Wipe the Windows, Check the Oil, Dollar Gas
Wipe the Windows, Check the Oil, Dollar Gas is a 1976 double live album by the Allman Brothers Band. It collected a variety of performances from the popular mid-1970s line-up of the band, which featured pianist Chuck Leavell and bassist Lamar Williams. Songs from their popular 1973 Brothers and Sisters album were featured, but each of their other studio albums was represented by a selection as well. Released after the group had dissolved in acrimony, the album did not attract much praise or attention at the time; the band did not like the selections, the sound mixing on the album was poor, the packaging was substandard, the record inevitably suffered by comparison to their classic 1971 At Fillmore East considered one of the best live albums of all time. Some of the 1973 performances, such as of "Southbound", are strong, the energetic 1975 run-through of "Can't Lose What You Never Had" showed why it had enjoyed much of the progressive rock radio airplay off that year's Win, Lose or Draw; the New Year's Eve 1972 nightclub performance of "Ain't Wastin' Time No More", a number recorded shortly after the band lost Duane Allman and now being played shortly after the band lost Berry Oakley, illustrated the group's mixture of lament and resolve.
Decades after its release, both Leavell and drummer Jaimoe spoke favorably of the record, saying that despite the lack of unreleased songs and the problems surrounding the band at the time, there was a lot of excellent playing on it. Jaimoe said, "I'm glad we captured the Chuck and Lamar era, it didn't last all that long."The album's title is derived from the song "Too Much Monkey Business" by Chuck Berry. Album cover art was by Jim Evans. Introduction by Bill Graham – 1:05 "Wasted Words" – 5:10 "Southbound" – 6:03 "Ramblin' Man" – 7:09 "In Memory of Elizabeth Reed" – 17:19 "Ain't Wastin' Time No More" – 5:41 "Come and Go Blues" – 5:05 "Can't Lose What You Never Had" – 6:43 "Don't Want You No More" – 2:48 "It's Not My Cross to Bear" – 5:23 "Jessica" – 9:05Sides one and two recorded at Winterland, San Francisco, September 26, 1973. Track 1 of side three recorded at The Warehouse, New Orleans, December 31, 1972. Track 2 of side three recorded at the Summer Jam at Watkins Glen, New York, July 28, 1973.
Track 3 of side three and 1 and 2 of side four recorded at the Bakersfield Civic Auditorium, California, October 22, 1975. Track 3 of side four recorded at the Oakland Coliseum, California, October 24, 1975. Gregg Allman — lead vocals, clavinet, guitar Richard Betts — lead vocals, lead guitar, slide guitar Chuck Leavell — piano, electric piano, background vocals Lamar Williams — electric bass Jaimoe — drums, percussion Butch Trucks — drums, tympani
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Enlightened Rogues is the sixth studio album by American rock band the Allman Brothers Band. Produced by Tom Dowd, the album was released in February 1979 in the United States by Capricorn Records and PolyGram Records elsewhere; the Allman Brothers Band had broken up in 1976 following internal turmoil, amplified by escalating drug use. The band members splintered into different acts — among those Great Southern, Sea Level, the Gregg Allman Band. Guitarist Dickey Betts approached his bandmates in 1978 with the prospects of a reunion. After two former members declined to return, they added new members which made it the first to feature guitarist Dan Toler and bassist David Goldflies. Living together in Sarasota, they rehearsed and wrote the material for their next album in fall 1978, they began recording Enlightened Rogues that December, recording stretched into the new year. Sessions took place in Criteria Studios in Miami, Florida with producer Tom Dowd, who worked on a trio of early Allman Brothers albums.
