Blues is a music genre and musical form, originated in the Deep South of the United States around the 1870s by African Americans from roots in African musical traditions, African-American work songs and the folk music of white Americans of European heritage. Blues incorporated spirituals, work songs, field hollers, shouts and rhymed simple narrative ballads; the blues form, ubiquitous in jazz and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes thirds or fifths flattened in pitch, are an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove. Blues as a genre is characterized by its lyrics, bass lines, instrumentation. Early traditional blues verses consisted of a single line repeated four times, it was only in the first decades of the 20th century that the most common current structure became standard: the AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, a longer concluding line over the last bars.
Early blues took the form of a loose narrative relating the racial discrimination and other challenges experienced by African-Americans. Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa; the origins of the blues are closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is dated to after the ending of slavery and the development of juke joints, it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century; the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience white listeners.
In the 1960s and 1970s, a hybrid form called blues rock developed, which blended blues styles with rock music. The term Blues may have come from "blue devils", meaning sadness; the phrase blue devils may have been derived from Britain in the 1600s, when the term referred to the "intense visual hallucinations that can accompany severe alcohol withdrawal". As time went on, the phrase lost the reference to devils, "it came to mean a state of agitation or depression." By the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition. In lyrics the phrase is used to describe a depressed mood, it is in this sense of a sad state of mind that one of the earliest recorded references to "the blues" was written by Charlotte Forten aged 25, in her diary on December 14, 1862.
She was a free-born black from Pennsylvania, working as a schoolteacher in South Carolina, instructing both slaves and freedmen, wrote that she "came home with the blues" because she felt lonesome and pitied herself. She overcame her depression and noted a number of songs, such as Poor Rosy, that were popular among the slaves. Although she admitted being unable to describe the manner of singing she heard, Forten wrote that the songs "can't be sung without a full heart and a troubled spirit", conditions that have inspired countless blues songs; the lyrics of early traditional blues verses often consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called "AAB" pattern, consisting of a line sung over the four first bars, its repetition over the next four, a longer concluding line over the last bars. Two of the first published blues songs, "Dallas Blues" and "Saint Louis Blues", were 12-bar blues with the AAB lyric structure.
W. C. Handy wrote; the lines are sung following a pattern closer to rhythmic talk than to a melody. Early blues took the form of a loose narrative. African-American singers voiced his or her "personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, hard times"; this melancholy has led to the suggestion of an Igbo origin for blues because of the reputation the Igbo had throughout plantations in the Americas for their melancholic music and outlook on life when they were enslaved. The lyrics relate troubles experienced within African American society. For instance Blind Lemon Jefferson's "Rising High Water Blues" tells of the Great Mississippi Flood of 1927: "Backwater rising, Southern peoples can't make no time I said, backwater rising, Southern peoples can't make no time And I can't get no hearing from that Memphis girl of mine."Although the blues gained an association with misery and oppression, the lyrics could be humorous and raunchy: "Rebecca, get your big legs off of me, Rebecca, get your big legs off of m
Laid Back (album)
Laid Back is the debut studio solo album by American singer-songwriter Gregg Allman, released in October 1973 by Capricorn Records. Allman, best known as the vocalist/lyricist/pianist of the Allman Brothers Band, first began considering a solo career after internal disagreements with that group, he developed the album as a small creative outlet wherein he would assume full control, he co-produced the album alongside Johnny Sandlin. Laid Back was recorded in March 1973 at Capricorn Sound Studios in Macon, with additional recording taking place at the Record Plant in New York City; the album explores Allman's varying influences, including soul music. It consists of several cover songs, a traditional hymn, contains performances from a host of musicians, most notably Scott Boyer and Tommy Talton on guitars, Bill Stewart on drums, Charlie Hayward on bass guitar; the album was created while Allman worked on Brothers and Sisters, the fourth Allman Brothers album. The album title was a studio term Allman coined for relaxing a song's tempo, while its cover was painted by Abdul Mati Klarwein.
Upon its release, Laid Back received positive reviews from music critics, it peaked at number 13 on Billboard's Top LPs & Tape chart. To support the album, Allman embarked on an ambitious tour, consisting of a full band and an entire string orchestra. Two singles were released to promote the record, with lead single "Midnight Rider" becoming a top 20 hit in the U. S. and Canada. It was certified gold by the Recording Industry Association of America in 1974 for shipping 500,000 copies in the U. S. making it one of Allman's best-selling albums. Gregg Allman first began exploring music during his teen years in Florida, he and his brother, Duane Allman, founded the Allman Joys, in the mid-1960s. That group evolved into the Hour Glass, which recorded two albums for Liberty Records between 1967 and 1968. Subsequently, the duo founded the Allman Brothers Band, which grew in fame in the early 1970s due to their live shows, which combined traditional electric blues, jazz-style improvisation and self-penned instrumentals.
