WEBVTT 00:00:00.000 --> 00:00:02.419 Hey this is Warren Haynes and you're listening 00:00:02.419 --> 00:00:06.540 to My Weekly Mixtape with Brian Colburn and it's 00:00:06.540 --> 00:00:21.059 different all the time. What is going on friends? 00:00:21.120 --> 00:00:23.920 Welcome to My Weekly Mixtape, the show that takes 00:00:23.920 --> 00:00:27.559 the classic mixtape approach. to building a modern 00:00:27.559 --> 00:00:30.539 playlist. I'm your host, Brian Colburn, and joining 00:00:30.539 --> 00:00:34.079 me tonight is a songwriter and musician who truly 00:00:34.079 --> 00:00:37.600 needs no introduction. And honestly, anything 00:00:37.600 --> 00:00:40.759 I say wouldn't do him justice anyway. From the 00:00:40.759 --> 00:00:43.280 Allman Brothers Band to Gov't Mule to his 00:00:43.280 --> 00:00:46.579 incredible body of solo records, it's an absolute 00:00:46.579 --> 00:00:49.060 honor to welcome the one and only Warren Haynes 00:00:49.060 --> 00:00:50.780 to the show. Warren, great to have you here, 00:00:50.840 --> 00:00:54.090 my friend. Thank you. Glad to be here. Since 00:00:54.090 --> 00:00:56.369 this is your first time on My Weekly Mixtape, 00:00:56.429 --> 00:00:59.490 let's start with the basics. What does the word 00:00:59.490 --> 00:01:05.769 mixtape mean to you? I guess interjecting your 00:01:05.769 --> 00:01:10.010 own personality into music that you would like 00:01:10.010 --> 00:01:13.890 others to experience. Great way of putting it. 00:01:14.640 --> 00:01:18.159 Now today we're here to talk about the 2026 remix 00:01:18.159 --> 00:01:21.540 and reissue of tales of ordinary madness your 00:01:21.540 --> 00:01:58.189 debut solo album from 1993 And what a kickoff 00:01:58.189 --> 00:02:01.549 fire in the kitchen is, man. So what does more 00:02:01.549 --> 00:02:04.849 than three decades of hindsight tell you about 00:02:04.849 --> 00:02:11.030 this album's longevity? You know, I haven't thought 00:02:11.030 --> 00:02:15.490 of it that way. You know, it was my first solo 00:02:15.490 --> 00:02:18.090 record, and they say you only make your first 00:02:18.090 --> 00:02:23.270 record once. So a lot of thought went into which 00:02:23.270 --> 00:02:28.310 songs we're going to. be on the record. Chuck 00:02:28.310 --> 00:02:32.610 Lavelle produced it, and he and I went through 00:02:32.610 --> 00:02:36.169 about, I think, around 30 songs that we were 00:02:36.169 --> 00:02:39.930 choosing from at that time. And we were choosing 00:02:39.930 --> 00:02:45.009 based on making a record that was cohesive and 00:02:45.009 --> 00:02:47.789 where all the songs sounded like they belonged 00:02:47.789 --> 00:02:50.550 on the same record. There were a lot of songs 00:02:50.550 --> 00:02:54.259 that I had written back then that were among 00:02:54.259 --> 00:02:57.080 some of my favorites that didn't necessarily 00:02:57.080 --> 00:02:59.939 make the cut because they sounded too different 00:02:59.939 --> 00:03:04.199 from the rest of the songs i think when i hear 00:03:04.199 --> 00:03:08.780 it now i see how much i've grown as a songwriter 00:03:08.780 --> 00:03:11.500 and how how many different directions i've pursued 00:03:11.500 --> 00:03:14.900 through the years but i'm i'm very proud of that 00:03:14.900 --> 00:03:19.120 as an opening statement it's a little intense 00:03:19.120 --> 00:03:23.020 you know uh from a songwriting standpoint There's 00:03:23.020 --> 00:03:26.479 a lot of aggression and getting things off my 00:03:26.479 --> 00:03:30.000 chest, but I guess that goes with making your 00:03:30.000 --> 00:03:32.979 first record. Well, you mentioned Chuck Lavelle, 00:03:33.120 --> 00:03:35.659 who