sacked in 1980 it was Dickey talking us into voting him out. There was no contract.
The contracts those boys signed was for Allman Brothers Inc. The originial four owned the band and additional musicians had contracts. When Warren and Woody quit in 1997, the band was going to invite them to be owners and be on par with the original four.
It's my understanding Dickey continued to be an owner of the band so apparently received his cut even though he was voted off the stage.
Remember in the 2000's when the band sued iTunes? I saw the suite reported on the net and it listed Gregg, Butch, Jaimoe and DICKEY as the owners and this was several years after Dickey was voted out.
When Butch and Gregg discussed voting Dickey out permanently they had to get Jaimoe involved but when they called him, Jaimoe said no. The only way an originial can leave is die or quit. So they agreed to lay Dickey off for the summer. In the meantime Dickey sued the band and after arbitration was finalized and Dickey left with no discussion of continuing as a player, Butch said "now what". Jaimoe said Dickey must have quit. Gregg agreed and Gregg said he would continue the band only if Warren Haynes came back.
Gregg discusses this in his book. Yes he was going to quit in 2000 but Butch talked him into staying and getting rid of Dickey. But Jaimoe wouldn't go along with it, just a temporary suspension. After arbitration Gregg says in his book that Dickey actually ended up quiting. They did not fire him. Personally I think it was a little of both.
Warren said they should have followed bands like the Rolling Stones and not played every year. Take two, three years off between tours and none of this would have happened. But Warren said they had acquired a number of people who were counting on the band for their living so they had to play every year and like the Stones, they would get along better if they played no more than every other year at the most.
Well, the band is tight and Dickey shows a few flashes of his old self towards the end. But I don't think this will be added to the Library of Congress.
https://www.guitarworld.com/news/the-dickey-betts-band-premiere-new-ramblin-man-live-video
I'll be generous and give that a 2 out of 5 stars.
When Butch called Gregg in 2000 to say he found out from his wife Gregg was quiting the band, Butch said let's vote him out rather than folding the band because we can't legitimately call this the Allman Brothers with no Allman. Butch also said he was quiting too but lets vote out Dickey and keep going. Gregg said the contract probably won't allow it. Butch said there isn't a contract. It's just a gentleman's agreement. When Jaimoe was sacked in 1980 it was Dickey talking us into voting him out. There was no contract.
The contracts those boys signed was for Allman Brothers Inc. The originial four owned the band and additional musicians had contracts. When Warren and Woody quit in 1997, the band was going to invite them to be owners and be on par with the original four.
It's my understanding Dickey continued to be an owner of the band so apparently received his cut even though he was voted off the stage.
Remember in the 2000's when the band sued iTunes? I saw the suite reported on the net and it listed Gregg, Butch, Jaimoe and DICKEY as the owners and this was several years after Dickey was voted out.
When Butch and Gregg discussed voting Dickey out permanently they had to get Jaimoe involved but when they called him, Jaimoe said no. The only way an originial can leave is die or quit. So they agreed to lay Dickey off for the summer. In the meantime Dickey sued the band and after arbitration was finalized and Dickey left with no discussion of continuing as a player, Butch said "now what". Jaimoe said Dickey must have quit. Gregg agreed and Gregg said he would continue the band only if Warren Haynes came back.
Gregg discusses this in his book. Yes he was going to quit in 2000 but Butch talked him into staying and getting rid of Dickey. But Jaimoe wouldn't go along with it, just a temporary suspension. After arbitration Gregg says in his book that Dickey actually ended up quiting. They did not fire him. Personally I think it was a little of both.
Warren said they should have followed bands like the Rolling Stones and not played every year. Take two, three years off between tours and none of this would have happened. But Warren said they had acquired a number of people who were counting on the band for their living so they had to play every year and like the Stones, they would get along better if they played no more than every other year at the most.
the stones did tour every year until 1980. they played a few shows in 1977 and 1979 and then no tour in 1980 or 1983-1988. it wasn't until after the 1989-1990 tour that they started taking some years off. still though they toured 1994-1995, 1997-1999, 2002-2003, 2005-2007. since 2012 they have played usually at least 10 shows a year.
You folks are really something. His playing is not bad. To me, he sounds like he is trying to find the grove that was there in the 1975 Brothers and Sisters album release, that same style, he is going for that; maybe the rest of the band were not in that place, and Mike Kach is not Chuck Leavell, different sound. Duane Betts is still being respectful and refined, he won't drive Dickey the way Dangerous Dan did to touch the sky. The only criticism I would have would be the vocals. You want somebody to say it? He sounds a little schnockered on the vocals. There I said it. I could also point out Gregg had a few of them nights himself but we always overlook it out of empathy because he was Duane's brother and losing Duane hit him hard, so if Gregg was effed up, people would just say aw man and let it go. Dickey is not a vocalist, that is another aspect.