Their 1971 live album At Fillmore East represented a artistic breakthrough. Duane Allman was killed in a motorcycle crash that year, but the band continued on, recording 1972's Eat a Peach, a hybrid live/studio album that became an greater success, shipping gold and peaking at number four on Billboard's Top 200 Pop Albums chart. By that summer, the group began rehearsals for what would become their fourth studio album and Sisters. Allman brought the band the song "Queen of Hearts", which he had worked on for, by that point, a year and a half, he was inebriated at the time, the members would not consider the song. That night he returned to Capricorn Studios alone to work on his own songs, he worked for forty-two hours, slept for six, returned for a final session that wound up lasting a further twenty-eight hours. "Mentally and physically exhausted," he was unhappy with his output, discarded the tape reels in a trash can, hoping to set them aflame. Producer Johnny Sandlin convinced Allman to start over.
Together, they worked on a cover of the Jackson Browne song "These Days", enlisting Scott Boyer to play pedal steel guitar on the track. In the year, he worked on several demos for the album at Criteria Studios in Miami, Florida alongside friend Deering Howe and bassist Berry Oakley. Work stalled on Laid Back as production commenced on Brothers and Sisters, though the two were worked on concurrently. Sandlin, a former Hour Glass bassist and longtime Allman friend, helped hire various session musicians to work on the album, including Boyer and Tommy Talton on guitars, Bill Stewart on drums, Charlie Hayward on bass guitar. Allman likened the album's presence to a mistress, noting that the rest of the band were not thrilled, it slowed down progress on their own album, it created tension between the group between Allman and guitarist Dickey Betts. Several Allman Brothers members made appearances on Laid Back, including Jaimoe, who provided congas, Chuck Leavell, a new addition to the Brothers, who added piano.
Leavell stayed in Macon after leaving Dr. John's band, found himself contributing to both albums. Allman felt Leavell's style of playing fit the album perfectly: "He'd give you what you wanted, without any questions, if he embellished on a song, he made it better."Opening the album is a version of "Midnight Rider", which Allman first composed and recorded for the Allman Brothers Band's second album, Idlewild South. For the new recording, Allman aimed for a "swamp"-like atmosphere, "with the image of moss hanging off the trees and fog, witches," he wrote. Boyer wrote the song "All My Friends". "I've always loved the Everly Brothers style of harmony, but I didn't want it to just follow the traditional 1–3–5 pattern," he recalled. The album cover was painted by Abdul Mati Klarwein, best known for creating the artwork to Miles Davis's Bitches Brew. Allman was introduced to him through a friend. Allman did not have the time to come sit for the painting, so Klarwein worked with a photograph. Allman commented on the cover in his 2012 memoir, My Cross to Bear: "I loved.
It cost me $1,500 back but today it would like $50,000, maybe $150,000." Allman's girlfriend at the time Janice Blair appears on the album's sleeve. The album's title was an inside reference to a studio term Allman coined for when a song had too much energy and needed to be
Thomas John "Tom" Dowd was an American recording engineer and producer for Atlantic Records. He was credited with innovating the multitrack recording method. Dowd worked on a veritable "who's who" of recordings that encompassed blues, pop and soul records. Born in Manhattan, Dowd grew up playing piano, tuba and string bass, his mother was an opera singer and his father was a concertmaster. Dowd graduated from Stuyvesant High School in June 1942 at the age of 16, he continued his musical education at City College of New York. Dowd played in a band at New York's Columbia University, where he became a conductor, he was employed at the physics laboratory of Columbia University. At age 18, Dowd was drafted into the military with the rank of sergeant, he continued his work in physics at Columbia University. He worked on the Manhattan Project; the purpose of the work was unclear until 1945. Dowd planned to obtain a degree in nuclear physics when he completed his work on the Manhattan Project. However, because his work was top secret, the university did not recognize it, Dowd decided not to continue, since the university's curriculum would not have been able to further his physics education.