obviously has deep Allman Brothers roots 00:03:35.659 --> 00:03:39.139 as well. What did you take away working with 00:03:39.139 --> 00:03:42.020 him that stuck with you for your later bodies 00:03:42.020 --> 00:03:43.939 of work as well as your stuff with Government 00:03:43.939 --> 00:03:47.759 Mule? Well, oddly enough, at that point, Chuck 00:03:47.759 --> 00:03:52.449 and I had never met. We knew of each other through 00:03:52.449 --> 00:03:55.830 our situations in the Allman Brothers band, and 00:03:55.830 --> 00:04:00.110 I was a big fan of everything I'd ever heard 00:04:00.110 --> 00:04:04.669 him do. My manager at the time was friends with 00:04:04.669 --> 00:04:08.289 Chuck, and when we were talking about possible 00:04:08.289 --> 00:04:10.409 producers, he brought up Chuck, and I said, yeah, 00:04:10.449 --> 00:04:12.650 that sounds really cool. I'd like to meet with 00:04:12.650 --> 00:04:15.729 him. And we had a nice meeting and really hit 00:04:15.729 --> 00:04:18.170 it off. He's a beautiful person and a fantastic 00:04:18.170 --> 00:04:23.019 musician. I was honored to work with him. You 00:04:23.019 --> 00:04:28.660 know, Chuck was, he struck a good balance as 00:04:28.660 --> 00:04:32.779 a producer. He wasn't heavy handed and, you know, 00:04:32.779 --> 00:04:35.779 saying things have to be this way or I think 00:04:35.779 --> 00:04:40.540 this should go that way. He was kind of part 00:04:40.540 --> 00:04:44.120 of a panel of people making decisions and he 00:04:44.120 --> 00:04:47.279 always had suggestions and they were always good, 00:04:47.379 --> 00:04:50.500 but he wasn't like. trying to force me to change 00:04:50.500 --> 00:04:53.439 anything. If I felt strongly about something, 00:04:53.600 --> 00:04:55.759 he was quick to say, hey, man, it's your record, 00:04:55.860 --> 00:05:00.139 whatever you think. But he always had really 00:05:00.139 --> 00:05:03.100 good advice based on his experience. And at that 00:05:03.100 --> 00:05:07.620 point, he had played on a lot of wonderful records 00:05:07.620 --> 00:05:10.579 and had a lot of studio experience. I had not 00:05:10.579 --> 00:05:16.079 so much. And with each record you make, you learn 00:05:16.079 --> 00:05:19.910 more about the studio environment. Now, you mentioned 00:05:19.910 --> 00:05:23.430 earlier that it's a heavy record, and that heft 00:05:23.430 --> 00:05:25.689 more than certainly shines through on tracks 00:05:25.689 --> 00:06:08.129 like Kiss Tomorrow Goodbye. It originally came 00:06:08.129 --> 00:06:10.569 out on Megaforce Records, which when I was growing 00:06:10.569 --> 00:06:14.889 up, I associated with Metallica, Anthrax, S .O 00:06:14.889 --> 00:06:17.930 .D., the metal universe, if you will. How did 00:06:17.930 --> 00:06:20.569 Tails end up landing on Megaforce initially? 00:06:21.730 --> 00:06:25.509 I don't remember exactly how they came to the 00:06:25.509 --> 00:06:29.790 party, but they wound up making us a better offer 00:06:29.790 --> 00:06:33.009 than a lot of the other major labels were making 00:06:33.009 --> 00:06:37.199 at the time. Part of that included me being able 00:06:37.199 --> 00:06:40.579 to make the record that I wanted to make. John 00:06:40.579 --> 00:06:44.639 and Marsha Zuzula, that owned Megaforce, were 00:06:44.639 --> 00:06:48.199 both very passionate about music. And even though 00:06:48.199 --> 00:06:51.540 their roster was pretty heavy, they had stuff, 00:06:51.720 --> 00:06:54.579 you know, a lot of the stuff on that label would 00:06:54.579 --> 00:06:58.319 be stuff I wasn't a fan of. But they had cool 00:06:58.319 --> 00:07:01.699 stuff like King's X, who I really, really liked. 