The group stayed at a home overlooking Biscayne Bay. The recording process was smooth and pleasant, with members showing courtesy to one another in comparison to ill feelings felt earlier; the album's title comes from a quote original guitarist Duane Allman used to describe the band: "The world is made of two great schools, enlightened rogues and religious fools." The album was a commercial success in the United States, peaking at #9 and earning a RIAA gold certification. "Crazy Love" was the group's second of three Top 40 hits, reaching #29. Despite this, Capricorn would file for bankruptcy that fall, leading the Allman Brothers to sign to Arista Records. Following the critical and commercial failure of their fifth studio album, Lose or Draw, the Allman Brothers Band continued to tour nationwide, playing 41 shows to some of the biggest crowds of their career; the shows were considered lackluster and the members were excessive in their drug use. The "breaking point" came when Gregg Allman testified in the trial of erstwhile road manager Scooter Herring.
Bandmates considered him a "snitch," and he received death threats, leading to law-enforcement protection. Herring was convicted on five counts of conspiracy to distribute cocaine and received a 75-year prison sentence, which were overturned as he received a lesser sentence. For his part, Allman always maintained that Herring had told him to take the deal and he would take the fall for it, but the band refused to communicate with him; as a result, the band broke up. Betts approached Allman with the prospect of a reunion in 1978. Allman, addicted to Dilaudid and vodka, met with his former bandmates after completing a detox program. He, Betts and Jaimoe all agreed to reform. "No one was pleased with how things had ended back in ’76, the combination of the passing of time, missing each other musically, money all made it easier for us to put the past behind us," Allman wrote. Together, the rest of the band joined Great Southern for five songs during an August concert in New York's Central Park. Williams and Leavell were busy with Sea Level.
As a result, the Allman Brothers added two new members from Great Southern: guitarist "Dangerous" Dan Toler and bassist David "Rook" Goldflies. Jaimoe summarized the performance: "We were a little rusty—maybe a lot rusty—and we were playing with some different guys, but it felt good to be together." Following this, the band made an appearance at the annual Capricorn Records picnic. The band were pressured to record a new album, but declined, in order to see how everyone communicated "musically and spiritually." The band went into rehearsals in Sarasota, staying together at the Pirates Den on Anna Maria Island. The main reason for living together at the Pirates Den was to see if they could get along together. Meanwhile, former record label Capricorn Records had been splintering, the band were not receiving their royalty payments. An audit revealed. Steve Massarsky became the band's manager during this time, helped renegotiate a deal with Capricorn Records. Despite their past royalty troubles, they trusted in Walden to get the record significant airplay and sales.
Despite this, "Dickey Betts filed suit against Walden, alleging nonpayment of record and publishing royalties." Enlightened Rogues was recorded between December 1978 and January 1979 at Criteria Studios in Miami, Florida. The album was produced by Tom Dowd; the band had not recorded at Criteria, or with Dowd, since 1971. For the album, the band strived to reach their "classic" sound, typified by their earliest releases. Criteria owned a row of houses along Biscayne Bay. Allman recalled they stayed "three doors down" from that location while recording, held fond memories for the location: "That place just calmed us all out—really helped us travel back in time, it was just a groove, one big family again. The house was huge, so there was plenty of room for all of us." A cook prepared breakfast and dinner for the group, while all were still using drugs, it was more controlled than it had been in the past. Things went smoothly during the recording process. Goldflies remarked that Allman and Betts got along well: "What I saw many times towards the beginning, was a real effort from both Gregg and
Johnny Neel is an American vocalist and musician based in Nashville, Tennessee. He is best known for his songwriting and being a member of the Allman Brothers Band and the Dickey Betts Band; as a songwriter, in addition to the material written, or co-written for the Allman Brothers, Gregg Allman, Dicky Betts, Neel's songs have been recorded by Gov’t Mule, John Mayall, Delbert McClinton, Montgomery Gentry, Keith Whitley, Travis Tritt, The Oak Ridge Boys, Restless Heart, Ann Peebles, Dorothy Moore, John Schneider. As a studio musician, Neel has appeared on recordings by The Allman Brothers, Gov't Mule, Warren Haynes, Dickey Betts, Montgomery Gentry, Michael McDonald, Todd Snider, David Allan Coe, Jeff Coffin, Robert Gordon, Chris LeDoux, Tiny Town, Suzy Bogguss, Joe Diffie, Colin Raye, Pirates of the Mississippi. Neel was born in Delaware, he cut his first single, entitled "Talking About People", at the age of twelve, as Johnny Neel and The Shapes Of Soul, a hit on local radio in the Wilmington/Philadelphia area.
