RR: I love the solos at the end, which makes me think of old school records where what was happening during the fade out of a song was interesting, especially when a guitarist laid down a certain effect. You don’t really hear that anymore on modern records, but you have those cool fade outs on a few tracks on By a Thread. Do you consciously think of track fade out effects during the recording of an album?
WH: Yeah, it’s usually just an afterthought, or in some cases, something that Gordie comes up with, or one of us comes up with. Like you, I like any little thing that takes your mind and twists it for a moment. Being a huge fan of great studio records through the years, you try and borrow some of the philosophy that went into making those records. So you try and focus on all the little aspects of your favorite records, and what made them your favorite.
That’s one of the things that I miss about a lot of modern recording. For some reason, some of that element has dissipated through the years. In some ways, a lot of it has to do with creating something in a short period of time, like having a small window in which you’re pressurized into making something the best you can make it during that time frame. A lot of my favorite records were made very quickly so the people making them were extremely tuned into what they were doing. And then when it was over, they breathed a sigh of relief, and then moved on. (laughter) You do tend to get into some hyper-aware mode at the moment, which is good, I think.
RR: You are legendary for working in many bands, and in many formats, while rotating in and out of various circumstances. How do you keep your energy up, what source do you tap into, and how do you juggle these different projects? Is it a day-by-day process because of this rather unique career track you’ve forged?
WH: Well, you know, I think…(pauses)…if I’m going to be as busy as I am these last few years, I would rather be that busy with several different situations than if I was working the same amount with just one project. I think bouncing back and forth, from one to the other, tends to breathe fresh, new energy into what’s goin’ on. That’s due to the fact that I’m surrounded by great musicians in each different world that I’m bouncing back and forth from. There’s an endless well of inspiration that I’m drawing from.
For someone like myself who likes so many different types of music, just having that opportunity is its own inspiration because most musicians don’t have that opportunity. You sort of get pigeonholed into showcasing a certain side of yourself that people expect you to be, and a lot of musicians don’t have the opportunity to showcase other sides. I’ve been very lucky to have that opportunity. I guess, in some ways, I’ve forced that, as well. Gov’t Mule, alone, stretches the gamut of influences. Between Gov’t Mule, and the Dead, and the Allman Brothers there’s not only a lot of material, but also a lot of diverse material. Which for me is a breath of fresh air. I would find it a lot easier to get stagnated without all that.
RR: The Allman Brothers Band and the Dead went through a rejuvenation process this year. For example, the Allman Brothers had a tremendous run at the Beacon, after Gregg Allman returned from his illness, ending a two-year hiatus from that venue. The Dead, of course, returned after a five-year absence from the live stage. Can you compare and contrast those two stints with the individual bands?
WH: Let’s start with the Allman Brothers’ 40th anniversary. The whole year, but especially the Beacon experience, was unbelievable. The 15 nights at the Beacon with all the special guests was something that will stand out in my mind forever. It was not only magical in the way that all these people were together on stage and, in a lot of cases, for the first time, but also, the music that came from it was as good as any of us could have expected, or hoped for. Throughout that entire experience, we talked about how, every night, we felt like the music was just playing us. We were just on some wave, and riding that wave. It was like we could do no wrong. I say that in a way that is understanding and appreciating that some higher force was involved.
The Grateful Dead experience for me was amazing because I was honored to be part of that. On one level, just to be part of it on a historical standpoint, but then when you add the great music moments that occurred—there was some really amazing music that occurred during that situation.
I think that’s what we’re all here for. It’s great to continue something as important as the Allman Brothers or the Grateful Dead for 40 or 45 years. But neither one of those bands wants to be there for nostalgia purposes. They both feel like unless they can be creating new, fresh valid music—even if you’re talking about reinterpreting the old material—then, what’s the point? In both cases, I think that’s very inspiring.
It’s been a really long year for me, but it’s been an amazing year, as well, and one that I’ll look back on fondly forever.
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