00:07:02.309 --> 00:07:05.670 And they were telling me how they were looking 00:07:05.670 --> 00:07:10.529 to expand their reach and get out of that mold. 00:07:10.769 --> 00:07:15.970 And they saw signing me as an opportunity to 00:07:15.970 --> 00:07:19.269 show people that they weren't just a metal label. 00:07:19.850 --> 00:07:22.629 And they were really great about saying, hey, 00:07:22.649 --> 00:07:24.490 this is your record. We want you to make it how 00:07:24.490 --> 00:07:27.430 you want to make it. And that was really important 00:07:27.430 --> 00:07:30.800 to me. And they were very passionate. And were 00:07:30.800 --> 00:07:33.360 they involved with this new version as well? 00:07:34.259 --> 00:07:39.399 Missy Colazzo, who now owns Megaforce Records, 00:07:39.620 --> 00:07:44.620 John and Marcia both passed away. And Missy was 00:07:44.620 --> 00:07:47.920 part of the staff way back then. And she and 00:07:47.920 --> 00:07:51.740 I did a lot of promo. She would drive me to radio 00:07:51.740 --> 00:07:53.779 stations. She was the head of promotion back 00:07:53.779 --> 00:07:57.399 then. She now owns the label. And we ran into 00:07:57.399 --> 00:08:00.660 each other at a benefit. at the Beacon a few 00:08:00.660 --> 00:08:04.620 years ago. And we're talking about the 30th anniversary. 00:08:04.819 --> 00:08:07.600 And I said, well, you know, I've always wanted 00:08:07.600 --> 00:08:10.180 to remix that record. And she smiled and said, 00:08:10.259 --> 00:08:11.740 yeah, I think that would be great. Why don't 00:08:11.740 --> 00:08:15.480 we do that? And so we reached out to Jim Scott, 00:08:15.680 --> 00:08:20.279 who I've worked with in recent years and who 00:08:20.279 --> 00:08:23.740 Megaforce has worked with as well. So it was 00:08:23.740 --> 00:08:28.079 the right choice. Jim's fantastic. He did a wonderful 00:08:28.079 --> 00:08:32.289 job. remixing it and yeah so they were they were 00:08:32.289 --> 00:08:35.710 involved i was involved we just worked on it 00:08:35.710 --> 00:08:38.190 together and and i'm happy with the way it turned 00:08:38.190 --> 00:08:42.350 out as a music fan jim scott's resume is something 00:08:42.350 --> 00:08:46.690 that is just to be lauded you have tom petty's 00:08:46.690 --> 00:08:50.190 wildflowers santana supernatural foo fighters 00:08:50.190 --> 00:08:52.549 one by one those are all where his grammys came 00:08:52.549 --> 00:08:55.460 from and that's just scratching the surface So 00:08:55.460 --> 00:08:57.879 given your working relationship with him, as 00:08:57.879 --> 00:09:01.000 well as being the album's original co -producer, 00:09:01.120 --> 00:09:04.019 were you hands -on with Jim during those remix 00:09:04.019 --> 00:09:07.980 sessions? Yeah, Jim and I worked together on 00:09:07.980 --> 00:09:12.779 two or three projects. And each time, well, one 00:09:12.779 --> 00:09:15.320 of the projects, I was physically in the room 00:09:15.320 --> 00:09:18.679 with him when we were mixing. And the other couple 00:09:18.679 --> 00:09:21.700 of times, he would send me mixes throughout the 00:09:21.700 --> 00:09:26.230 day to check out. get my input, and I would call 00:09:26.230 --> 00:09:28.429 him back and say, hey, can we change this, change 00:09:28.429 --> 00:09:31.750 that? Just subtle little things that are part 00:09:31.750 --> 00:09:35.350 of the mixing process. But Jim and I worked great 00:09:35.350 --> 00:09:39.610 together. And yes, it was like that. And Chuck 00:09:39.610 --> 00:09:43.330 was involved, especially in the beginning as 00:09:43.330 --> 00:09:46.789 well. He would send mixes to Chuck and I both, 00:09:46.950 --> 00:09:50.389 and we would give our input. But Chuck was in 00:09:50.389 --> 00:09:52.529 the middle of something at that point. And after... 