As an adult, the Johnny Neel Band had a strong following up and down the east coast and released two well-received independent albums. Neel moved to Nashville in 1984. Performing with various bands in area clubs drew the attention of former Nashville resident Dickey Betts, who asked Neel to join his road band, he soon began working on Bett’s solo LP for Epic Records; that relationship led to seven cuts on the Pattern Disruptive album released in 1988, including the AOR hit, "Rock Bottom". Neel's talented keyboard and harmonica playing on the Pattern Disruptive album convinced Gregg Allman to ask Neel to tour with his road band which led to the inclusion of the cut "Island" on The Gregg Allman Band album, co-written with Allman, Dan Toler, Tony Colton. In 1989 Neel was invited to join the reunited Allman Brothers Band, he immersed himself in touring and recording, which led to four cuts on the Allman's Seven Turns album, the hit single "Good Clean Fun", co-written by Neel with Allman and Betts.
In 2002 country stars Montgomery Gentry included "Good Clean Fun" as part of their My Town album. Album. In 1994, the studio album Johnny Neel & The Last Word was released; this album included the song "Maydell", co-written with Warren Haynes and has been covered by the Allman Brothers on their Hittin' The Note album, by John Mayall on his Wake Up Call album. The album included the song "Read Me My Rights", co-written with Delbert McClinton, and, covered by McClinton on his Nothing Personal album, by Ann Peebles on her Full Time Love album, by Dorothy Moore on Stay Close to Home album, by Dalton Reed on Louisiana Soul Man; this album featured appearances by Jack Pearson on Delbert McClinton on harmonica. In 1995, Neel's album Commin' Atcha... Live was released and included live versions of "Read Me My Rights" and "Maydell"; the album captured a live appearance by Neel and his band The Last Word including Jack Pearson and most of the musicians on The Last Word album. In 2000, Neel released Late Night Breakfast, recorded at his Straight Up Sound Studio with the members of his band The Last Word, along with special guests guitarists Shane Theriot, Rick Vito, as well as Wayne Jackson on trumpet.
Late Night Breakfast was released on Neel's Breakin' Records label. During the period of time the Late Night Breakfast recordings were made, Neel became a member of Blue Floyd, an all-star jam band performing variations on the material of Pink Floyd. In addition to Neel, the band was composed of guitarist Marc Ford, drummer Matt Abts, bassist Berry Oakley Jr. and until his death, Allen Woody on second guitar. Neel and Abts went into the Straight Up Sound Studio and recorded the X2 funk/jam duo project. X2 - Johnny Neel / Matt Abts was released in 2002. In 2004, Neel released the album Gun Metal Blue on his Breaking Records label, recorded at Straight Up Sound; these sessions included guitarists Chris Anderson, George Marinelli, Pat Bergeson, drummer Vince Santoro, vocalists Joanna Cotten, Neel's wife, Christine Thompson Neel. In 2004, the album Johnny Neel and The Italian Experience was released on the Italian label, Artesuono; this album included horns as Neel moved in a jazz direction. The album included members of the Italian blues/rock/jam power trio W.