That was from one show in Jersey, during a tour. Just one night. Other nights are not like that and he's proven it over and over.
I don't find anything wrong with his playing. He likes to improvise and do new things in the old songs, and as I said it sounds like he was in the 74-75 groove of the song. I remember after Berry died and he had just written the song, he played it on tour and blew everybody away with it. He was phenomenal, and he still is, after all he is Dickey, genuine since '69!
[Edited on 7/7/2019 by gina]
I am saddened to have seen videos from this tour. Dickie was an integral part of the ABB. His playing, for years, was very good and certainly unique in of itself. Unmistakable in whatever format he chose to participate in. I wish him health and happiness in the future. Please do not come out again and tarnish the memories.
I was pretty diplomatic after the Beacon show and tried to ride on the "good to say thanks to Dickey" type opinion. Only after this release fanfare hype did I really be honest.
Jackson Maxwell of Guitar World says: "a scintillating version of Betts' signature contribution to the Allman Brothers Band catalog".
Tell me they aren't "motivated" to write that stuff.
The only thing I can logically reason out is Dickey had given rights to others to release this back when he signed for doing the shows. I can't believe he or Duane in retrospect see this as a dynamite item to get out for fans.
Bum note to end on, so I hope for some possible releases of great vintage Dickey shows, Highway Call era and later Great Southern stuff. And an ABB release with Dickey and Jack Pearson.
A release of Jack Pearson with the ABB is supposedly in the works. Jack and Dickey smoked it during the summer of 1997. I saw several of those shows and Otiel was new to the band too and I was bummed about Warren and Allen leaving and we heard the rumor that much of the reason is because Dickey pulled a knife of Allen. But to my delight and surprise Dickey was rejuvenate at the 3 shows I saw and playing as hot as he was the first several years of the Warren/Allen version of the band. Also first time I saw Dickey playing a Strat since the first half of 1970. Dickey had a hot rail pickup in the neck position and his tone was similar to a Gibson. And it was funny because during the summer of 1997 NO Gibson guitars were on stage by either lead player or the bass. That isn't unusual for some bands but it was for the ABB.
Last I listen to it there is a 1997 Raleigh, N. C. show on YouTube which clearly shows just how hot the band was that summer with Jack and Dickey really soring.
Last I read anything from Dickey in the press he said he is likely retired again and he just doesnt think he puts on a good show anymore. Actually the last show of that 2018 tour saw Dickey making few claims and playing with a little of his old pop.
Unless it's the poor sound from cell phones, all the 2018 shows I've seen on YouTube are especially rough for Dickey. So many clams in every solo. No energy and a few notes that are just awful. Singing not good either. I hope whoever paid Dickey for the new release isn't just putting it out in an attempt to get some of his money back. If Tom Dowd were involved he wouldn't let this out out of respect for Dickey. Maybe some of the other songs are better but the version of Ramblin Man has Dickey making too many hickeys in his solos. The singing is a C - and the tempo is too slow. I'm going to buy it out of respect to my favorite guitar player and song writer but may never watch it. It seems to be as rough as B. B. King the last I saw him. B. B. wanted to play a good show but he had to sit and clearly his age just wouldn't let him. And like Dickey, he would loose his place in some solos then get out of sinc with his band. B. B. had too many clams for his reputation. And it hurt to see him play when you remember how good he was and that B. B. just couldn't do it anymore. I'm 72 now and can't do a lot of things I use to and it hurts. David Lee Roth wasn't good enough to be in Van Halen last I saw him. It's sad what age and a little bad living mixed in will do to everything from your golf game, bowling and love life. Is there a blue pill for a flat golf game?
The only thing I can logically reason out is Dickey had given rights to others to release this back when he signed for doing the shows. I can't believe he or Duane in retrospect see this as a dynamite item to get out for fans.
This and maybe trying to help promote Duane while he launches the ABB are the only plausible explanations I can come up with. Dickey says his playing days are no good anymore and puts out this subpar vid to support it in a "see I told ya so" sort of way? Doesn't make sense.
Just like there were much better versions of the tunes vs. what was released on Peakin at the Beacon, they could've released something from the Peach Fest that would've smoked this.
Completely baffling....
Dickey is taking good care of Duane Betts too. Duane had a real nice crib out in Malibu, California years ago. Duane flies to nice vacation spots several times a year. Duane has three of Dickey's best guitars as his main axes. A 2001 aged Dickey Betts custom shop Gibson Les Paul, 1956 Fender Stratocaster hardtail and a big dot neck 1961 Gibson ES-335.