00:09:52.779 --> 00:09:55.139 a few tunes, he's like, you guys got this. I'm 00:09:55.139 --> 00:09:58.899 going to let you have it. Now, being you were 00:09:58.899 --> 00:10:01.179 obviously part of the original album sessions 00:10:01.179 --> 00:10:04.460 as well as these remix sessions, what would you 00:10:04.460 --> 00:10:07.840 say Jim's contributions were as well as what 00:10:07.840 --> 00:10:11.279 did you hear in differences from the mixes? Well, 00:10:11.379 --> 00:10:16.299 I wanted it to be more organic and drier, not 00:10:16.299 --> 00:10:19.379 so much reverb, not so much EQ and processing. 00:10:21.100 --> 00:10:23.480 One of the reasons that I wanted to remix it 00:10:23.480 --> 00:10:26.460 was because even though I was very happy with 00:10:26.460 --> 00:10:30.059 that record that we made in 92 and came out in 00:10:30.059 --> 00:10:34.440 93, records at that time were still being made 00:10:34.440 --> 00:10:39.840 in accordance with what was going on in the 80s, 00:10:39.840 --> 00:10:42.940 where everything had a little more reverb, everything 00:10:42.940 --> 00:10:45.179 had a little more EQ, everything had a little 00:10:45.179 --> 00:10:50.700 more processing. And a few years after that record 00:10:50.700 --> 00:10:54.500 came out, people started returning to a little 00:10:54.500 --> 00:10:58.080 drier, a little more organic way of recording 00:10:58.080 --> 00:11:01.059 and mixing. And I thought, well, I would love 00:11:01.059 --> 00:11:03.539 to hear it that way. And so I've had that in 00:11:03.539 --> 00:11:08.700 the back of my mind for decades. You know, there 00:11:08.700 --> 00:11:12.200 was nothing wrong with it at the time, but it 00:11:12.200 --> 00:11:15.320 had a bit of a timestamp on it. When you listen 00:11:15.320 --> 00:11:18.649 to it. It sounds like it was made in that time 00:11:18.649 --> 00:11:22.889 period because it was. But why not make it sound 00:11:22.889 --> 00:11:25.389 like there's no timestamp on it and it could 00:11:25.389 --> 00:11:29.389 have been made in any decade? I feel like that's 00:11:29.389 --> 00:11:32.129 an interesting point because when Pearl Jam's 00:11:32.129 --> 00:11:34.769 10 first came out, Brendan O 'Brien did the remix. 00:11:34.850 --> 00:11:37.330 That was kind of the same mindset because Pearl 00:11:37.330 --> 00:11:39.629 Jam's 10 had that sound with a little bit more 00:11:39.629 --> 00:11:42.549 reverb on everything. And it kind of timestamped 00:11:42.549 --> 00:11:46.210 the album to 1991. And now the remix version 00:11:46.210 --> 00:11:48.309 tries to make it something that's a little bit 00:11:48.309 --> 00:11:53.210 more timeless. Yeah. And coincidentally, that's 00:11:53.210 --> 00:11:56.490 one of the records that we listened to when we 00:11:56.490 --> 00:12:00.230 were mixing Tales of Ordinary Madness. We listened 00:12:00.230 --> 00:12:03.350 to quite a few records from that time period. 00:12:03.730 --> 00:12:07.750 And I remember listening to the first Pearl Jam 00:12:07.750 --> 00:12:10.570 record. And at that time, it sounded really, 00:12:10.669 --> 00:12:13.549 really good. That's a great sounding record. 