Post by cofi on Feb 13, 2007 12:25:40 GMT
Here is a cool interview of Warren from a german mag, Rocktimes.
On Sept, 26 RockTimes had the opportunity to interview Warren Haynes, the mastermind of Gov't Mule, at the Hyatt Regency in Cologne.
RockTimes: 1999: "Heated", a Big Sugar album you played on. Big Sugar is Gordie Johnson. Together with him you produced High & Mighty. What are Gordie Johnson's influences on the album?
Warren: Well, I think Gordie was a valuable co-producer in a lot of different ways.
Aside from being a great producer and engineer he's a great guitar player and singer and songwriter in his own rights. So he was able to capture some great guitar-sounds with me because he's coming from the engineer-side and the guitar-side. So he really understands that part of it very well.
I think he captured the drums very well as well and the basic keyboards, too.
But he's very good at arranging. His arrangement-skills are quite good as well. Since we have a mutual respect for each other, we've known each other for 11 years, he's a big Gov't Mule fan and I'm a big Big Sugar fan. We became friends in '95. We toured together a few times.
We always kinda talked about doing a record together and I wish we could have done one when Allen Woody was still alive because Woody and Gordie were very close as well and Woody loved Big Sugar. They were just great friends.
Back to the arrangement-side of it: I think the fact that I have the amount of respect for Gordie that I do, allowed me to be more open-minded about someone getting more involved with song-arrangements.
He and I spent four days together. Just the two of us working on the arrangements of all the new material. In some cases me and Gordie did rehearsing the songs like a sound-check and stuff and so the songs changed a lot.
When the rest of the band showed up four days later it was almost like starting over. So then we started rehearsing an additional five days with the new arrangements which means at that point Matt has ideas and Danny has ideas and Andy has ideas and of course then Gordie and I would have more ideas. So it was changing all the time.
And everybodies input is always welcome up until the last moment, right when we push the record button, you know.
But this was the first time that I had worked in a situation where the producer had as much influence on the arrangements as Gordie did on these.
He is also a Reggae expert. He helped us to bring out the best of "Unring The Bell". But, you know, Rock'n'Roll and Blues, we have very similar interests in the taste of music. And he worked very well one on one with each person. He challenged everybody to be even better. Which was great.
RockTimes: In 1999 you played on Little Milton's "Welcome To Little Milton". Milton died just a year ago. Did you know him?
Warren: Very well!
RockTimes: Can you tell us something about him as a person and his music?
Warren: I've been a fan of Little Milton a long time ago. When I first heard that he was interested in Gov't Mule recording with him for "Welcome To Little Milton" I was very excited about the prospect. I've never met him. We went down to Muscle Shoals, Alabama, and recorded two songs with him.
Just instantly it forced a friendship. He was a wonderful human being.
I think he loved the fact that we were a bunch of young white hippie guys that love the blues as much as he did and can actually play the Blues and get down and dirty.
We put a lot of time into getting the first take of "When The Blues Comes Knocking" and then we had time hopefully to do one more take and so I brought up us doing "I Can't Quit you Baby" because Milton's version of that song precided the Led Zeppelin version. So we started talking about it. I can tell that he never heard Led Zeppelin's version of it.
But he was very open-minded about mixing the two versions together, which is what we did. And we went in in one take and played that version. He and I looked at each other after it was over and we were like: »We could do it again, but we don't really see the point.« So everybody set their instruments down and we walked away. That was the recording.
We spent hours and hours just talking and telling stories and became instant friends. So many times after that we got together and played. I probably played with Milton ten times or something like that.
New Years Eve '99/2000 he came to Atlanta and sat in with Gov't Mule and we played an hour of Blues and recorded it and in some point we're gonna release that as a Live-CD. It's absolutely amazing.
It's actually the best that we ever played together as a band with Milton. It was that particular night. That was with Woody. It was just fabulous.
We got to know each other more and more and more. Of course he died right before we started making this record.
I miss him very much. He was a wonderful human being and an amazing artist.
RockTimes: With "Unring The Bell" Gov't Mule goes Reggae. Since 1984 you play guitar on many David Allan Coe releases. Is it possible that Gov't Mule goes into Country music?
Warren: I think the song "Nothing Else", which actually comes right after "Unring The Bell" is almost a Country song. But it is played by a rock band and interpreted by four open-minded musicians.
Yeah, I mean, I'm thinking of the most country song we've ever done. Well, when Waylon Jennings died we did a version of "Lonesome, On'ry And Mean" and we played it pretty much like Waylon Jennings just to pay tribute.