Now if you want to compare Dickey's 40 million to some other guitar players....Keith Richards 340 million. Eric Clapton 250 million. David Gilmore 200 million.
Gregg was worth 20 million and owned 42 guitars. Devon Allman said Gregg gave him all of them.
That's a crazy amount of money. If I had even near a small percentage of that type of money I would not waste it by living in Malibu or Southern California, or in Palm Beach FL like Butch did. Instead I suppose I would be more like Devon and a lot more conservative with the money, and just live comfortably.
I did not watch the video as I just watched the live stream from the Macon show when Dickey played with Jaimoe and I don't want to ruin the good memory of it or the other times I saw Dickey with the Allmans and his band great southern.
[Edited on 7/8/2019 by The_Newt]
The only thing I can logically reason out is Dickey had given rights to others to release this back when he signed for doing the shows. I can't believe he or Duane in retrospect see this as a dynamite item to get out for fans.
This and maybe trying to help promote Duane while he launches the ABB are the only plausible explanations I can come up with. Dickey says his playing days are no good anymore and puts out this subpar vid to support it in a "see I told ya so" sort of way? Doesn't make sense.
Just like there were much better versions of the tunes vs. what was released on Peakin at the Beacon, they could've released something from the Peach Fest that would've smoked this.
Completely baffling....
to me its more of a "thank you guys but you can see this is the end of the road but if you want to enjoy a performance one last time I gave it my all". to me its a release for his long time fans . that doesn't mean I think the clip sounded great though lol
From a lot of accounts, the one show where Dickey was closest to his pre-2014 self was the Peach Fest gig. Too bad they didn't record & release that one...if they had to do one. And I do think this was the best band Dickey assembled after 2000 (partially because I never heard Mike or Duane play so well).
I'm glad I went to Macon and got to see Dickey & Jaimoe share the stage. Fun night. I have no desire to acquire the tape.
Peeking at the Beacon was to fulfill the ABB's commitment to Epic. After 2nd set in 1995 several in the band decided their deal with Epic wasn't a good one so they refused to do another album which disappointed Warren and Allen. They wanted to do some more albums.
The Beacon was chosen because of it's iconic connection to the band by 2000 and it's my understanding it's a good soundboard recording they provided Epic culled from several shows during the 2000 Beacon run produced by the band and sound man Bud Snyder. Likely they didn't plan on the shows being part of an album much like Wipe the Windows was an afterthought by Capricorn.
I really like Standback on Peeking at the Beacon. Gregg's vocals are strong and Derek and Dickey are blowing real good. The first two tracks are strong too and I like Leave My Blues at Home and Seven turns. Nice slide solo from Derek. The rest of it I don't play. Well I only play any of the CD just a few times a year. It was a disappointment for Epic selling just north of 20,000 copies.
"Dickey was the backbone of the ABB. If he had vanished from the band early on
the story would have ended right there"
Um, No. LMAO.
The band didn't fold after Duane died, and it would not have folded had DB checked out first.
DA was an innovator, and he did not want to be the only guitar player.
DA chose original musicians to play with.
DB picked a DB clone in DT, although he grew out of that over time...
DB and DT would not have made great music on eat a peach.
Guitar chemistry is fascinating. You meant that DB thought he was getting a DA replacement, right? That was a fair thing to believe.
But back to the topic - it really is interesting to consider bands that have two guitarists both playing meaningful and meaty significant signature roles, and what happens when the line-ups change. Do you get a guy who sounds like the guy who just left? Do you get a guy who sounds like you? Do you get a guy who sounds pretty darned different?
I mean, it is a great question to ask with ANY musical shift or membership change, but when you get a guitar duo sound as astonishing as that of Duane & Dickey, or Keith and Brian Jones (or Mick Taylor imo), or Bobby & Jerry.... I mean I was racking my brains trying to think of guitar pairs where BOTH guys had a sound that was hard to cover. In some 2-guitar bands, I'm not sure I feel a change of membership as strongly, but that probably means that I just do not know those bands that well.
Cleary, AC/DC and Aerosmith thrive on that original line-up classic duo guitar sound and are challenged when the guitar line-up changes, even if I don't know those guitarists that well to know how much. I'm not enough of a fan of bands like Wishbone Ash, Iron Maiden, or Judas Priest to know if those bands really suffered or not from changes in guitarists.
Back to the ABB:
Dan Toler seemed very similar to Dickey in approach, and some would argue that it was too an extreme. He was too close to the sound of the other guy in the same line-up rather than offering a contrast. Obviously, there is a counter-argument in favor of having two similar guys creating great melodies. Maybe "Enlightened Rogues" is 2 Dickeys like "Tattoo You" is 2 Keiths.