His research for the military was more advanced than academic courses at that time. Dowd took a job at a classical music recording studio until he obtained employment at Atlantic Records, his first hit was Eileen Barton's "If I Knew You Were Comin' I'd've Baked a Cake". He soon became a top recording engineer there and recorded popular artists such as Ray Charles, the Drifters, the Coasters, the Spinners, Ruth Brown and Bobby Darin, including Darin's famous rendition of Kurt Weill/Bertolt Brecht's "Mack the Knife", he captured jazz masterpieces by Ornette Coleman, Thelonious Monk and Charlie Parker. It was Dowd's idea to cut Ray Charles' recording of "What'd I Say" into two parts and release them as the A-side and B-side of the same single record. Dowd worked as an producer from the 1940s until the beginning of the 21st century. While working for Atlantic Records, he lived in Westwood, NJ with his wife Jackie and his sons and Todd, he recorded albums by many artists including Bee Gees, Eric Clapton, Lynyrd Skynyrd, Black Oak Arkansas and the Dominos, Rod Stewart, Wishbone Ash, New Model Army, Lulu, the Allman Brothers Band, Joe Bonamassa, the J. Geils Band, Meat Loaf, Sonny & Cher, the Rascals, the Spinners, Willie Nelson, Diana Ross, the Four Seasons, Kenny Loggins, James Gang, Dusty Springfield, Eddie Harris, Charles Mingus, Herbie Mann, Booker T. & the M.
G.'s, Aretha Franklin, Joe Castro and Primal Scream. He was an employee of Apex Studios in the 1950s. Dowd received a Grammy Trustees Award for his lifetime achievements in February 2002, he died of emphysema on October 27, 2002, in Florida, where he had been living and working at Criteria Studios for many years, a week after his 77th birthday. Tom Dowd helped to shape the artists that he worked with, because he worked with an array of great artists on some of the world's greatest recordings, Dowd was influential in creating the sound of the second half of the 20th Century, it was he who encouraged Jerry Wexler of Atlantic Records to install an Ampex eight-track recorder, enabling Atlantic to be the first recording company to record using multiple tracks. Dowd is credited as the engineer who popularized the eight-track recording system for commercial music and popularized the use of stereophonic sound, he pioneered the use of linear channel faders as opposed to rotary controls on audio mixers.
He devised various methods for altering sound after the initial recording. In 2003 director Mark Moormann premiered an award-winning documentary about his life entitled Tom Dowd and the Language of Music. In the 2004 biopic Ray, Tom Dowd was portrayed by actor Rick Gomez. Tom Dowd was posthumously inducted into the Rock and Roll Hall of Fame in 2012; the ceremony took place on April 14, 2012, Robbie Robertson gave the induction speech. Tom Dowd and the Language of Music "Tom Dowd". Rock and Roll Hall of Fame. Discography Tom Dowd at Find a Grave
In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. This means occurring frequencies, pitches, or chords; the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is said to refer to the "vertical" aspect of music, as distinguished from melodic line, or the "horizontal" aspect. Counterpoint, which refers to the relationship between melodic lines, polyphony, which refers to the simultaneous sounding of separate independent voices, are thus sometimes distinguished from harmony. In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic and jazz, chords are augmented with "tensions". A tension is an additional chord member that creates a dissonant interval in relation to the bass. In the classical common practice period a dissonant chord "resolves" to a consonant chord.
Harmonization sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs; the term harmony derives from the Greek ἁρμονία harmonia, meaning "joint, concord", from the verb ἁρμόζω harmozō, " fit together, join". In the past, harmony referred to the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements: a lower note, it is unclear whether the simultaneous sounding of notes was part of ancient Greek musical practice. In the Middle Ages the term was used to describe two pitches sounding in combination, in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, thought the first work in European history written on the subject of harmony, it was not until the publication of Rameau's Traité de l'harmonie in 1722 that any text discussing musical practice made use of the term in the title, although that work is not the earliest record of theoretical discussion of the topic.
The underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions highlight the ambiguity of the term in modern use. Ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and "contrapuntal". In the words of Arnold Whittall: While the entire history of music theory appears to depend on just such a distinction between harmony and counterpoint, it is no less evident that developments in the nature of musical composition down the centuries have presumed the interdependence—at times amounting to integration, at other times a source of sustained tension—between the vertical and horizontal dimensions of musical space; the view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory. This is accounted for by the replacement of horizontal composition, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music.
Modern theorists, tend to see this as an unsatisfactory generalisation. According to Carl Dahlhaus: It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type, and harmony comprises not only the structure of chords but their movement. Like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions. For example, South Asian art music is cited as placing little emphasis on what is perceived in western practice as conventional harmony. Pitch simultaneity in particular is a major consideration. Many other considerations of pitch are relevant to the music, its theory and its structure, such as the complex system of Rāgas, which combines both melodic and modal considerations and codifications within it. So, intricate pitch combinations that sound do occur in Indian classical music—but they are studied as teleological harmonic or contrapuntal progressions—as with notated Western music.