I've written songs that are almost country songs. I've written country songs. I wrote a song for Garth Brooks that was a big country hit. Not a song that I can see myself singing. And I think that really is the defining aspect of it , that I don't consider myself a country singer.
There are sides of that that I feel very comfortable with. Like there is a song called "Lay Of The Sunflower" that I wrote with Robert Hunter, lyricist of Grateful Dead . And it's almost like bluegrass. I like singing that song.
There are songs like "I Shall Return" that are borderline country-influenced.
But also I think David Allen Coe was more than just a country artist, too. He was so enamored with all great singer/songwriters that he would explore other types of music as well.
RockTimes: There is a statement in the "High & Mighty" booklet where you say »Thanks to the City of New York and especially to the Borough of Brooklyn for all of its culture, beauty, strength and hospitality.«
Warren: I'm not as familiar with Brooklyn as I probably ought to be. I've lived in Manhattan for about 17 years.
That statement is really coming from somewhere else. That was us thanking the people of Brooklyn for letting us go there and shoot the album-cover because we disrupted a lot of the daily normal flow of what was going on to have this two hour photo shoot.
They were hospitable. They allowed us to take over that environment. Everyone was really friendly. We had an off-duty cop with us that was helping us negotiate because we were in a pretty poverty-stricken part of Brooklyn that is not only very poor but very dangerous as well. So you always feel a bit strange about going into that kind of environment and saying: »Can we take pictures?«
There are all these homeless people out on the street. The photo shoot started like 5 am. So these people were still awake. (Warren laughs)
So in some cases it would be a matter of clearing some people out and take a photo of this and everybody was like having a great time and very friendly. And so we were just acknowledging that.
That statement is really more about the cover and the photo shoot and that kind of stuff.
But Andy Hess, our bass player, lives in Brooklyn and I live in Manhattan and I'm a big fan of New York.
RockTimes: Will there be a new Allman Brothers Band studio-album in the near future?
Warren: Possibly! At this point there are a few new songs that are starting surface.
RockTimes: Written by you?
Warren: A couple that Gregg and I written together. Oteil started an instrumental that he had Marc Quinones and myself add some input to.
Gregg has just written a new song himself that he wants me to help him finish. We're not ready to make a record yet. We're getting closer. We'll see.
If there is another Allman Brothers record it definitely won't take nine years like the last one. (Warren smiles)
RockTimes: Next week you start your "High & Mighty" tour in America. That will last till the end of November. Are there plans for an European tour with German dates?
Warren: Definitely!
We're working on that now. We're hoping to come as early as January/February.
At least we'll be here by spring/summer. We're trying to work it out now where we can start really developing the European market because I've seen what a great audience there is over here for us. We're very pleasantly surprised to see that.
But it seems that people really connect with our music and I think that's a wonderful thing.
RockTimes: Can you describe the influence of Blues and/or Jazz on your music or Rock music in general?
Warren: Well, without Blues there would be no Rock music!
Even though a lot of what's considered Rock music today bears little resemblance to Blues. Blues was precursor to rock music. A lot of the heaviest Blues like Elmore James and Howlin' Wolf and some of Muddy Waters stuff, Otis Rush and Albert King is almost Rock'n'Roll by itself. And then you start filtering that through some of these white musicians that had so much respect for that music translated it a way of their own.
That's where Rock'n'Roll music came from.
Myself being a Blues fan and student: The blues influenced most everything that I've been part of. I can't say everything but most everything.
And it wouldn't be fair to have this conversation without bringing up New Orleans. New Orleans is the place where all American music travelled through in some way or another. Jazz came out of New Orleans in the way you had these Caribbian influences and these classical influences.
It all came together and created something new.
The Blues started in the South, Country music started in the South, Jazz started in the South, Rock'n'Roll started in the South. There is that part of the country that all American music really owes a depth to.
I hate to see with New Orleans being not ignored but definitely not giving the attention that it deserves right now from our Gov't. If we loose New Orleans we've lost our richest musical city. It's a real shame!
I'm so influenced by not just Blues, Jazz and obviously Rock'n'Roll, a lot of great singer/songwriter music, Reggae music, Soul music. All these things kinda find their way into what we do in one way or another.