Then, there is a general sense that Warren was at least hired in part to be the Daune guy in Dickey's band and then the 1989+ reunion of the ABB that lasted through the mid-90s.
Then, and I still have not gotten to hear much of the Jack Pearson ABB, so I'm not sure if he played that part (the Duane role) in the same way that Warren and later Derek seemed to be expected to be, but presumably there was some of that.
Derek then stepped in to be Dickey's foil, and had his Duane down. Once gain, you had a "Duane guy" opposite Dickey.
Which then makes it fascinating when Dickey was out of the band. I'm not weighing in on any of the personal politics, just rambling about the musical equations thereof. Duane was one defining Allmans sound; Dickey was another. In that absence of both those guys, who does what, and why?
Jimmy Herring is a beast, and he was an inspired choice for sure. Was this the wildest and weirdest post-AFE lineup ever, and the most UNLIKE the AFE line-up ever in terms of expectations of guitar roles / sounds?
It was clearly the combo of 2 guitarists who had logged the least miles with the ABB. It's kind of a shame it didn't last longer; where would this pairing of Starchild global kozmic players have pulled Gregg and Butch?
And then you have what is a different and interesting question. Warren Haynes entered the ABB as the "Duane" / "Foil to Dickey" guy. Derek Trucks also entered the ABB as that same "Duane" / foil to DB" role. When they were now the two guitarists for the ABB, both having been enrolled as Duane guys though both having a melodic sense, where else could they have taken their 2-guitar approach?
Excellent thoughtful post Jim Sheridan!
". You meant that DB thought he was getting a DA replacement, right? That was a fair thing to believe. "
No I think Dickey chose Dan because he would not be outshined.
They were too close in style and the contrast between their voices was lost.
I never heard Dan as the Duane guy. I think Dan Toler and Scott Sharrard are more alike.
They can do that DB sound thing, but it's still not Dickey, it's not as exciting, and it reeks of Molly Hatchet.
When they aren't trying the Dickey flavor, I think they are better players.
I always wondered why Gregg went for that in his solo band. Tasteful but fairly predictable if not sometimes smokin guitar.
Warren has an incredible musical vocabulary. In that way he reminds me of Garcia.
I'm just thrilled that Dickey is better and still doing what he loves. I've been following Brothers since 69 ….I ain't perfect all the time either....lol
Just catching up ,,,, I haven’t watched the video and I don’t think I will.... what for ?????
Ive been around a loooooooong time Ive seen many many many many great LIVE ABB DBGS shows and a few clunkers along the way... it happens , sometimes when your young and when your old
ABB has and will always be my favorite band . I don’t even wanna get started about my favorite guitarist, song writer, melody maker , best musical compositions , Blue Sky maker , original founding member of the ABB Dickey Betts just automatically puts a smile on my face, in my heart , and makes my true hippie dance come alive I hope I never stop feeling that no matter what the nay sayers say ... I ve been there to the mountain top WOW
Luv’em
Thanks rainy! 😉 ..........Peace........joe
Interesting stuff Jim... one thing is certain: the Jimmy/Derek lineup pulled Gregg in a direction he NEVER wanted to head down hahaha. Quite possibly the last direction he EVER wanted to head. The entire front line of that band was a Zambi vision....Gregg may have thought he died n went to hel, lol. Hence him losing it on the guys in the bus. Certainly not Bobby Bland esque, lol. Makes me laugh. I’m sure Skydog would have dug it...I did too.
I never heard Dan as the Duane guy. I think Dan Toler and Scott Sharrard are more alike.
They can do that DB sound thing, but it's still not Dickey, it's not as exciting, and it reeks of Molly Hatchet.
I've never thought of Toler and Sharrard as similar guitarists, but I kind of see what you are saying. Both are kind of blandly adaptable, that is, neither is specific enough that they can each play multiple genres. Gregg never wanted the lengthy guitar pyrotechnics of the ABB in his own band, but he wanted a guitarist that could still play a brief scorching solo when called upon. Both Dan and Scott can play "Whipping Post", but neither is going to be revelatory.
Toler was definitely a "southern rock" guitarist of his time, you could tell he was hugely influenced by that music of the early 1970s. Solid guitarist, but never really found his own sound (unless you count his all-whammy Strat during the 2000s which I did not find pleasant).
Sharrard sounds more 1960s blues and soul-influenced. Nothing flashy, never took a solo to the moon, but knew his lane.
Only a topic about Dickey can get a multiple page thread going...