This contrasting emphasis manifests itself in the different methods of performance adopted: in Indian Music improvisation takes a major role in the structural framework of a piece, whereas in Western Music improvisation has been uncommon since the end of the 19th century. Where it does occur in Western music, the improvisation either embellishes pre-notated music or draws from musical models established in notated compositions, therefore uses familiar harmonic schemes. Emphasis on the precomposed in European art music and th
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
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. It takes its roots from genres such as folk blues. Country music consists of ballads and dance tunes with simple forms, folk lyrics, harmonies accompanied by string instruments such as banjos and acoustic guitars, steel guitars, fiddles as well as harmonicas. Blues modes have been used extensively throughout its recorded history. According to Lindsey Starnes, the term country music gained popularity in the 1940s in preference to the earlier term hillbilly music. In 2009 in the United States, country music was the most listened to rush hour radio genre during the evening commute, second most popular in the morning commute; the term country music is used today to describe many subgenres. The origins of country music are found in the folk music of working class Americans, who blended popular songs and Celtic fiddle tunes, traditional English ballads, cowboy songs, the musical traditions of various groups of European immigrants.
Immigrants to the southern Appalachian Mountains of eastern North America brought the music and instruments of Europe along with them for nearly 300 years. Country music was "introduced to the world as a Southern phenomenon." The U. S. Congress has formally recognized Bristol, Tennessee as the "Birthplace of Country Music", based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum. Historians have noted the influence of the less-known Johnson City sessions of 1928 and 1929, the Knoxville sessions of 1929 and 1930. In addition, the Mountain City Fiddlers Convention, held in 1925, helped to inspire modern country music. Before these, pioneer settlers, in the Great Smoky Mountains region, had developed a rich musical heritage; the first generation emerged in the early 1920s, with Atlanta's music scene playing a major role in launching country's earliest recording artists. New York City record label Okeh Records began issuing hillbilly music records by Fiddlin' John Carson as early as 1923, followed by Columbia Records in 1924, RCA Victor Records in 1927 with the first famous pioneers of the genre Jimmie Rodgers and the first family of country music The Carter Family.
Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. During the second generation, radio became a popular source of entertainment, "barn dance" shows featuring country music were started all over the South, as far north as Chicago, as far west as California; the most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. During the 1930s and 1940s, cowboy songs, or Western music, recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another country musician from the Lower Great Plains who had become popular as the leader of a "hot string band," and who appeared in Hollywood westerns, his mix of country and jazz, which started out as dance hall music, would become known as Western swing. Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie".
The third generation started at the end of World War II with "mountaineer" string band music known as bluegrass, which emerged when Bill Monroe, along with Lester Flatt and Earl Scruggs were introduced by Roy Acuff at the Grand Ole Opry. Gospel music remained a popular component of country music. Another type of stripped-down and raw music with a variety of moods and a basic ensemble of guitar, dobro or steel guitar became popular among poor whites in Texas and Oklahoma, it became known as honky tonk, had its roots in Western swing and the ranchera music of Mexico and the border states. By the early 1950s a blend of Western swing, country boogie, honky tonk was played by most country bands. Rockabilly was most popular with country fans in the 1950s, 1956 could be called the year of rockabilly in country music, with Johnny Cash emerging as one of the most popular and enduring representatives of the rockabilly genre. Beginning in the mid-1950s, reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee.
The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock. Fourth generation music included outlaw country with roots in the Bakersfield sound, country pop with roots in the countrypolitan, folk music and soft rock. Between 1972 and 1975 singer/guitarist John Denver released a se
Ain't Wastin' Time No More
"Ain't Wastin' Time No More" is a song by the American rock band the Allman Brothers Band. It was the lead single from their third studio album; the song, written by Gregg Allman concerns the death of his brother, Duane Allman, killed in a motorcycle crash in 1971. The song peaked at number 77 on the Billboard Hot 100 in 1972. Following the death of group leader and guitarist Duane Allman, the Allman Brothers Band returned to the studio to complete Eat a Peach, midway through production at the time of his passing. Much of the song's lyrical content deals with his death. Allman had completed most of the song's music before his brother's death, but felt compelled to record it when bassist Berry Oakley and drummer Jaimoe asked about it, he proceeded to write the song's lyrics, which concerns soldiers returning home from the Vietnam War, on a Steinway piano at Criteria Studios in Miami, where it was recorded in December 1971. Guitarist Dickey Betts picked up slide guitar in the aftermath of the tragedy, took time to make sure his performance on the song would be up to par.
Allman recalled that he remembered Betts practicing the slide part for the song on the airplane down to Miami. Lyrics of this song at MetroLyrics