My first love was Soul music: James Brown, Otis Redding and Wilson Pickett. That's part of the way I sing, regardless wether you call it Rock'n'Roll or not. Because I started out singing Soul music, then I discovered Rock'n'Roll music and then I discovered Blues. I worked my way backwards when I read interviews with Hendrix and Clapton and Johnny Winter and Jeff Beck and they all said who they listen to. Then I would go and listen to those people.
RockTimes: It's often that kind of thing listening to some music and there's a song of so and so. And you're going to listen to that.
Warren: That's right. You're going backwards to discover where it came from which is another subject. But I think one of the things that is missing in not only Rock music but music today is the history. If the musicians don't keep going backwards and further back and further back to understand where it all came from. Then there is something missing that just could be so much more fulfilling.
A lot of singers these days have only listened to singers of the past 10 years. How could that possibly be enriching to the point where if you're a singer and you never listened to Ray Charles then you could do yourself a favour? Sometimes when we talk about Jazz people go like: »I don't hear the Jazz influence.« Then people should come to a live-show. If you come to a Gov't Mule live-show you definitely gonna hear the Jazz.
On a studio-record like "High & Mighty" there is not a tone of it but it influences our approach in the way that we play music, the way that we listen to each other and the call and responds. Just establishing a chemistry in the interplay that the band utilises regardless what genre of music we're exploring any moment.
RockTimes: Obviously there is a difference between your studio-albums and your live-perfomances.
Warren: Absolutely!
Starting with the fact that we play 2 ½ hours and over the course of that time you're gonna get a lot of different styles of music a lot of different genres of music and a lot more improvisation. Open territory where we're just going on a journey and see what happens. That element exists to a certain extent on the studio records.
If someone is familiar with our catalogue then they know that on our first live-album there were two instrumentals. In between the two instrumentals there were 30 minutes of music. On our second live-album we had one song that was 30 minutes long.
Songs like "Unring The Bell" you get a sense of the interplay and on "Endless Parade" you get a sense of interplay.
We definitely like to make that distinction between a studio-record and a live performance. And it's very different. The same way that the Allman Brothers or Grateful Dead studio-records were different than the live-records.
Everybody from that era making live-records they stretch out and played more improvisation then they did on recording which I think is appropriate.
If it's kind of odd to a modern music band then they just need to open up their mind to what it is.
RockTimes: Is every Gov't Mule concert recorded?
Warren: Yes!
We carry multi-track recording equipment to every show. In addition to the equipment to do the Mule tracks we do a matrix-mix of every night very high quality for the downloads that are available on muletracks.com.
But then if a night is very special we think we might wanna eventually put that out as a live-record then we've got the tapes and go and mix it. Are you wrapping up? We're worried about my flight!
RockTimes: Well, yes!
Warren: One more...
RockTimes: Some musicians and what do you think of them: Charlie Parker.
Warren: It's the same thing. Someone who was equally innovative in changing music, changing the world for people that love music.
Charlie Parker: No one before him like that. Everyone after him studied him.
RockTimes: Derek Trucks.
Warren: Derek is an amazing musician. I've known him since he was 11 years old. I guess I was 28 or something when I first met Derek. He gets better and better all the time.
RockTimes: Miles Davis.
Warren: I think I probably pattern some aspects of my career after Miles Davis more then anyone because my admiration for him is exemplified by the way that he never cared what people thought about what his next move should be. He always was breaking new ground and never resting on his laurels. Sometimes he would make music and his audience didn't understand it. Three years later it's amazing. But at the time maybe they weren't ready for it.
And so he really just did an amazing amount of genre defining music.
RockTimes: Jon Lord.
Warren: The sound of Rock'n'Roll organ was pretty much defined by Jon Lord. That was a scary sound when I was a kid. His organ was just beautiful, large and nasty. It was amazing.
RockTimes: Marc Ford.
Warren: We have a long history with Marc. Gov't Mule and the Black Crowes did 32 shows together in 1996. We did a lot of jamming together. Marc appeared on our "Live…With A Little Help From Our Friends". That's the version of "Cortez The Killer" that was really great.
After he left the Black Crowes the first time his band came out and opened for Gov't Mule for a while. We did some recording with him. During that tour we went in only for one day and recorded some stuff with Allen Woody and Matt Abts and myself. That was some great music that took place that night. Some of which wound up on his first solo-record. I guess some of it was gone appear in other places. Marc is a very natural player. He plays to the music very, very well. He's just very lyrical and melodic and flowing. I'm very much looking, where he's going next.
RockTimes: Ok, thank you very much, Warren!
Warren: My pleasure. Sorry about the time.
We thank Dennis from Starkult Promotion, who has set up this interview
On Sept, 26 RockTimes had the opportunity to interview Warren Haynes, the mastermind of Gov't Mule, at the Hyatt Regency in Cologne.
RockTimes: 1999: "Heated", a Big Sugar album you played on. Big Sugar is Gordie Johnson. Together with him you produced High & Mighty. What are Gordie Johnson's influences on the album?
Warren: Well, I think Gordie was a valuable co-producer in a lot of different ways.
Aside from being a great producer and engineer he's a great guitar player and singer and songwriter in his own rights. So he was able to capture some great guitar-sounds with me because he's coming from the engineer-side and the guitar-side. So he really understands that part of it very well.
I think he captured the drums very well as well and the basic keyboards, too.
But he's very good at arranging. His arrangement-skills are quite good as well. Since we have a mutual respect for each other, we've known each other for 11 years, he's a big Gov't Mule fan and I'm a big Big Sugar fan. We became friends in '95. We toured together a few times.
We always kinda talked about doing a record together and I wish we could have done one when Allen Woody was still alive because Woody and Gordie were very close as well and Woody loved Big Sugar. They were just great friends.
Back to the arrangement-side of it: I think the fact that I have the amount of respect for Gordie that I do, allowed me to be more open-minded about someone getting more involved with song-arrangements.
He and I spent four days together. Just the two of us working on the arrangements of all the new material. In some cases me and Gordie did rehearsing the songs like a sound-check and stuff and so the songs changed a lot.
When the rest of the band showed up four days later it was almost like starting over. So then we started rehearsing an additional five days with the new arrangements which means at that point Matt has ideas and Danny has ideas and Andy has ideas and of course then Gordie and I would have more ideas. So it was changing all the time.
And everybodies input is always welcome up until the last moment, right when we push the record button, you know.
But this was the first time that I had worked in a situation where the producer had as much influence on the arrangements as Gordie did on these.
He is also a Reggae expert. He helped us to bring out the best of "Unring The Bell". But, you know, Rock'n'Roll and Blues, we have very similar interests in the taste of music. And he worked very well one on one with each person. He challenged everybody to be even better. Which was great.
RockTimes: In 1999 you played on Little Milton's "Welcome To Little Milton". Milton died just a year ago. Did you know him?
Warren: Very well!
RockTimes: Can you tell us something about him as a person and his music?
Warren: I've been a fan of Little Milton a long time ago. When I first heard that he was interested in Gov't Mule recording with him for "Welcome To Little Milton" I was very excited about the prospect. I've never met him. We went down to Muscle Shoals, Alabama, and recorded two songs with him.
Just instantly it forced a friendship. He was a wonderful human being.
I think he loved the fact that we were a bunch of young white hippie guys that love the blues as much as he did and can actually play the Blues and get down and dirty.
We put a lot of time into getting the first take of "When The Blues Comes Knocking" and then we had time hopefully to do one more take and so I brought up us doing "I Can't Quit you Baby" because Milton's version of that song precided the Led Zeppelin version. So we started talking about it. I can tell that he never heard Led Zeppelin's version of it.
But he was very open-minded about mixing the two versions together, which is what we did. And we went in in one take and played that version. He and I looked at each other after it was over and we were like: »We could do it again, but we don't really see the point.« So everybody set their instruments down and we walked away. That was the recording.
We spent hours and hours just talking and telling stories and became instant friends. So many times after that we got together and played. I probably played with Milton ten times or something like that.
New Years Eve '99/2000 he came to Atlanta and sat in with Gov't Mule and we played an hour of Blues and recorded it and in some point we're gonna release that as a Live-CD. It's absolutely amazing.
It's actually the best that we ever played together as a band with Milton. It was that particular night. That was with Woody. It was just fabulous.
We got to know each other more and more and more. Of course he died right before we started making this record.
I miss him very much. He was a wonderful human being and an amazing artist.
RockTimes: With "Unring The Bell" Gov't Mule goes Reggae. Since 1984 you play guitar on many David Allan Coe releases. Is it possible that Gov't Mule goes into Country music?
Warren: I think the song "Nothing Else", which actually comes right after "Unring The Bell" is almost a Country song. But it is played by a rock band and interpreted by four open-minded musicians.
Yeah, I mean, I'm thinking of the most country song we've ever done. Well, when Waylon Jennings died we did a version of "Lonesome, On'ry And Mean" and we played it pretty much like Waylon Jennings just to pay tribute.
I've written songs that are almost country songs. I've written country songs. I wrote a song for Garth Brooks that was a big country hit. Not a song that I can see myself singing. And I think that really is the defining aspect of it , that I don't consider myself a country singer.
There are sides of that that I feel very comfortable with. Like there is a song called "Lay Of The Sunflower" that I wrote with Robert Hunter, lyricist of Grateful Dead . And it's almost like bluegrass. I like singing that song.
There are songs like "I Shall Return" that are borderline country-influenced.
But also I think David Allen Coe was more than just a country artist, too. He was so enamored with all great singer/songwriters that he would explore other types of music as well.
RockTimes: There is a statement in the "High & Mighty" booklet where you say »Thanks to the City of New York and especially to the Borough of Brooklyn for all of its culture, beauty, strength and hospitality.«
Warren: I'm not as familiar with Brooklyn as I probably ought to be. I've lived in Manhattan for about 17 years.
That statement is really coming from somewhere else. That was us thanking the people of Brooklyn for letting us go there and shoot the album-cover because we disrupted a lot of the daily normal flow of what was going on to have this two hour photo shoot.
They were hospitable. They allowed us to take over that environment. Everyone was really friendly. We had an off-duty cop with us that was helping us negotiate because we were in a pretty poverty-stricken part of Brooklyn that is not only very poor but very dangerous as well. So you always feel a bit strange about going into that kind of environment and saying: »Can we take pictures?«
There are all these homeless people out on the street. The photo shoot started like 5 am. So these people were still awake. (Warren laughs)
So in some cases it would be a matter of clearing some people out and take a photo of this and everybody was like having a great time and very friendly. And so we were just acknowledging that.
That statement is really more about the cover and the photo shoot and that kind of stuff.
But Andy Hess, our bass player, lives in Brooklyn and I live in Manhattan and I'm a big fan of New York.
RockTimes: Will there be a new Allman Brothers Band studio-album in the near future?
Warren: Possibly! At this point there are a few new songs that are starting surface.
RockTimes: Written by you?
Warren: A couple that Gregg and I written together. Oteil started an instrumental that he had Marc Quinones and myself add some input to.
Gregg has just written a new song himself that he wants me to help him finish. We're not ready to make a record yet. We're getting closer. We'll see.
If there is another Allman Brothers record it definitely won't take nine years like the last one. (Warren smiles)
RockTimes: Next week you start your "High & Mighty" tour in America. That will last till the end of November. Are there plans for an European tour with German dates?
Warren: Definitely!
We're working on that now. We're hoping to come as early as January/February.
At least we'll be here by spring/summer. We're trying to work it out now where we can start really developing the European market because I've seen what a great audience there is over here for us. We're very pleasantly surprised to see that.
But it seems that people really connect with our music and I think that's a wonderful thing.
RockTimes: Can you describe the influence of Blues and/or Jazz on your music or Rock music in general?
Warren: Well, without Blues there would be no Rock music!
Even though a lot of what's considered Rock music today bears little resemblance to Blues. Blues was precursor to rock music. A lot of the heaviest Blues like Elmore James and Howlin' Wolf and some of Muddy Waters stuff, Otis Rush and Albert King is almost Rock'n'Roll by itself. And then you start filtering that through some of these white musicians that had so much respect for that music translated it a way of their own.
That's where Rock'n'Roll music came from.
Myself being a Blues fan and student: The blues influenced most everything that I've been part of. I can't say everything but most everything.
And it wouldn't be fair to have this conversation without bringing up New Orleans. New Orleans is the place where all American music travelled through in some way or another. Jazz came out of New Orleans in the way you had these Caribbian influences and these classical influences.
It all came together and created something new.
The Blues started in the South, Country music started in the South, Jazz started in the South, Rock'n'Roll started in the South. There is that part of the country that all American music really owes a depth to.
I hate to see with New Orleans being not ignored but definitely not giving the attention that it deserves right now from our Gov't. If we loose New Orleans we've lost our richest musical city. It's a real shame!
I'm so influenced by not just Blues, Jazz and obviously Rock'n'Roll, a lot of great singer/songwriter music, Reggae music, Soul music. All these things kinda find their way into what we do in one way or another.
My first love was Soul music: James Brown, Otis Redding and Wilson Pickett. That's part of the way I sing, regardless wether you call it Rock'n'Roll or not. Because I started out singing Soul music, then I discovered Rock'n'Roll music and then I discovered Blues. I worked my way backwards when I read interviews with Hendrix and Clapton and Johnny Winter and Jeff Beck and they all said who they listen to. Then I would go and listen to those people.
RockTimes: It's often that kind of thing listening to some music and there's a song of so and so. And you're going to listen to that.
Warren: That's right. You're going backwards to discover where it came from which is another subject. But I think one of the things that is missing in not only Rock music but music today is the history. If the musicians don't keep going backwards and further back and further back to understand where it all came from. Then there is something missing that just could be so much more fulfilling.
A lot of singers these days have only listened to singers of the past 10 years. How could that possibly be enriching to the point where if you're a singer and you never listened to Ray Charles then you could do yourself a favour? Sometimes when we talk about Jazz people go like: »I don't hear the Jazz influence.« Then people should come to a live-show. If you come to a Gov't Mule live-show you definitely gonna hear the Jazz.
On a studio-record like "High & Mighty" there is not a tone of it but it influences our approach in the way that we play music, the way that we listen to each other and the call and responds. Just establishing a chemistry in the interplay that the band utilises regardless what genre of music we're exploring any moment.
RockTimes: Obviously there is a difference between your studio-albums and your live-perfomances.
Warren: Absolutely!
Starting with the fact that we play 2 ½ hours and over the course of that time you're gonna get a lot of different styles of music a lot of different genres of music and a lot more improvisation. Open territory where we're just going on a journey and see what happens. That element exists to a certain extent on the studio records.
If someone is familiar with our catalogue then they know that on our first live-album there were two instrumentals. In between the two instrumentals there were 30 minutes of music. On our second live-album we had one song that was 30 minutes long.
Songs like "Unring The Bell" you get a sense of the interplay and on "Endless Parade" you get a sense of interplay.
We definitely like to make that distinction between a studio-record and a live performance. And it's very different. The same way that the Allman Brothers or Grateful Dead studio-records were different than the live-records.
Everybody from that era making live-records they stretch out and played more improvisation then they did on recording which I think is appropriate.
If it's kind of odd to a modern music band then they just need to open up their mind to what it is.
RockTimes: Is every Gov't Mule concert recorded?
Warren: Yes!
We carry multi-track recording equipment to every show. In addition to the equipment to do the Mule tracks we do a matrix-mix of every night very high quality for the downloads that are available on muletracks.com.
But then if a night is very special we think we might wanna eventually put that out as a live-record then we've got the tapes and go and mix it. Are you wrapping up? We're worried about my flight!
RockTimes: Well, yes!
Warren: One more...
RockTimes: Some musicians and what do you think of them: Charlie Parker.
Warren: It's the same thing. Someone who was equally innovative in changing music, changing the world for people that love music.
Charlie Parker: No one before him like that. Everyone after him studied him.
RockTimes: Derek Trucks.
Warren: Derek is an amazing musician. I've known him since he was 11 years old. I guess I was 28 or something when I first met Derek. He gets better and better all the time.
RockTimes: Miles Davis.
Warren: I think I probably pattern some aspects of my career after Miles Davis more then anyone because my admiration for him is exemplified by the way that he never cared what people thought about what his next move should be. He always was breaking new ground and never resting on his laurels. Sometimes he would make music and his audience didn't understand it. Three years later it's amazing. But at the time maybe they weren't ready for it.
And so he really just did an amazing amount of genre defining music.
RockTimes: Jon Lord.
Warren: The sound of Rock'n'Roll organ was pretty much defined by Jon Lord. That was a scary sound when I was a kid. His organ was just beautiful, large and nasty. It was amazing.
RockTimes: Marc Ford.
Warren: We have a long history with Marc. Gov't Mule and the Black Crowes did 32 shows together in 1996. We did a lot of jamming together. Marc appeared on our "Live…With A Little Help From Our Friends". That's the version of "Cortez The Killer" that was really great.
After he left the Black Crowes the first time his band came out and opened for Gov't Mule for a while. We did some recording with him. During that tour we went in only for one day and recorded some stuff with Allen Woody and Matt Abts and myself. That was some great music that took place that night. Some of which wound up on his first solo-record. I guess some of it was gone appear in other places. Marc is a very natural player. He plays to the music very, very well. He's just very lyrical and melodic and flowing. I'm very much looking, where he's going next.
RockTimes: Ok, thank you very much, Warren!
Warren: My pleasure. Sorry about the time.
We thank Dennis from Starkult Promotion, who has set up this interview