I. N. D. With which Neel has recorded in Europe several times. In addition to Blue Floyd and X2 projects, Neel was a part of two other all-star collaborations; the group Deep Fried included Neel on keyboards, drummer Matt Abts, guitarist Brian Stoltz, bassist George Porter Jr.. Their album The Deep Fried Sessions - Live was released in 2004; the other group, The Grease Factor released two live recordings. The Grease Factor included guitarist Shane Theriot, bassist Derek Jones, drummer Jeff Sipe, percussionist Count M'Butu. Neel has provided vocals on five songs included on four Walt Disney Records CD releases, related to the Pixar Animation Studios movie releases, Finding Nemo and Ratatouille; these include "Saturday Night Fish Fry" from the 2003 release Finding Nemo: Ocean Favorites, "My Old Car" from the 2006 release Lightning McQueen's Fast Tracks, "One Meat Ball" and "Banana Split for My Baby" from the 2007 release Ratatouille: What's Cooking?, "Hot Rodder's Lament" from the 2009 release Mater's Car Tunes.
Towards the end of the new century's first decade Neel was recording and performing with his band The Criminal Element. Three albums have been released by The Criminal Element.
William James Dixon was an American blues musician, songwriter and record producer. He was proficient in playing both the upright bass and the guitar, sang with a distinctive voice, but he is best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of his most famous compositions includes "Hoochie Coochie Man", "I Just Want to Make Love to You", "Little Red Rooster", "My Babe", "Spoonful", "You Can't Judge a Book by the Cover"; these songs were written during the peak years of Chess Records, from 1950 to 1965, were performed by Muddy Waters, Howlin' Wolf, Little Walter, Bo Diddley. Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s, his songs have been covered by some of the most successful musicians of the past sixty years including Bob Dylan and Jimi Hendrix.
Jeff Beck, The Doors, Led Zeppelin, The Rolling Stones and Steppenwolf all featured at least one of his songs on their debut albums, a measure of his influence on rock music. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, the Songwriters Hall of Fame. Dixon was born in Vicksburg, Mississippi, on July 1, 1915, he was one of fourteen children. His mother, Daisy rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery, he sang his first song at Springfield Baptist Church at the age of four Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. In his teens, he learned how to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass, he began adapting his poems into songs and sold some to local music groups. Dixon left Mississippi for Chicago in 1936.
A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship in 1937. He became a professional boxer and worked as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of one string. Dixon's experience singing bass made the instrument familiar, he learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne; the group blended blues and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months.
He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed, he reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter, he was a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, Buddy Guy, he recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, two subsidiary labels and Spoonful.
He released his 1971 album, Peace?, on Yambo and singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues, he worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones. In his years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence, a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits.
It's better keeping the roots alive. The blues are the roots of all American music; as long as Americ
Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California in 1967 by Jann Wenner, still the magazine's publisher, the music critic Ralph J. Gleason, it was first known for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a younger readership interested in youth-oriented television shows, film actors, popular music. In recent years, it has resumed its traditional mix of content. Rolling Stone Press is the magazine's associated book publishing imprint. Straight Arrow Press was the magazine's associated book publishing imprint, Straight Arrow Publishing Co. Inc. was the publishing company that published Rolling Stone. Rolling Stone magazine was founded in San Francisco in 1967 by Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim; the first issue carried a cover date of November 9, 1967, was in newspaper format with a lead article on the Monterey Pop Festival.
The cover price was 25¢. In the first issue, Wenner explained that the title of the magazine referred to the 1950 blues song "Rollin' Stone", recorded by Muddy Waters, Bob Dylan's hit single "Like a Rolling Stone": You're wondering what we're trying to do. It's hard to say: sort of a sort of a newspaper; the name of it is Rolling Stone which comes from an old saying, "A rolling stone gathers no moss." Muddy Waters used the name for a song. The Rolling Stones took their name from Muddy's song. "Like a Rolling Stone" was the title of Bob Dylan's first rock and roll record. We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll."—Jann Wenner, Rolling Stone, November 9, 1967, p. 2 Some authors have attributed the name to Dylan's hit single: "At Gleason's suggestion, Wenner named his magazine after a Bob Dylan song." Rolling Stone identified with and reported the hippie counterculture of the era. However, it distanced itself from the underground newspapers of the time, such as Berkeley Barb, embracing more traditional journalistic standards and avoiding the radical politics of the underground press.
In the first edition, Wenner wrote that Rolling Stone "is not just about the music, but about the things and attitudes that music embraces". In the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazine's political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine helped launch the careers of many prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Ben Fong-Torres, Patti Smith and P. J. O'Rourke, it was at this point that the magazine ran some of its most famous stories, including that of the Patty Hearst abduction odyssey. One interviewer, speaking for a large number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus, describing it as a "rite of passage".
In 1977, the magazine moved its headquarters from San Francisco to New York City. Editor Jann Wenner said San Francisco had become "a cultural backwater". During the 1980s, the magazine began to shift towards being a general "entertainment" magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television and the pop culture of the day; the magazine initiated its annual "Hot Issue" during this time. Rolling Stone was known for its musical coverage and for Thompson's political reporting. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors and popular music; this led to criticism. In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories, it has expanded content to include coverage of financial and banking issues. As a result, the magazine has seen its circulation increase and its reporters invited as experts to network television programs of note.
The printed format has gone through several changes. The first publications, in 1967–72, were in folded tabloid newspaper format, with no staples, black ink text, a single color highlight that changed each edition. From 1973 onwards, editions were produced on a four-color press with a different newsprint paper size. In 1979, the bar code appeared. In 1980, it became a large format magazine; as of edition of October 30, 2008, Rolling Stone has had a smaller, standard-format magazine size. After years of declining readership, the magazine experienced a major resurgence of interest and relevance with the work of two young journalists in the late 2000s, Michael Hastings and Matt Taibbi. In 2005, Dana Leslie Fields, former publisher of Rolling Stone, who had worked at the magazine for 17 years, was an inaugural inductee into the Magazine Hall of Fame. In 2009, Taibbi unleashed an acclaimed series of scathing reports on the financial meltdown of the time, he famously described Goldman Sachs as "a great vampire squid".
Bigger headlines came at the end of June 2010. Rolling Stone caused a controversy in the White House by publishing in the July issue an article by journalist Michael Hastings entitled, "The Runaway General", quoting criticism by General Stanley A. McChrystal, commander of the International Security Assistance Force and U. S. Forces-Afghanistan commander, about Vice President Joe Biden and oth
Jimmy Herring is the lead guitarist for the band Widespread Panic. He is a founding member of Aquarium Rescue Unit and Jazz Is Dead and has played with The Allman Brothers Band, Project Z, Derek Trucks Band, Phil Lesh and Friends, The Dead. A native of Fayetteville, North Carolina, Herring is the son of a high school English teacher and a Superior Court judge; the youngest of three brothers, he attended Terry Sanford Senior High School in Fayetteville. Although he played saxophone in the high school band, he became known for his talent on guitar, which he had begun playing at age 13. Herring had a Telecaster guitar with a Stratocaster neck, in the same style as one of his biggest influences, Steve Morse of the Dixie Dregs. After high school he formed the Paradox, a cover band that played jazz fusion and songs by the Dixie Dregs, Al Di Meola, Chuck Mangione; the band's horn section included Wayne Rigsby and Charles Humphries on trumpet and Herring on saxophone. After graduating from high school, in 1980, Herring attended a summer session at the Berklee College of Music.
In addition, he is a graduate of The Guitar Institute of Technology in California. Herring was the lead guitarist for the the Aquarium Rescue Unit. Formed in Atlanta in 1989, its members include Allman Brothers Band bassist Oteil Burbridge and Leftover Salmon drummer Jeff Sipe, he was invited to participate on the H. O. R. D. E. Tour with Aquarium Rescue Unit in 1992 and 1993 and was offered the lead guitar job in the Allman Brothers Band after Dickey Betts was arrested after a show in Saratoga Springs, New York on July 30, 1993. Herring declined to take the position full-time. Bruce Hampton left Aquarium Rescue Unit in 1994. Herring and other members continued to tour in early 1997 until drummer Jeff Sipe departed for Leftover Salmon. In 1998 and 1999 Herring went on tour as Jazz Is Dead with bassist Alphonso Johnson, keyboardist T Lavitz, drummer Billy Cobham; the band's albums included jazz rock versions of songs by the Grateful Dead. Herring appeared on the album Out of the Madness by The Derek Trucks Band.
He went on tour with the Allman Brothers Band in 2000 joined Phil Lesh of the Grateful Dead in Phil Lesh and Friends. In 2002, Herring joined The Other Ones, a band which included four former members of the Grateful Dead — Phil Lesh, Bob Weir, Mickey Hart, Bill Kreutzmann. Herring continued to play with the group, now renamed The Dead, in 2003 and 2004. In 2005, he toured with the jazz and bluegrass-oriented band The Codetalkers, which featured Herring on guitar with his previous bandmate Col. Bruce Hampton on vocals and guitar; this band allowed Herring to expand a musical friendship with Codetalkers' front man Bobby Lee Rodgers, with whom Herring formed a new band in the spring of 2006. 2005 marked the release of the Lincoln Memorial disc from Project Z, of which Jimmy is a founding member. In January 2005, Herring appeared on the Jam Cruise 3 stage with several acts, including Colonel Les Claypool's Fearless Flying Frog Brigade. Herring left Phil Lesh and Friends in November, 2005. On August 3, 2006, Widespread Panic announced Herring would be taking over the lead guitar spot in the band after the departure of George McConnell.
In 2006, Herring and an complete original lineup of Aquarium Rescue Unit reunited as Col. Bruce Hampton and The Aquarium Rescue Unit featuring Oteil Burbridge, Jimmy Herring, Col. Bruce Hampton and Jeff Sipe with Bobby Lee Rodgers sitting in. In 2008, Herring released his first official solo album, on Abstract Logix; the material consists of instrumental jazz-rock fusion, features a rotating lineup of long-time Herring collaborators, including Oteil and brother Kofi Burbridge, Jeff Sipe and soprano saxophonist Greg Osby, others, including two songs featuring Derek Trucks. The album was met with positive reviews. On February 7, 2009, along with Steve Gorman, guitarist Audley Freed and bassist-singer Nick Govrik, made their live debut of Trigger Hippy at the Cox Capitol Theater in Macon, Georgia. On August 21, 2012, Jimmy Herring released Subject to Change without Notice, his second solo album on Abstract Logix; the album received rave reviews and was produced by John Keane, well known for producing albums for Widespread Panic, R.
E. M, The Indigo Girls among others. Jimmy Herring was on the cover of Guitar Player Magazine the same year, he toured the album extensively in the United States during the Fall of 2012 with Jeff Sipe, Neal Fountain and Matt Slocum. In 2013, Jimmy Herring, Wayne Krantz, Michael Landau, Etienne Mbappe and Keith Carlock started a band called The Ringers; the idea of this five musicians to form this unique band came from Abstract Logix Founder and Producer Souvik Dutta. They went to perform five concerts in USA to a wonderful response; the Ringers returned in 2014 performing fourteen concerts in January and February, this time with drummer Gary Novak. On May 26, 2018, Jimmy Herring played guitar with The Dave Matthews Band in Georgia, he joined the band on stage for the songs Satellite and #41 where he again displayed his smooth playing style and warmth on the guitar. Herring's primary guitar is a modified American Standard Fender Stratocaster, it is equipped with two Lollar Imperial humbuckers. The fingerboard radius has been flattened out to 20" and has Dunlop 6000 fret wire, which are the tallest and widest guitar frets manufactured today.
Herring uses a 1969 Stratocaster as well as several other PRS guitars and has played a 1970 Gibson SG given as a gift from Dere