As for the all of the guitar players that have been in the band ( and the other musicians) they all deserved to be there based on talent. Dan's solo & work on I'm no Angel is fantastic - it makes the song.
Scott was in Gregg's band because he was exactly what Gregg wanted.
I really like Standback on Peeking at the Beacon. Gregg's vocals are strong and Derek and Dickey are blowing real good. The first two tracks are strong too and I like Leave My Blues at Home and Seven turns.
I thought it was kind of ironic that one of the best cuts off of Peakin' was Dickey's "Seven Turns". Maybe he was just more focused on his own material.
Disagree with "Stand Back" and "Leave My Blues" - I thought those are the two worst cuts on a pretty sloppy album. But to be fair, I don't think either of those songs ever sounded quite right live, even with Warren & Derek.
I've never thought of Toler and Sharrard as similar guitarists, but I kind of see what you are saying. Both are kind of blandly adaptable, that is, neither is specific enough that they can each play multiple genres.
Spot on. The first time I even heard of Dan Toler was on Dickey's 1st "Great Southern" recording and the first time I ever saw him perform live was at the Roxy in L.A. in May of '77 (KMET "Live" FM broadcast) He was the "other guy" with an axe who gave Dickey someone to play off. It was an exciting time, Dickey was back on stage after the disastrous "Win, Lose or Draw" and Dan Toler was part of that magic, nothing more. "Blandly acceptable"
Scott, was to quote another poster, "exactly what Gregg wanted", a slinger who could adequately do obligatory fills albeit un-spectacularly. Having seen Gregg's solo bands dozens of times through the decades, I feel he might have been able to pull off all of those shows with a different guitar player at every single gig....
Dickey was initially "Challenged" by every guitarist that stood next to him and in my humble opinion, some of his best tone and playing ever appears on "Pattern Disruptive"...That is the era (prior to the '89 re-union) where a video release would have benefited his legacy with the most impact. Like quite a few here I am scratching my head in complete wonder as to why anyone would listen/watch to the "Ramblin' Man" video and feel like this was a necessary purchase.....
Spot on. The first time I even heard of Dan Toler was on Dickey's 1st "Great Southern" recording and the first time I ever saw him perform live was at the Roxy in L.A. in May of '77 (KMET "Live" FM broadcast) He was the "other guy" with an axe who gave Dickey someone to play off. It was an exciting time, Dickey was back on stage after the disastrous "Win, Lose or Draw" and Dan Toler was part of that magic, nothing more. "Blandly acceptable"
Yeah, I still have trouble telling Dan and Dickey solos apart on Enlightened Rogues.
Peeking at the Beacon was to fulfill the ABB's commitment to Epic. After 2nd set in 1995 several in the band decided their deal with Epic wasn't a good one so they refused to do another album which disappointed Warren and Allen. They wanted to do some more albums.
The Beacon was chosen because of it's iconic connection to the band by 2000 and it's my understanding it's a good soundboard recording they provided Epic culled from several shows during the 2000 Beacon run produced by the band and sound man Bud Snyder. Likely they didn't plan on the shows being part of an album much like Wipe the Windows was an afterthought by Capricorn.
I really like Standback on Peeking at the Beacon. Gregg's vocals are strong and Derek and Dickey are blowing real good. The first two tracks are strong too and I like Leave My Blues at Home and Seven turns. Nice slide solo from Derek. The rest of it I don't play. Well I only play any of the CD just a few times a year. It was a disappointment for Epic selling just north of 20,000 copies.
What is Peeking at the Beacon? 
Everything in Moderation. Including Moderation.
Interesting stuff Jim... one thing is certain: the Jimmy/Derek lineup pulled Gregg in a direction he NEVER wanted to head down hahaha. Quite possibly the last direction he EVER wanted to head. The entire front line of that band was a Zambi vision....Gregg may have thought he died n went to hel, lol. Hence him losing it on the guys in the bus. Certainly not Bobby Bland esque, lol. Makes me laugh. I’m sure Skydog would have dug it...I did too.
The Jimmy / Derek lineup was awesome IMO. I loved that 2000 tour. Jimmy was in a tough spot and did great. Like pretty much most who were around here then I was really bummed about Dickey but The ABB were able to move on that summer. In fact, my first Beacon trip was just a few months before that and I didn't think Dickey was bad. Other then his kid taking solos on Dreams I thought the shows were good.
Regarding Dan Toler, when he was in Great Southern he was awesome. Saw him in New York with Dickey and I thought Dan was actually better. Just my opinion. That guy could play.
Everything in Moderation. Including Moderation.
Relix has a feature with some more footage from the show:
