1 00:00:00,360 --> 00:00:01,080 Speaker 1: Taking a Walk. 2 00:00:01,120 --> 00:00:03,400 Speaker 2: I would sit in with the Almond brothers and I 3 00:00:03,520 --> 00:00:06,120 Speaker 2: tell you what, you know, having to stand between Warren 4 00:00:06,120 --> 00:00:09,960 Speaker 2: Haynes and Derek Trucks or Warren Haynes and Dicky Betts, 5 00:00:10,640 --> 00:00:13,160 Speaker 2: you know, and play on one way out or something. 6 00:00:13,320 --> 00:00:16,680 Speaker 2: These are like the Jedi Masters of guitar. You know. 7 00:00:16,760 --> 00:00:19,320 Speaker 2: The only thing you have when you're in that situation 8 00:00:19,560 --> 00:00:22,200 Speaker 2: is that you have you. There's only one you in 9 00:00:22,239 --> 00:00:26,680 Speaker 2: the universe. You know, you can't be Robin Trauer, Jamie Hendrix. 10 00:00:26,800 --> 00:00:28,360 Speaker 2: You know I could only be Devin Almon. 11 00:00:28,520 --> 00:00:31,840 Speaker 1: Welcome to the Taking a Walk Podcast, the show where 12 00:00:31,880 --> 00:00:35,400 Speaker 1: your host Buzz Night talks with musicians about their careers, 13 00:00:35,920 --> 00:00:39,640 Speaker 1: their passions, and their latest projects. Today he speaks with 14 00:00:39,680 --> 00:00:43,640 Speaker 1: a member of Rock Royalty. Devin Alman is the son 15 00:00:43,680 --> 00:00:46,600 Speaker 1: of Greg Almon. He's releasing his first new album in 16 00:00:46,760 --> 00:00:51,880 Speaker 1: eight years, called Miami Moon on Create Records. Buzz speaks 17 00:00:51,880 --> 00:00:54,280 Speaker 1: with Devin Almond on Taking a Walk. 18 00:00:55,960 --> 00:00:59,920 Speaker 3: Devin Almond, thanks for being on the Taking a Walk Podcast. 19 00:00:59,760 --> 00:01:01,800 Speaker 2: Man, and what a pleasure. Thank you for having me, 20 00:01:01,920 --> 00:01:03,440 Speaker 2: and happy Monday morning the. 21 00:01:03,520 --> 00:01:04,080 Speaker 4: Same to you. 22 00:01:04,280 --> 00:01:07,320 Speaker 3: I want to start with this. I had the opportunity 23 00:01:07,360 --> 00:01:12,280 Speaker 3: one time to ask the great Bill Graham, the greatest 24 00:01:12,280 --> 00:01:17,080 Speaker 3: show he ever saw. His response was, it was the 25 00:01:17,120 --> 00:01:20,560 Speaker 3: Almond Brothers at the Fillmore East. It was an eleven 26 00:01:20,720 --> 00:01:24,600 Speaker 3: thirty show. The band played till the sun came up, 27 00:01:25,200 --> 00:01:27,520 Speaker 3: and the sun came through. 28 00:01:27,800 --> 00:01:30,360 Speaker 4: It was just like church, was his comment. 29 00:01:31,040 --> 00:01:34,759 Speaker 3: I wanted to get your comment on that and then 30 00:01:34,880 --> 00:01:38,759 Speaker 3: ask you about some of your favorite venues that you're 31 00:01:38,800 --> 00:01:43,800 Speaker 3: looking forward to playing, especially with the Almond Bets Revival tour. 32 00:01:44,680 --> 00:01:46,600 Speaker 2: You know, I've actually talked to people that were at 33 00:01:46,600 --> 00:01:49,840 Speaker 2: that Fillmore show and they talk about the magic that 34 00:01:49,920 --> 00:01:52,760 Speaker 2: happened that night, and you know how it kind of 35 00:01:52,800 --> 00:01:55,920 Speaker 2: made time stand still, and you know that they have 36 00:01:56,400 --> 00:02:00,320 Speaker 2: really vivid memories of you know, of it, you know, 37 00:02:00,400 --> 00:02:04,480 Speaker 2: going so late and nobody cared. You know, you don't 38 00:02:04,560 --> 00:02:07,600 Speaker 2: hear about that these days. You know, when I hit 39 00:02:07,640 --> 00:02:10,840 Speaker 2: the stage, my tour manager will say, hey man, it's 40 00:02:10,840 --> 00:02:14,079 Speaker 2: an eleven o'clock curfew and if you go over, it's 41 00:02:14,080 --> 00:02:17,640 Speaker 2: a five thousand dollars fine. You know, you'll hear about 42 00:02:17,639 --> 00:02:22,680 Speaker 2: these things. It's such a tight ass vibe when it 43 00:02:22,760 --> 00:02:28,400 Speaker 2: comes to city ordinances, noise ordinances, you know, and I 44 00:02:28,480 --> 00:02:31,720 Speaker 2: get it. They've overhauled some of these communities neighborhoods to 45 00:02:32,240 --> 00:02:34,960 Speaker 2: have a lot of residential but you could never get 46 00:02:35,000 --> 00:02:38,680 Speaker 2: away with that these days. Man, So they were really 47 00:02:38,720 --> 00:02:42,800 Speaker 2: in a golden era for rock and roll, and yeah, 48 00:02:42,840 --> 00:02:44,720 Speaker 2: I wish I would have seen some of those shows. 49 00:02:44,760 --> 00:02:48,240 Speaker 2: I wish I would have seen Hendrix and Cream and 50 00:02:49,040 --> 00:02:53,120 Speaker 2: obviously the Allman Brothers with Dwayne. But with that in mind, 51 00:02:53,200 --> 00:02:56,079 Speaker 2: you know, got to be grateful that we're still able 52 00:02:56,120 --> 00:03:00,600 Speaker 2: to do this in their honor, really honored, a true 53 00:03:00,639 --> 00:03:04,000 Speaker 2: honor to step on the stage at the Beacon where 54 00:03:04,000 --> 00:03:07,239 Speaker 2: they made so many memories and played so many shows 55 00:03:07,720 --> 00:03:10,280 Speaker 2: and play their music. It's not lost on us. This 56 00:03:10,440 --> 00:03:14,920 Speaker 2: is not something that's it's just not lost on us. 57 00:03:14,919 --> 00:03:17,600 Speaker 2: When we hit that stage, we know the gravity of 58 00:03:17,639 --> 00:03:22,320 Speaker 2: the situation, We know the gravity of that songbook, we 59 00:03:22,360 --> 00:03:27,400 Speaker 2: know the gravity of the people that have spent literally 60 00:03:27,440 --> 00:03:30,640 Speaker 2: the best times of their lives in that room. So 61 00:03:30,680 --> 00:03:33,560 Speaker 2: the Beacon is very powerful for our families and the 62 00:03:33,639 --> 00:03:38,560 Speaker 2: memories and the fans. We can't wait to be there again. 63 00:03:39,120 --> 00:03:42,000 Speaker 2: The Ryman has become special for our revival tour in 64 00:03:42,080 --> 00:03:46,040 Speaker 2: Nashville just because of you know, as a consequence of 65 00:03:46,080 --> 00:03:50,320 Speaker 2: time that Nashville has finally become what it was supposed 66 00:03:50,320 --> 00:03:54,400 Speaker 2: to become, a musical mecca that was not just relegated 67 00:03:54,440 --> 00:03:58,000 Speaker 2: to country and Western music, but all forms of music, 68 00:03:58,120 --> 00:04:03,960 Speaker 2: jam bands, Americana, blues, and it's really stepped into the 69 00:04:04,040 --> 00:04:07,000 Speaker 2: light as such, and and The Ryman seems to be 70 00:04:07,080 --> 00:04:11,480 Speaker 2: that kind of beating art of that community, and it's 71 00:04:11,520 --> 00:04:14,680 Speaker 2: really brought in some great people to jam with us. 72 00:04:15,240 --> 00:04:17,640 Speaker 2: So the Ryman's been kind of a who's who of 73 00:04:17,680 --> 00:04:20,560 Speaker 2: who will show up for us, kind of kind of 74 00:04:20,560 --> 00:04:24,279 Speaker 2: become our beacon in a way. Last year we were 75 00:04:24,440 --> 00:04:27,440 Speaker 2: completely floored and honored to have Jason isbel sit in 76 00:04:28,480 --> 00:04:32,320 Speaker 2: and Sierra Ferrell come out and really lift the vibrations 77 00:04:32,360 --> 00:04:37,160 Speaker 2: of what we do in honor of Dickey Betts, Greg 78 00:04:37,200 --> 00:04:40,520 Speaker 2: Almon and the whole all My Brothers band. So it's 79 00:04:40,520 --> 00:04:42,520 Speaker 2: always a pleasure. It's at the end of the year, 80 00:04:42,800 --> 00:04:47,560 Speaker 2: this revival tour. It's always three weeks between Thanksgiving and Christmas. 81 00:04:49,080 --> 00:04:52,599 Speaker 2: This is the eighth year and we're just honored to 82 00:04:52,600 --> 00:04:56,120 Speaker 2: do it every years. It's also a big reunion for 83 00:04:56,160 --> 00:04:58,720 Speaker 2: all of us, you know, I go the whole year. 84 00:05:00,120 --> 00:05:03,240 Speaker 2: He as shit, you know, and it's like, oh, Luther Dickinson, 85 00:05:03,320 --> 00:05:06,799 Speaker 2: get you know, giving him the biggest hug. Jimmy Hall. 86 00:05:07,240 --> 00:05:09,200 Speaker 2: You know these cats that I haven't seen all year 87 00:05:09,240 --> 00:05:11,680 Speaker 2: because we're all, you know, doing what we do. 88 00:05:12,640 --> 00:05:15,200 Speaker 3: Fillmore West not a bad place to play either, I 89 00:05:15,200 --> 00:05:17,640 Speaker 3: would think, huh yeah. 90 00:05:17,720 --> 00:05:23,400 Speaker 2: You know. The revival started eight years ago at the Fillmore. 91 00:05:23,480 --> 00:05:26,279 Speaker 2: It wasn't a tour, it was not multi city. It 92 00:05:26,360 --> 00:05:30,520 Speaker 2: was just one night. It was Dad's seventieth birthday. He 93 00:05:30,600 --> 00:05:32,839 Speaker 2: had passed earlier in the year, and it was just 94 00:05:32,920 --> 00:05:35,960 Speaker 2: a party in his honor. So that one show at 95 00:05:35,960 --> 00:05:40,120 Speaker 2: the Fillmore West is what birthed this whole thing. Nobody 96 00:05:40,120 --> 00:05:43,000 Speaker 2: saw this coming. This was never planned out. It was 97 00:05:43,040 --> 00:05:46,120 Speaker 2: a birthday party for Dad, and the Fillmore called a 98 00:05:46,120 --> 00:05:47,960 Speaker 2: week later and said, well that was fun. Can we 99 00:05:48,000 --> 00:05:51,000 Speaker 2: do it again next year? And you know, here we are. 100 00:05:52,080 --> 00:05:54,680 Speaker 3: It's like a responsibility though, right, I mean, it feels 101 00:05:54,720 --> 00:05:55,840 Speaker 3: like it really is. 102 00:05:56,040 --> 00:06:00,080 Speaker 2: It is now for sure. You know, ultimately there's a 103 00:06:00,160 --> 00:06:02,880 Speaker 2: lot of people that can pick up parts of this 104 00:06:03,040 --> 00:06:05,400 Speaker 2: songbook and go do it justice and give it a 105 00:06:05,440 --> 00:06:07,440 Speaker 2: lot of love and people that are connected to it. 106 00:06:07,920 --> 00:06:10,640 Speaker 2: Dwayne Betts and I grew up on the tours. We 107 00:06:11,040 --> 00:06:14,360 Speaker 2: grew up listening to this music and listening to the 108 00:06:14,400 --> 00:06:19,880 Speaker 2: masters that made it, and it's meaningful to us. When 109 00:06:19,880 --> 00:06:23,240 Speaker 2: I start Melissa or when Dwayne counts off Blue Sky, 110 00:06:23,560 --> 00:06:30,600 Speaker 2: It's it's heavy, man, It's it's really, really, really fucking heavy. 111 00:06:30,720 --> 00:06:34,800 Speaker 2: It's it's so bittersweet because Dwayne and I, and I 112 00:06:34,839 --> 00:06:37,080 Speaker 2: think I can speak for him. On the one hand, 113 00:06:37,120 --> 00:06:41,440 Speaker 2: we're so honored to recreate this music, you know, and 114 00:06:41,480 --> 00:06:43,720 Speaker 2: we have our own careers and our own records, so 115 00:06:43,760 --> 00:06:47,039 Speaker 2: when we get to do this, it's special. But on 116 00:06:47,080 --> 00:06:48,840 Speaker 2: the other hand, we just wish our dads were here 117 00:06:48,920 --> 00:06:52,400 Speaker 2: to play Melissa and Blue Skuy, you know. So it's 118 00:06:52,520 --> 00:06:56,479 Speaker 2: very it's it's a delicate balance there, and it's emotional. 119 00:06:57,920 --> 00:07:00,920 Speaker 4: Major congrats on Miami Moon. It's fantastic. 120 00:07:01,120 --> 00:07:03,960 Speaker 3: Can you take us back to when you went to 121 00:07:04,880 --> 00:07:09,400 Speaker 3: school observing as a fly on the wall recording session 122 00:07:09,560 --> 00:07:14,160 Speaker 3: with the Almonds with the legendary producer Tom Dad. 123 00:07:15,640 --> 00:07:19,280 Speaker 2: Yeah, so I never got to see them work at 124 00:07:19,280 --> 00:07:23,840 Speaker 2: Criteria where I made Miami Moon. Criteria for those that 125 00:07:23,920 --> 00:07:27,200 Speaker 2: don't know that, the famous studio in Miami, Florida, where 126 00:07:28,080 --> 00:07:31,360 Speaker 2: where Da Peach was done, where Derek and the Domino's 127 00:07:31,440 --> 00:07:35,800 Speaker 2: made Layla parts of Saturday Night Fever soundtrack, the Beg's 128 00:07:35,920 --> 00:07:39,400 Speaker 2: those songs we all love, part of Fleetwood Mac Rumors. 129 00:07:39,920 --> 00:07:41,880 Speaker 2: The list goes on and on. It's a special place. 130 00:07:42,800 --> 00:07:46,040 Speaker 2: All My brothers also made Seven Turns their comeback record, 131 00:07:46,800 --> 00:07:50,240 Speaker 2: but their next record, Shades the Two Worlds, was made 132 00:07:50,600 --> 00:07:56,160 Speaker 2: at an equally important historic studio, Ardent Studios in Memphis, Tennessee, 133 00:07:56,640 --> 00:08:00,840 Speaker 2: where all your favorite zz top from Shark dress Man 134 00:08:01,400 --> 00:08:05,560 Speaker 2: to you know, all the first six records or whatever, 135 00:08:05,560 --> 00:08:07,480 Speaker 2: they were all done at Arden and I got to 136 00:08:07,880 --> 00:08:13,200 Speaker 2: go down and watch Tom Dowd produced that album almost 137 00:08:13,240 --> 00:08:16,920 Speaker 2: on the daily because I lived in Memphis and I 138 00:08:16,960 --> 00:08:20,680 Speaker 2: had a you know, kind of fledgling rock band. We 139 00:08:20,720 --> 00:08:23,200 Speaker 2: were trying to be, I don't know, something like Aerosmith 140 00:08:23,320 --> 00:08:27,160 Speaker 2: or some shit we did. We didn't know shit from Shinola. 141 00:08:27,240 --> 00:08:29,960 Speaker 2: We were seventeen years old. We were sneaking into clubs, 142 00:08:30,000 --> 00:08:32,760 Speaker 2: trying to act like our favorite rock stars. You know. 143 00:08:33,360 --> 00:08:37,520 Speaker 2: But I as much as I was trying to fit 144 00:08:37,559 --> 00:08:41,679 Speaker 2: into a groove like Aerosmith or whatever, who just announced 145 00:08:41,679 --> 00:08:46,520 Speaker 2: the retirement, which was so sad to me, But I 146 00:08:46,640 --> 00:08:50,160 Speaker 2: digress as much as I kind of was seventeen years 147 00:08:50,200 --> 00:08:55,000 Speaker 2: old and trying to you know, be Steven Tyler or whomever. 148 00:08:55,760 --> 00:08:57,880 Speaker 2: I had the sense enough about me to go and 149 00:08:57,960 --> 00:09:02,320 Speaker 2: watch Tom Dowd, producer, Almond Brothers, and and I knew 150 00:09:02,360 --> 00:09:05,960 Speaker 2: that it was a heavy thing to to watch and 151 00:09:06,040 --> 00:09:10,680 Speaker 2: to kind of take in. It was special. And you know, 152 00:09:10,720 --> 00:09:13,120 Speaker 2: I can't say that I necessarily picked up a bunch 153 00:09:13,160 --> 00:09:18,480 Speaker 2: of production tricks or whatever, but it was really cool 154 00:09:19,440 --> 00:09:22,800 Speaker 2: to see that he was absolutely a member of the band. 155 00:09:22,880 --> 00:09:26,439 Speaker 2: While they were in there, everybody was looking to him. 156 00:09:26,880 --> 00:09:29,480 Speaker 2: Hey man, should we double that intro? They'd look at Tom, 157 00:09:30,720 --> 00:09:33,040 Speaker 2: hey man, should Warren go to slide right there? They'd 158 00:09:33,040 --> 00:09:37,800 Speaker 2: look at Tom. You know, he was the trusted magnetic 159 00:09:37,880 --> 00:09:42,760 Speaker 2: north of those recordings. Their their love for him knew 160 00:09:42,800 --> 00:09:44,760 Speaker 2: no bounds. You know. He was a dad, he was 161 00:09:44,800 --> 00:09:47,920 Speaker 2: a head coach, he was a you know, he was 162 00:09:48,640 --> 00:09:51,400 Speaker 2: a barometer, he was he was everything for them. So 163 00:09:51,640 --> 00:09:53,839 Speaker 2: that was that was powerful to watch. 164 00:09:54,679 --> 00:09:58,000 Speaker 3: If the walls at Criteria Studios could talk, what what 165 00:09:58,040 --> 00:09:59,040 Speaker 3: would they be saying? 166 00:09:59,360 --> 00:10:04,160 Speaker 4: And did you feel those vibrations when you recorded Miami Moon? 167 00:10:05,600 --> 00:10:13,280 Speaker 5: I don't think those SIGs could be repeated. Uh yeah, yeah, 168 00:10:13,559 --> 00:10:16,200 Speaker 5: you know when we walked in, you know, I went 169 00:10:16,280 --> 00:10:19,160 Speaker 5: to I went to actually tour the place first because 170 00:10:19,200 --> 00:10:22,600 Speaker 5: I wanted to feel those vibrations, and you know, walking 171 00:10:22,640 --> 00:10:23,959 Speaker 5: into the main cutting room. 172 00:10:23,800 --> 00:10:27,160 Speaker 2: I was just like, wow, like there's there's a weight 173 00:10:27,240 --> 00:10:31,160 Speaker 2: there for sure. I always feel that in studios. I 174 00:10:31,200 --> 00:10:34,120 Speaker 2: went and toured Electric Lady, Uh not too far, you know, 175 00:10:34,120 --> 00:10:38,000 Speaker 2: a year ago, considering making a record there as well, 176 00:10:38,960 --> 00:10:41,040 Speaker 2: and yeah, I feel it, you know. We we made 177 00:10:41,040 --> 00:10:43,920 Speaker 2: the two Almond bet Span records at Muscle Shoals and 178 00:10:44,320 --> 00:10:47,480 Speaker 2: I could feel it there. It's a vibe, you know. 179 00:10:47,559 --> 00:10:50,600 Speaker 2: I think. I think the the electrons and shit that, 180 00:10:51,240 --> 00:10:53,920 Speaker 2: you know, get trapped up in the walls and I 181 00:10:53,960 --> 00:10:57,360 Speaker 2: don't know, I can feel that stuff. But once that's 182 00:10:57,480 --> 00:11:00,280 Speaker 2: kind of you know, That's why I wanted to go 183 00:11:00,360 --> 00:11:03,120 Speaker 2: tour at first. I didn't want to feel that on 184 00:11:03,200 --> 00:11:08,240 Speaker 2: a workday. I wanted to go check it out, take 185 00:11:08,280 --> 00:11:11,040 Speaker 2: that deep breath, feel it, live with it, sit in 186 00:11:11,080 --> 00:11:13,520 Speaker 2: there for a couple hours, you know. I talk talking 187 00:11:13,559 --> 00:11:16,640 Speaker 2: to Trevor that runs the place, and then like, okay, 188 00:11:17,320 --> 00:11:19,240 Speaker 2: and I'll see in a few months, let's make a 189 00:11:19,280 --> 00:11:21,360 Speaker 2: record in a few months. So I kind of got 190 00:11:21,360 --> 00:11:24,559 Speaker 2: that shit out of the way, that heavy, you know, 191 00:11:24,960 --> 00:11:28,800 Speaker 2: And so when we got in there, I hired a 192 00:11:28,920 --> 00:11:32,559 Speaker 2: really amazing band. I got George Porter Junior on bass, 193 00:11:33,440 --> 00:11:36,800 Speaker 2: whom everyone knows from The Meters and his current band 194 00:11:36,840 --> 00:11:40,920 Speaker 2: the Running Partners, Ivan Neville who plays with Keith Richards 195 00:11:40,920 --> 00:11:46,040 Speaker 2: and dumps to funk on keyboards. Adam Deitsch, one of 196 00:11:45,640 --> 00:11:49,600 Speaker 2: the hottest drummers on the scene today who plays with Lettuce. 197 00:11:49,960 --> 00:11:54,600 Speaker 2: He's one of the funkiest, Carl Denson on saxophone, Jackson 198 00:11:54,679 --> 00:11:58,360 Speaker 2: Stokes on guitar from my band, and then Tom Hambridge, 199 00:11:58,360 --> 00:12:01,960 Speaker 2: who produced it has won the last few Grammys, uh, 200 00:12:02,040 --> 00:12:05,679 Speaker 2: the Blues Grammys with Kingfish and Buddy Guy and Tom. 201 00:12:05,800 --> 00:12:08,760 Speaker 2: Tom Hambridge and I have been making records together for 202 00:12:08,760 --> 00:12:11,400 Speaker 2: for a minute. I think we've done three three albums together. 203 00:12:12,360 --> 00:12:15,200 Speaker 2: And we just we set up in a circle. We 204 00:12:15,360 --> 00:12:17,840 Speaker 2: just jammed, you know. We ordered in Cuban food and 205 00:12:18,440 --> 00:12:22,120 Speaker 2: watch the NBA on breaks and screaming at the TV, 206 00:12:22,440 --> 00:12:25,440 Speaker 2: you know, at the slam dunks and uh. And we 207 00:12:25,520 --> 00:12:26,319 Speaker 2: had a lot of fun. 208 00:12:27,280 --> 00:12:27,480 Speaker 3: Uh. 209 00:12:27,520 --> 00:12:30,839 Speaker 2: And it was a it was a very just enjoyable time. 210 00:12:31,200 --> 00:12:33,480 Speaker 2: And and and once you kind of got in that 211 00:12:33,559 --> 00:12:35,880 Speaker 2: circle and you're and and and you're giving the tunes 212 00:12:35,880 --> 00:12:40,360 Speaker 2: a run, then all that that heaviness kind of goes 213 00:12:40,400 --> 00:12:44,560 Speaker 2: away because you're really you're you're working, you know. But 214 00:12:44,760 --> 00:12:46,480 Speaker 2: at the end of the night, you know, and we 215 00:12:46,600 --> 00:12:49,040 Speaker 2: got to shuttle back to the hotel, and you're thinking, damn, 216 00:12:49,240 --> 00:12:52,840 Speaker 2: like we're getting to add to that that history. You know. 217 00:12:52,880 --> 00:12:56,040 Speaker 2: I'm so grateful it's still open. I'm so grateful Electric 218 00:12:56,120 --> 00:12:58,680 Speaker 2: Lady is still open, and Ardent Studios is still open 219 00:12:58,679 --> 00:13:02,000 Speaker 2: at Criteria Studios. And in an era where you can 220 00:13:02,040 --> 00:13:04,800 Speaker 2: go into your bedroom with a laptop or your basement 221 00:13:04,920 --> 00:13:09,320 Speaker 2: and make a kick ass hit record, that's all the 222 00:13:09,400 --> 00:13:12,480 Speaker 2: more impetus for me to want to go to a 223 00:13:12,640 --> 00:13:17,800 Speaker 2: historic studio soak in the vibrations from the masters. And 224 00:13:17,920 --> 00:13:19,599 Speaker 2: you know, it's a hell of a lot more expensive, 225 00:13:20,200 --> 00:13:22,480 Speaker 2: but I can think of no better way to spend 226 00:13:22,520 --> 00:13:25,959 Speaker 2: a budget than to do a record how they used 227 00:13:25,960 --> 00:13:27,240 Speaker 2: to be done. 228 00:13:27,520 --> 00:13:31,520 Speaker 3: Some of the tracks on there that I particularly love. 229 00:13:31,600 --> 00:13:37,640 Speaker 3: I love white Horse Cool is sensational. I love also 230 00:13:37,800 --> 00:13:41,360 Speaker 3: the theme of two particular songs, and I wanted to 231 00:13:41,440 --> 00:13:45,400 Speaker 3: get your take on this theme. Sure, take time to 232 00:13:45,520 --> 00:13:50,240 Speaker 3: taste it, yeah, right, and then you got. 233 00:13:50,120 --> 00:13:51,680 Speaker 4: To make it through the world. 234 00:13:52,920 --> 00:13:53,199 Speaker 2: Yeah. 235 00:13:54,040 --> 00:13:57,480 Speaker 3: I see the fact that you're trying to bring a 236 00:13:57,520 --> 00:13:59,760 Speaker 3: sense of optimism in dark times is. 237 00:13:59,760 --> 00:14:03,800 Speaker 2: That to say for sure you got to make it 238 00:14:03,840 --> 00:14:06,480 Speaker 2: through the world as an old Van Morrison deep cut. 239 00:14:07,280 --> 00:14:09,720 Speaker 2: And I kind of discovered that near the tail end 240 00:14:09,720 --> 00:14:13,480 Speaker 2: of that whole COVID you know shit, And I was like, man, 241 00:14:13,520 --> 00:14:15,839 Speaker 2: that's a nice message for these times. You got to 242 00:14:15,880 --> 00:14:17,840 Speaker 2: make it through the world. You gotta plow on through. 243 00:14:17,920 --> 00:14:21,960 Speaker 2: You gotta pull yourself up by the bootstraps and have 244 00:14:22,040 --> 00:14:28,200 Speaker 2: good community and positive, you know, a positive outlook. And 245 00:14:28,320 --> 00:14:31,360 Speaker 2: so that song was actually kind of the first one 246 00:14:31,400 --> 00:14:34,440 Speaker 2: where I was like, that's a great message. I'd like 247 00:14:34,480 --> 00:14:36,440 Speaker 2: to build a record around that, Like I want to 248 00:14:36,440 --> 00:14:39,560 Speaker 2: cover that song and build the record around that, And 249 00:14:39,680 --> 00:14:42,480 Speaker 2: I was even considering naming the record you got to 250 00:14:42,480 --> 00:14:45,840 Speaker 2: make it through the world. Then, with that as kind 251 00:14:45,840 --> 00:14:49,200 Speaker 2: of the I don't know, kind of the entry point 252 00:14:49,320 --> 00:14:52,160 Speaker 2: to make on the record, then I started to write 253 00:14:52,200 --> 00:14:57,240 Speaker 2: the record. It still stayed very optimistic, but it had 254 00:14:57,280 --> 00:15:00,080 Speaker 2: a new life. I saw colors, I saw hot pain, 255 00:15:00,720 --> 00:15:04,640 Speaker 2: I saw I felt Miami and palm trees and you know, 256 00:15:04,680 --> 00:15:07,800 Speaker 2: a little sexiness, a little jazz, a little Curtis Mayfield 257 00:15:08,360 --> 00:15:11,200 Speaker 2: and these things that I had really kind of squashed 258 00:15:12,080 --> 00:15:17,080 Speaker 2: as inspiration and influences before I really just let the 259 00:15:17,120 --> 00:15:19,360 Speaker 2: floodgates kind of be open and say, you know, this 260 00:15:19,400 --> 00:15:22,160 Speaker 2: is who I am. I don't have to make a 261 00:15:22,160 --> 00:15:25,600 Speaker 2: record that fits in a blues rock category, so I 262 00:15:25,640 --> 00:15:29,040 Speaker 2: can go play blues festivals or do whatever like. I 263 00:15:29,120 --> 00:15:31,800 Speaker 2: love doing that. That's a big part of who I am. 264 00:15:31,920 --> 00:15:36,320 Speaker 2: But I have this whole other side of me musically 265 00:15:36,400 --> 00:15:40,120 Speaker 2: that really you know, Curtis Mayfield, I have a Curtis 266 00:15:40,120 --> 00:15:44,840 Speaker 2: tattoo awesome, you know, and balance out my Leyla tattoo. 267 00:15:45,760 --> 00:15:49,640 Speaker 2: You know. So Curtis Mayfield shot today The Cure, the 268 00:15:49,720 --> 00:15:52,640 Speaker 2: alternative rock band The Cure. I think those are some 269 00:15:52,760 --> 00:15:56,320 Speaker 2: influences that might surprise people that show up on this record. 270 00:15:57,240 --> 00:16:00,120 Speaker 4: I love that. That diversity is so fantastic. 271 00:16:00,880 --> 00:16:04,000 Speaker 1: We'll be right back with more the Taking a Walk Podcast. 272 00:16:08,920 --> 00:16:11,320 Speaker 1: Welcome back to the Taking a Walk Podcast. 273 00:16:13,040 --> 00:16:18,000 Speaker 3: You know what's amazing to think about that, I'm sure 274 00:16:18,080 --> 00:16:22,880 Speaker 3: the forefathers, the Almond Brothers, forefathers are looking down smiling. 275 00:16:23,560 --> 00:16:29,560 Speaker 3: Is the tremendous Almond community, you know, the Almond Bets community, 276 00:16:29,680 --> 00:16:38,840 Speaker 3: the Tedesky Trucks community. These amazingly passionate, incredible musicians who 277 00:16:38,840 --> 00:16:41,560 Speaker 3: are still out giving joy to the world. 278 00:16:42,000 --> 00:16:43,840 Speaker 4: Is really something to behold. 279 00:16:44,520 --> 00:16:49,080 Speaker 2: Yeah, it's you know, just really grateful that you know, 280 00:16:49,120 --> 00:16:52,440 Speaker 2: as we march further into the new millennium, I mean 281 00:16:52,480 --> 00:16:55,280 Speaker 2: we're you know, we're almost at a at a quarter 282 00:16:55,400 --> 00:16:58,000 Speaker 2: century d you know, we're almost at twenty twenty five, 283 00:16:58,320 --> 00:17:02,480 Speaker 2: and to you know, to be at almost the year 284 00:17:02,560 --> 00:17:05,719 Speaker 2: twenty twenty five and have this music still be vital 285 00:17:06,359 --> 00:17:09,480 Speaker 2: and I have an audience and you know, is beautiful, 286 00:17:09,600 --> 00:17:11,160 Speaker 2: So very very grateful. 287 00:17:11,760 --> 00:17:15,120 Speaker 3: What themes do you find yourself drawn to when you're 288 00:17:15,160 --> 00:17:19,040 Speaker 3: writing lyrics and how do you ultimately choose those subjects. 289 00:17:19,760 --> 00:17:22,000 Speaker 2: I think there's a lot on Miami Moon. There's a 290 00:17:22,000 --> 00:17:25,680 Speaker 2: lot of romance. There's a lot of kind of romanticizing 291 00:17:25,760 --> 00:17:29,520 Speaker 2: your life really, you know, savoring the moments that you have. 292 00:17:29,760 --> 00:17:33,520 Speaker 2: You know, hitting age fifty for me was like wow, 293 00:17:33,800 --> 00:17:36,960 Speaker 2: you know, certainly by no means slowing down, if anything, 294 00:17:37,280 --> 00:17:42,399 Speaker 2: I'm actually going a little more hardcore lately. But I 295 00:17:42,480 --> 00:17:46,520 Speaker 2: think savoring those moments and really respecting the time that 296 00:17:46,560 --> 00:17:50,399 Speaker 2: you have with loved ones and you know, trying to inspire, 297 00:17:51,320 --> 00:17:53,480 Speaker 2: you know, believing in yourself. I think there's a lot 298 00:17:53,520 --> 00:17:56,760 Speaker 2: of that on this record. You know, Whitehorse is about 299 00:17:56,880 --> 00:18:00,200 Speaker 2: hey man, you can't wait for shit to have and 300 00:18:00,240 --> 00:18:02,000 Speaker 2: you got to go make it happen. You've got to 301 00:18:02,040 --> 00:18:06,560 Speaker 2: believe that that you can, that you can go and 302 00:18:06,640 --> 00:18:09,760 Speaker 2: achieve things, you know, and you're not. You're you're only 303 00:18:09,760 --> 00:18:13,480 Speaker 2: as stuck as you think that you are. So a 304 00:18:13,560 --> 00:18:17,320 Speaker 2: lot of that is like kind of self reflective. But 305 00:18:17,720 --> 00:18:20,199 Speaker 2: you know, there's also obviously, you know, people in our 306 00:18:20,240 --> 00:18:22,600 Speaker 2: lives that we see and we see them stuck and 307 00:18:23,119 --> 00:18:25,719 Speaker 2: it's like, hey man, snap out of it. You're you know. 308 00:18:26,359 --> 00:18:27,720 Speaker 2: So I think there's a lot of that, you know, 309 00:18:27,800 --> 00:18:32,520 Speaker 2: there's a lot of just positivity for progress in people's 310 00:18:32,560 --> 00:18:33,680 Speaker 2: lives and love. 311 00:18:34,560 --> 00:18:38,960 Speaker 3: Is there something in particular that your father's passing taught you. 312 00:18:39,200 --> 00:18:47,080 Speaker 2: Well, that's a rabbit hole, man, something that is passing 313 00:18:47,119 --> 00:18:53,880 Speaker 2: taught me. I mean, you know, Dad, he really gave 314 00:18:53,920 --> 00:18:58,239 Speaker 2: his whole life to music, and as beautiful as that is, 315 00:18:59,400 --> 00:19:02,560 Speaker 2: you know, he didn't leave as much time for family. 316 00:19:03,359 --> 00:19:06,760 Speaker 2: And as much as music means to me, family is 317 00:19:06,800 --> 00:19:09,440 Speaker 2: always going to be more important, you know. And I'm 318 00:19:09,480 --> 00:19:13,160 Speaker 2: not saying that he you know, but like an example, 319 00:19:13,240 --> 00:19:16,920 Speaker 2: I just got done with like our our twelfth father 320 00:19:17,080 --> 00:19:20,080 Speaker 2: son vacation with my son. You know, I never went 321 00:19:20,119 --> 00:19:23,399 Speaker 2: on one vacation with my dad, and I don't have 322 00:19:23,480 --> 00:19:27,560 Speaker 2: any bitterness about that. I just have a sadness Like man, I, 323 00:19:27,800 --> 00:19:31,320 Speaker 2: you know, I wish he could have experienced that side 324 00:19:31,359 --> 00:19:34,480 Speaker 2: of life. He kind of hid behind the music and 325 00:19:34,560 --> 00:19:38,800 Speaker 2: he kind of hid behind the creativity, whereas I love 326 00:19:38,920 --> 00:19:41,480 Speaker 2: unplugging from that rock and roll world for a week 327 00:19:41,560 --> 00:19:46,360 Speaker 2: with my son and going We've done crazy shit. We've 328 00:19:46,560 --> 00:19:49,720 Speaker 2: we've ridden camels out into the Sahara Desert in Morocco. 329 00:19:50,680 --> 00:19:56,359 Speaker 2: We've hiked glaciers in Alaska. We've ridden the bullet trains 330 00:19:56,440 --> 00:19:59,560 Speaker 2: in Japan, like, you know, we've we've seen the Grand 331 00:19:59,640 --> 00:20:03,639 Speaker 2: Can and we've we've you know, we've four wheelers in 332 00:20:03,680 --> 00:20:07,720 Speaker 2: the Sedona Desert, like whitewater rafting outside of Seattle. Like 333 00:20:07,800 --> 00:20:11,200 Speaker 2: We've done incredible shit that if you would have told 334 00:20:11,240 --> 00:20:14,040 Speaker 2: me I'd be doing all that stuff with my son, 335 00:20:14,720 --> 00:20:16,680 Speaker 2: like when I was a kid, I would have thought, well, 336 00:20:16,720 --> 00:20:19,439 Speaker 2: you're crazy, Like that's that sounds like the life of 337 00:20:20,600 --> 00:20:24,199 Speaker 2: fucking Indiana Jones or some shit, you know. Truly, Like, 338 00:20:24,480 --> 00:20:27,360 Speaker 2: so we come back from these vacations. I just got 339 00:20:27,400 --> 00:20:31,439 Speaker 2: back from the Japan one with my son, and I 340 00:20:31,480 --> 00:20:35,560 Speaker 2: think I did learn a lot from dad's passing about that, like, 341 00:20:35,960 --> 00:20:39,000 Speaker 2: savor these moments, man, this is it. You know, I 342 00:20:39,080 --> 00:20:41,040 Speaker 2: want my kid to do that with his kid. 343 00:20:42,560 --> 00:20:46,000 Speaker 3: Yeah, your father worked it, man, like I uh yeah, 344 00:20:46,160 --> 00:20:50,960 Speaker 3: I was working in rock radio for much of my career, 345 00:20:51,760 --> 00:20:55,560 Speaker 3: and you know, he went out and worked it to 346 00:20:56,000 --> 00:20:58,800 Speaker 3: get airplay and you know, meet. 347 00:20:58,640 --> 00:21:00,560 Speaker 4: The program directors and everything. 348 00:21:00,880 --> 00:21:03,960 Speaker 3: One of my most unbelievable experiences I have to share 349 00:21:04,000 --> 00:21:09,920 Speaker 3: with you was somewhere in the Mumble this mid eighties 350 00:21:13,160 --> 00:21:18,600 Speaker 3: there was a rock programmer's convention. It was this guy 351 00:21:18,680 --> 00:21:23,520 Speaker 3: Lee Abrams, who I'm still friends with, who he consulted 352 00:21:23,560 --> 00:21:27,280 Speaker 3: a bunch of radio stations and got all the programmers 353 00:21:27,320 --> 00:21:33,639 Speaker 3: together and one night Epic had a suite and I 354 00:21:33,720 --> 00:21:38,600 Speaker 3: freaking saw your dad playing with a keyboard for forty 355 00:21:38,640 --> 00:21:42,680 Speaker 3: minutes for programmers. And it's one of those moments I'll 356 00:21:42,720 --> 00:21:43,920 Speaker 3: never forget in my life. 357 00:21:43,960 --> 00:21:44,439 Speaker 2: Man. You know. 358 00:21:44,480 --> 00:21:45,280 Speaker 4: So he worked it. 359 00:21:45,320 --> 00:21:48,359 Speaker 2: Yeah, yeah, yeah, yeah he did, man, for sure. I 360 00:21:48,359 --> 00:21:51,040 Speaker 2: mean he lived it, you know, and you know I 361 00:21:51,080 --> 00:21:54,159 Speaker 2: do too. I definitely spent a lot of time on 362 00:21:54,200 --> 00:21:56,960 Speaker 2: the road, and you know, I've started my own record label. 363 00:21:57,600 --> 00:22:00,720 Speaker 2: I've had it going for about five years, signed three 364 00:22:00,760 --> 00:22:04,520 Speaker 2: different artists and I finally made the decision, the big 365 00:22:04,640 --> 00:22:07,320 Speaker 2: leap to put my own records out on this thing. 366 00:22:08,480 --> 00:22:10,160 Speaker 2: And it's a labor. I love it's it's a lot 367 00:22:10,200 --> 00:22:13,160 Speaker 2: of work, it's a lot of time on a computer. 368 00:22:13,240 --> 00:22:15,480 Speaker 2: It's a lot of time with my team trying to 369 00:22:15,480 --> 00:22:17,800 Speaker 2: figure it all out. You know, there's big learning curve there. 370 00:22:19,000 --> 00:22:22,240 Speaker 2: So definitely, I'm I'm I'm as passionate, you know, with 371 00:22:22,280 --> 00:22:25,120 Speaker 2: the business and with the music and all that, but yeah, 372 00:22:25,359 --> 00:22:28,960 Speaker 2: I like to I like to unplug from it and 373 00:22:28,960 --> 00:22:31,520 Speaker 2: and you know, and be with my wife and be 374 00:22:31,640 --> 00:22:35,320 Speaker 2: with my son and uh and get that that family 375 00:22:35,400 --> 00:22:35,680 Speaker 2: time in. 376 00:22:36,680 --> 00:22:42,879 Speaker 3: When you think about unheralded Allman Brothers albums or songs, 377 00:22:43,760 --> 00:22:46,320 Speaker 3: is there anything in particular that pops. 378 00:22:45,920 --> 00:22:46,800 Speaker 4: Out to you. 379 00:22:47,760 --> 00:22:50,959 Speaker 2: I mean, Dreams has always been my favorite song, and 380 00:22:51,080 --> 00:22:54,040 Speaker 2: Seven Turns is probably like one of my dark horse 381 00:22:54,080 --> 00:22:57,160 Speaker 2: favorite records. I just I love it. I think there 382 00:22:57,280 --> 00:23:02,040 Speaker 2: was a new enthusiasm for them being back together. It 383 00:23:02,080 --> 00:23:07,240 Speaker 2: was a crisp production without being you know, overly. I 384 00:23:07,240 --> 00:23:11,399 Speaker 2: think it come out in ninety nineteen ninety, but it 385 00:23:11,440 --> 00:23:15,240 Speaker 2: didn't have that you know eighties sound that you know, 386 00:23:15,400 --> 00:23:18,120 Speaker 2: kind of kept going through at least ninety and ninety one, 387 00:23:18,560 --> 00:23:21,359 Speaker 2: you know, the kind of over reverberated, like, you know, 388 00:23:21,840 --> 00:23:25,720 Speaker 2: kind of schlocky eighties production. I love seven Turns a lot. 389 00:23:26,680 --> 00:23:28,600 Speaker 2: I think people might be surprised that that's one of 390 00:23:28,600 --> 00:23:29,160 Speaker 2: my favorites. 391 00:23:29,960 --> 00:23:31,199 Speaker 4: It's a great one, you know. 392 00:23:31,760 --> 00:23:37,040 Speaker 3: You know which one I think deserves more recognition is 393 00:23:37,880 --> 00:23:38,720 Speaker 3: no One to Run to? 394 00:23:38,960 --> 00:23:39,360 Speaker 2: Yeah? 395 00:23:39,560 --> 00:23:40,920 Speaker 4: What a great song, my god? 396 00:23:41,920 --> 00:23:46,080 Speaker 2: Oh no, no no One? Yeah? Yeah, so I think 397 00:23:46,119 --> 00:23:48,760 Speaker 2: it's no One Left to run with? Yeah, But the 398 00:23:48,800 --> 00:23:51,720 Speaker 2: line the lyric in the song is nobody left to 399 00:23:51,800 --> 00:23:55,439 Speaker 2: run with? And I always found that strange that the 400 00:23:55,480 --> 00:23:58,720 Speaker 2: titles no one left to run with, but they sing 401 00:23:58,760 --> 00:24:03,560 Speaker 2: nobody left round with, nobody left too wrong with it all. 402 00:24:04,280 --> 00:24:07,359 Speaker 2: That's just wild. I remember when we were learning that 403 00:24:07,440 --> 00:24:10,200 Speaker 2: song for Revival, and I would always do that with 404 00:24:10,280 --> 00:24:13,080 Speaker 2: Jimmy Hall as kind of a duet. I was like, wow, 405 00:24:13,119 --> 00:24:15,840 Speaker 2: that's kind of it's kind of odd. You know, why 406 00:24:15,840 --> 00:24:17,959 Speaker 2: didn't they just call it nobody left around with? You know? 407 00:24:18,359 --> 00:24:20,879 Speaker 4: Yeah, I hadn't thought about that, really, that's right. 408 00:24:20,920 --> 00:24:23,200 Speaker 2: And I don't know if that was like a printer 409 00:24:23,400 --> 00:24:25,560 Speaker 2: fuck up, like you know, and they just were like 410 00:24:25,680 --> 00:24:28,320 Speaker 2: I keep it, or if that was intentional. I still 411 00:24:28,320 --> 00:24:30,880 Speaker 2: don't know. I should ask Warren Haynes. Warren might have 412 00:24:30,960 --> 00:24:33,920 Speaker 2: a take on that. I think I will. I'm gonna text. 413 00:24:33,720 --> 00:24:36,720 Speaker 4: Him that I love it like I spurned it on. 414 00:24:37,160 --> 00:24:39,119 Speaker 2: Yeah, I'm gonna I'm gonna text him right now. It 415 00:24:39,160 --> 00:24:41,320 Speaker 2: wouldn't it be neat if during the interview he comes 416 00:24:41,359 --> 00:24:42,080 Speaker 2: with an answer. 417 00:24:42,920 --> 00:24:43,880 Speaker 4: He probably will? 418 00:24:43,960 --> 00:24:52,200 Speaker 2: Right, Hey, Warren, Happy Monday. Brother, got a quick question 419 00:24:52,320 --> 00:24:56,840 Speaker 2: for you. But see what he says. It would be funny. 420 00:24:57,359 --> 00:24:58,080 Speaker 4: That's awesome. 421 00:24:59,160 --> 00:25:03,520 Speaker 2: So yeah, man, But you know, you know what a 422 00:25:03,640 --> 00:25:06,119 Speaker 2: what a career? I mean, that's I went for. You know, 423 00:25:06,160 --> 00:25:08,440 Speaker 2: I didn't even meet my dad till I was like sixteen. 424 00:25:08,680 --> 00:25:12,880 Speaker 2: I met him outside the Fox Theater in Saint Louis, Missouri. 425 00:25:12,960 --> 00:25:15,320 Speaker 2: He was there, he was playing with I want to 426 00:25:15,320 --> 00:25:17,560 Speaker 2: say it was thirty eight special on the just before 427 00:25:17,600 --> 00:25:20,879 Speaker 2: the Bullets Fly tour in eighty eight. I was sixteen. 428 00:25:21,640 --> 00:25:24,520 Speaker 2: Hit the bus pulled up, he walked off. That's the 429 00:25:24,560 --> 00:25:27,600 Speaker 2: first time I ever saw my dad with my own eyes. 430 00:25:28,320 --> 00:25:33,240 Speaker 2: And went into the venue, Fox Theater, into the dressing rooms, 431 00:25:33,240 --> 00:25:36,600 Speaker 2: and he was he was pretty nervous. And we sat 432 00:25:36,640 --> 00:25:39,399 Speaker 2: there and we chatted for a while, and I watched 433 00:25:39,480 --> 00:25:42,720 Speaker 2: him play and you know, and thus the relationship was born, 434 00:25:42,800 --> 00:25:46,560 Speaker 2: and we always had more of a of a I 435 00:25:46,560 --> 00:25:50,920 Speaker 2: don't know, like a brother relationship. And there was points 436 00:25:50,960 --> 00:25:52,920 Speaker 2: in time where my dad said, hey, did you ever 437 00:25:52,960 --> 00:25:55,240 Speaker 2: think when you met your dad that you'd be the dad? 438 00:25:56,640 --> 00:25:59,439 Speaker 2: Because he'd called me for advice and shit, like, he 439 00:25:59,520 --> 00:26:01,439 Speaker 2: knew I have my head on straight, you know. And 440 00:26:02,119 --> 00:26:05,440 Speaker 2: he you know, he obviously had his crazy decades and stuff. 441 00:26:05,480 --> 00:26:09,280 Speaker 2: So we had a real unique relationship. He knew that 442 00:26:09,320 --> 00:26:11,840 Speaker 2: I would always tell it to him straight. You know, 443 00:26:11,920 --> 00:26:16,120 Speaker 2: I wasn't there to kiss his ass. I might have 444 00:26:16,840 --> 00:26:20,840 Speaker 2: a viewpoint that he didn't like or didn't want to face, 445 00:26:21,119 --> 00:26:24,680 Speaker 2: but I would always tell it to him straight. And 446 00:26:24,840 --> 00:26:26,560 Speaker 2: you know, there was a lot of mutual respect and 447 00:26:26,920 --> 00:26:30,040 Speaker 2: a lot of love there. He uh, you know, he 448 00:26:30,160 --> 00:26:33,840 Speaker 2: sorely missed for sure. But I you know, I take 449 00:26:33,960 --> 00:26:36,240 Speaker 2: solace and like the you know, the music lives on. 450 00:26:36,440 --> 00:26:40,200 Speaker 2: It's it's it's really nice when I walk into a 451 00:26:40,240 --> 00:26:44,080 Speaker 2: place and I hear you know, Midnight Rider, or I'm 452 00:26:44,119 --> 00:26:47,399 Speaker 2: watching TV and you know, one way out comes on 453 00:26:47,840 --> 00:26:50,800 Speaker 2: or whatever, and it's like, okay, hey dad, how you doing. 454 00:26:51,960 --> 00:26:56,840 Speaker 3: And you had written him a very simple letter, right yeah, yeah, like, like, 455 00:26:57,160 --> 00:26:58,320 Speaker 3: what was the contents? 456 00:26:58,400 --> 00:26:59,680 Speaker 4: Can you reveal of that letter? 457 00:26:59,800 --> 00:27:04,400 Speaker 2: Yeah? Yeah, yeah, I remember. You know, as a kid, 458 00:27:04,880 --> 00:27:07,679 Speaker 2: it's tough to grow up without your dad. Well, where's 459 00:27:07,720 --> 00:27:10,560 Speaker 2: my dad? All my friends have a dad. Where's my dad? 460 00:27:10,840 --> 00:27:13,639 Speaker 2: And then I figured out pretty early on that my 461 00:27:13,720 --> 00:27:17,439 Speaker 2: dad was famous, and that was a mind fuck, you know. 462 00:27:18,520 --> 00:27:21,840 Speaker 2: You know, my mom blessed her heart and she passed 463 00:27:22,280 --> 00:27:24,920 Speaker 2: five months before my dad, so I lost them both 464 00:27:25,000 --> 00:27:29,040 Speaker 2: real real quick together. My mom said she could have 465 00:27:29,119 --> 00:27:31,440 Speaker 2: shit talked to him a lot, but she said, hey, man, 466 00:27:32,000 --> 00:27:35,240 Speaker 2: your dad's a good guy. You're going to meet him someday. 467 00:27:35,280 --> 00:27:39,240 Speaker 2: You guys are gonna get along great. And that was it, 468 00:27:39,320 --> 00:27:43,160 Speaker 2: and she always was positive about it. And I don't know, man, 469 00:27:43,400 --> 00:27:45,639 Speaker 2: I just kind of I went through life. You know, 470 00:27:45,760 --> 00:27:50,040 Speaker 2: I had a normal upbringing. I played soccer, I ate McDonald's, 471 00:27:50,280 --> 00:27:53,359 Speaker 2: I went to the movies. You know. They even changed 472 00:27:53,400 --> 00:27:56,600 Speaker 2: my name to my stepdad's name for a few years, 473 00:27:57,160 --> 00:28:01,200 Speaker 2: which I wasn't real crazy about. But when I met 474 00:28:01,280 --> 00:28:05,320 Speaker 2: my dad, yeah, I think I was fifteen, I saw, 475 00:28:05,480 --> 00:28:07,879 Speaker 2: I actually saw a video of him, a music video 476 00:28:07,920 --> 00:28:11,639 Speaker 2: on MTV, and I thought, well, this is stupid, Like 477 00:28:11,960 --> 00:28:15,080 Speaker 2: I should reach out you know just enough, you know 478 00:28:15,240 --> 00:28:17,840 Speaker 2: enough of not knowing. So I just wrote him a 479 00:28:17,840 --> 00:28:22,280 Speaker 2: simple letter and it said something like, hey, man, I'm 480 00:28:22,320 --> 00:28:25,680 Speaker 2: your kid. I live in Alabama. I was living in 481 00:28:25,800 --> 00:28:29,119 Speaker 2: Mobile at Alabama at the time. I'm a sophomore in 482 00:28:29,200 --> 00:28:32,400 Speaker 2: high school. I played guitar. I like Ozzy Osbourne. Here's 483 00:28:32,440 --> 00:28:35,880 Speaker 2: my phone number. It was like it was the dumbest 484 00:28:35,880 --> 00:28:40,560 Speaker 2: shit letter you could ever reade. But it was really indignaouve. 485 00:28:40,560 --> 00:28:43,520 Speaker 2: I mean, I was fifteen years old, you know, and 486 00:28:43,920 --> 00:28:47,360 Speaker 2: sure as shit. I come home about a week later 487 00:28:48,360 --> 00:28:53,720 Speaker 2: and my mom, you know, was like, Davin, get down here. 488 00:28:54,600 --> 00:28:59,160 Speaker 2: I run downstairs. I thought she had gotten hurt, and 489 00:28:59,200 --> 00:29:03,000 Speaker 2: I go, Mom, what's what's wrong? And she's just looking 490 00:29:03,040 --> 00:29:06,760 Speaker 2: at me like she's seen a ghost, with her arm 491 00:29:06,800 --> 00:29:12,080 Speaker 2: outstretched with the phone saying it's your dad on the phone. 492 00:29:12,840 --> 00:29:19,080 Speaker 6: And I was like, get the fuck up here. You 493 00:29:19,200 --> 00:29:24,240 Speaker 6: gotta be kidding me, and he was. He was nervous, wasn't, Yeah, man, 494 00:29:24,320 --> 00:29:24,640 Speaker 6: he was. 495 00:29:24,760 --> 00:29:28,680 Speaker 2: He was nervous. And I said, well, Mom, you know, 496 00:29:28,960 --> 00:29:30,720 Speaker 2: I'm gonna take it upstairs. So I went up to 497 00:29:30,800 --> 00:29:32,600 Speaker 2: my room and I picked up the phone and I 498 00:29:32,680 --> 00:29:36,800 Speaker 2: go hello, and he goes, hey, demn it's your dad. 499 00:29:37,560 --> 00:29:42,520 Speaker 2: And I was like, oh shit, what the fuck? And 500 00:29:42,560 --> 00:29:45,480 Speaker 2: I'm like, hey, hey, man, you know, how are you doing. 501 00:29:45,520 --> 00:29:48,080 Speaker 2: Where are you right now? I'm on tour. I met 502 00:29:48,080 --> 00:29:51,520 Speaker 2: wherever he was, you know, and and we we talked 503 00:29:51,520 --> 00:29:54,720 Speaker 2: on the phone for about oh god, man, it must 504 00:29:54,760 --> 00:29:57,520 Speaker 2: have been about two hours. I remember my ear was hurting. 505 00:29:57,560 --> 00:30:00,000 Speaker 2: I was like, but we talked a lot about music 506 00:30:00,280 --> 00:30:05,960 Speaker 2: and a lot about guitar, and it was wild. It 507 00:30:06,040 --> 00:30:08,160 Speaker 2: was really wild, you know. And then he was like, hey, 508 00:30:08,200 --> 00:30:10,400 Speaker 2: I'm going on tour, you know, you should come to 509 00:30:10,440 --> 00:30:12,360 Speaker 2: the show so we can meet. And you know, a 510 00:30:12,400 --> 00:30:15,280 Speaker 2: few months later, that's when I met him at Fox 511 00:30:15,320 --> 00:30:18,240 Speaker 2: Theater in Saint Louis, and it was kind of off 512 00:30:18,240 --> 00:30:20,200 Speaker 2: to the races. 513 00:30:20,240 --> 00:30:25,200 Speaker 4: And you opened for the band frequently right over time, Yeah. 514 00:30:25,040 --> 00:30:33,040 Speaker 2: Like later on, probably starting around ninety three ish, I 515 00:30:33,560 --> 00:30:35,880 Speaker 2: would go out on stints where I would open for 516 00:30:35,920 --> 00:30:39,280 Speaker 2: the Greg Almond band, you know, my band at the time, 517 00:30:39,400 --> 00:30:43,920 Speaker 2: kind of the band Doujour different iterations, would go out 518 00:30:43,960 --> 00:30:46,960 Speaker 2: and support him, and then I would sit in with 519 00:30:47,040 --> 00:30:49,840 Speaker 2: his band as well and kind of learn the ropes. 520 00:30:50,520 --> 00:30:54,120 Speaker 2: I always used to just sing Midnight Rider, and then 521 00:30:54,120 --> 00:30:57,120 Speaker 2: I became more of a guitarist, and I think I 522 00:30:57,200 --> 00:31:01,880 Speaker 2: graduated to one Way Out and after some time I 523 00:31:01,920 --> 00:31:05,240 Speaker 2: graduated to one Way Out and taking one of the solos, 524 00:31:06,760 --> 00:31:08,440 Speaker 2: you know, and it was I kind of got this 525 00:31:08,600 --> 00:31:13,640 Speaker 2: like piecemeal, like step by step. Near the end, I 526 00:31:13,840 --> 00:31:16,800 Speaker 2: was I was featured on Dreams and had a solo 527 00:31:16,840 --> 00:31:20,280 Speaker 2: and Dreams, which was incredible. And then I would sit 528 00:31:20,320 --> 00:31:22,600 Speaker 2: in with the Almond brothers and I tell you what, 529 00:31:22,800 --> 00:31:25,560 Speaker 2: you know, having to stand between Warren Haines and Derek 530 00:31:25,600 --> 00:31:29,840 Speaker 2: Trucks or Warren Haynes and Dicky Betts, you know, and 531 00:31:29,920 --> 00:31:33,240 Speaker 2: play on One Way Out or something, was like shit, 532 00:31:33,880 --> 00:31:38,520 Speaker 2: holy shit, these are like the Jedi Masters of guitar, 533 00:31:39,200 --> 00:31:41,239 Speaker 2: you know, And what the fuck do I you know, 534 00:31:41,720 --> 00:31:43,720 Speaker 2: the fuck do I got compared to these guys. So, 535 00:31:43,840 --> 00:31:46,560 Speaker 2: I mean, you know, the only thing you have when 536 00:31:46,560 --> 00:31:49,880 Speaker 2: you're in that situation is that you have you. There's 537 00:31:49,920 --> 00:31:52,720 Speaker 2: only one you in the universe. You know. You can't 538 00:31:52,800 --> 00:31:56,520 Speaker 2: be Robin Trauer, Jamie Hendrix, you can only you know, 539 00:31:56,640 --> 00:31:59,360 Speaker 2: I could only be Devin Almon. I can only play 540 00:31:59,800 --> 00:32:03,840 Speaker 2: the licks and the feel and the touch and the 541 00:32:03,880 --> 00:32:07,120 Speaker 2: way that I play and just hope for the fucking best, 542 00:32:07,200 --> 00:32:09,760 Speaker 2: you know, Like if I can just do the be 543 00:32:09,880 --> 00:32:12,280 Speaker 2: the best me I can be in that moment, then 544 00:32:12,600 --> 00:32:16,480 Speaker 2: hopefully I'll survive this, you know, head cutting that I'm 545 00:32:16,480 --> 00:32:20,040 Speaker 2: about to receive. You know, but you know both of 546 00:32:20,080 --> 00:32:23,840 Speaker 2: those cats, they are all those cats, Dicky and you know, 547 00:32:24,000 --> 00:32:26,800 Speaker 2: rest in peace man. Dicky was was such a force. 548 00:32:27,400 --> 00:32:30,320 Speaker 2: Dicky was one of the cats that really helped me 549 00:32:30,480 --> 00:32:33,720 Speaker 2: to believe in myself, like even more than my dad 550 00:32:34,160 --> 00:32:35,680 Speaker 2: and I got you know, I got to hang with 551 00:32:35,720 --> 00:32:38,880 Speaker 2: Dicky quite a bit and telling that over the last 552 00:32:38,920 --> 00:32:42,320 Speaker 2: ten years. But yeah, man, you know, you get thrown 553 00:32:42,320 --> 00:32:44,080 Speaker 2: into the fire and you try not to, you know, 554 00:32:44,280 --> 00:32:48,160 Speaker 2: get burned to a crisp well. 555 00:32:48,200 --> 00:32:52,080 Speaker 3: In closing, you clearly have been mentored by some of 556 00:32:52,080 --> 00:32:57,360 Speaker 3: the greatest. Are you mentoring yourself some of those coming 557 00:32:57,440 --> 00:32:58,760 Speaker 3: up in the wings? 558 00:32:58,880 --> 00:33:03,160 Speaker 2: Yeah, I mean for sure. Like we you know, I've 559 00:33:03,240 --> 00:33:07,880 Speaker 2: signed some younger artists. You know, we always keep a lookout. 560 00:33:08,240 --> 00:33:13,600 Speaker 2: There's a kid down in Florida, Champ Jackson, who's coming up. 561 00:33:14,160 --> 00:33:18,480 Speaker 2: You know, we've had him sit in. Grace Bauers is 562 00:33:18,520 --> 00:33:21,920 Speaker 2: a phenomenal young talent. She just turned eighteen, but she 563 00:33:22,040 --> 00:33:25,880 Speaker 2: sat in with us on the revival in Ryman at 564 00:33:25,920 --> 00:33:27,960 Speaker 2: the Ryman Theater three years ago when she was like 565 00:33:28,000 --> 00:33:30,680 Speaker 2: fifteen years old. So we always you know, that's a 566 00:33:30,680 --> 00:33:33,600 Speaker 2: big part of the revival too, is the diversity is 567 00:33:33,640 --> 00:33:37,520 Speaker 2: the key there. Like, you know, we want to celebrate 568 00:33:37,560 --> 00:33:39,960 Speaker 2: that songbook of the Allman Brothers, but we want to 569 00:33:40,000 --> 00:33:45,600 Speaker 2: be inclusive of younger artists, older black, white, male, female. 570 00:33:45,880 --> 00:33:48,200 Speaker 2: You know, we want that diversity in there. We want 571 00:33:48,240 --> 00:33:50,560 Speaker 2: it to be a show that really, you know, includes 572 00:33:51,320 --> 00:33:54,800 Speaker 2: so it's not all you know, white guy, burning hot 573 00:33:54,840 --> 00:33:57,720 Speaker 2: guitar players. You know, we want great singers and soul 574 00:33:57,840 --> 00:34:01,800 Speaker 2: singers and Jimmy Hall, you know, and you know somebody 575 00:34:02,000 --> 00:34:05,479 Speaker 2: Jimmy Hall seventy. You know, Grace Bowers is eighteen. You know, 576 00:34:05,520 --> 00:34:08,880 Speaker 2: we want that spread for a show like that. So absolutely, 577 00:34:09,800 --> 00:34:12,480 Speaker 2: you know, if we are the bridge, you know, you 578 00:34:12,600 --> 00:34:15,440 Speaker 2: got the original rock stars of the Zeppelins and the 579 00:34:15,480 --> 00:34:17,920 Speaker 2: Beatles and the All My Brothers and the Stones, you know, 580 00:34:17,920 --> 00:34:19,719 Speaker 2: and you got these eighteen year old kids that are 581 00:34:20,160 --> 00:34:23,799 Speaker 2: that are just now discovering Hendricks and shit. And you know, 582 00:34:23,880 --> 00:34:27,160 Speaker 2: if people you know, like us are kind of a 583 00:34:27,160 --> 00:34:32,200 Speaker 2: bridge to aid in getting some of those younger folks 584 00:34:32,280 --> 00:34:36,160 Speaker 2: listening to the right stuff, then that's that's all we 585 00:34:36,160 --> 00:34:36,680 Speaker 2: could hope for. 586 00:34:38,600 --> 00:34:42,160 Speaker 3: David Allman Rock Royalty, Dude, thank you so much for 587 00:34:42,239 --> 00:34:46,480 Speaker 3: your time. Congrats on Miami Moon, which is sensational. Good 588 00:34:46,600 --> 00:34:50,720 Speaker 3: luck on the revival tour, and man, it's an honor 589 00:34:50,760 --> 00:34:51,319 Speaker 3: to talk to you. 590 00:34:51,680 --> 00:34:54,360 Speaker 2: What a pleasure. Man, Thanks for having me today. 591 00:34:55,160 --> 00:34:57,600 Speaker 1: Thanks for listening to this episode of the Taking a 592 00:34:57,640 --> 00:35:01,680 Speaker 1: Walk podcast. Share this other episodes with your friends and 593 00:35:01,880 --> 00:35:05,239 Speaker 1: follow us so you never miss an episode. Taking a 594 00:35:05,280 --> 00:35:09,319 Speaker 1: Walk is available on the iHeartRadio app, Apple Podcasts, and 595 00:35:09,800 --> 00:35:11,520 Speaker 1: wherever you get your podcasts.