00:12:14.009 --> 00:12:17.509 But the same issue that when you think now, their 00:12:17.509 --> 00:12:20.409 later records don't have quite as much gloss 00:12:20.409 --> 00:12:24.049 on them. And I'm sure the reason they wanted 00:12:24.049 --> 00:12:27.309 to remix 10 is the same reason I wanted to remix 00:12:27.309 --> 00:12:32.230 this record. It's just a product of the time 00:12:32.230 --> 00:12:34.830 changes. You go back and listen to any record 00:12:34.830 --> 00:12:37.970 made in the 80s and early 90s, they all have 00:12:37.970 --> 00:12:41.399 that certain sound about them. And before we 00:12:41.399 --> 00:12:43.139 move on, Warren, I just want to let the listeners 00:12:43.139 --> 00:12:45.259 know that if you want to hear all the songs we're 00:12:45.259 --> 00:12:47.700 talking about tonight, you can hear them obviously 00:12:47.700 --> 00:12:50.259 on all the streaming services or if you pick 00:12:50.259 --> 00:12:52.340 up a physical copy of the album, but you can 00:12:52.340 --> 00:12:55.340 also hear embeds of all the tracks over on the 00:12:55.340 --> 00:13:19.240 episode page at myweeklymixtape .com. When they 00:13:19.240 --> 00:13:54.110 push. Now, as a fan and listener who's lived 00:13:54.110 --> 00:13:56.830 with this record for a long time, and I'm using 00:13:56.830 --> 00:14:00.610 this clip of Sister Justice as an example, the 00:14:00.610 --> 00:14:05.309 2026 mix genuinely makes me feel like I'm hearing 00:14:05.309 --> 00:14:08.090 Tales of Ordinary Madness for the first time. 00:14:08.669 --> 00:14:12.070 It reminds me in a way of the first time I heard 00:14:12.070 --> 00:14:15.529 Stephen Wilson's remix of Jethro Tull's Aqualung. 00:14:15.710 --> 00:14:18.629 It's the same songs. It's the same performances. 00:14:19.549 --> 00:14:24.669 But suddenly there's this space, depth, and detail 00:14:24.669 --> 00:14:27.990 in the songs that you never realized was missing 00:14:27.990 --> 00:14:30.429 because you'd never heard it differently. When 00:14:30.429 --> 00:14:32.769 you sit down and listen to this new mix now, 00:14:33.049 --> 00:14:36.769 were there any performance moments that jumped 00:14:36.769 --> 00:14:40.029 out to you that you maybe didn't realize from 00:14:40.029 --> 00:14:44.850 the original release based on the mix? No, not 00:14:44.850 --> 00:14:48.450 really other than the bonus track, Tear Me Down. 00:14:49.259 --> 00:14:53.019 we recorded tear me down but we weren't able 00:14:53.019 --> 00:14:55.759 to finish it because we were over budget and 00:14:55.759 --> 00:15:00.320 out of time and we had brought in bernie warrell 00:15:00.320 --> 00:15:04.919 to play a bunch of keyboard stuff and randall 00:15:04.919 --> 00:15:08.419 bramlett to play a bunch of saxophone but we 00:15:08.419 --> 00:15:10.659 didn't have time to sort through all of it and 00:15:10.659 --> 00:15:14.120 figure out what we wanted to use so we just made 00:15:14.120 --> 00:15:17.669 the decision mostly a financial decision to not 00:15:17.669 --> 00:15:22.450 include it on the record so i hadn't heard what 00:15:22.450 --> 00:15:26.250 was on the original tapes until 30 years later 00:15:26.250 --> 00:15:29.970 and so i was able to go back into the studio 00:15:29.970 --> 00:15:33.169 we didn't re -record anything we just sorted 00:15:33.169 --> 00:15:35.669 through all the stuff that that had been recorded 00:15:35.669 --> 00:15:37.950 that we had never really had a chance to listen 00:15:37.950 --> 00:15:41.970 to and decided Okay, we're going to use this 00:15:41.970 --> 00:15:44.570 keyboard track. We're going to use this sax track. 00:15:44.730 --> 00:15:48.730 And Jim Scott mixed it as if it were a brand 00:15:48.730 --> 00:15:51.830 new tune. And it was always one of my favorites, 00:15:51.889 --> 00:15:56.250 but now it absolutely is one of my favorite tracks 00:15:56.250 --> 00:16:47.470 on the record. I used to own a - And there's 00:16:47.470 --> 00:16:49.649 something that you did on the re -release that 00:16:49.649 --> 00:16:53.590 I find absolutely fascinating because a lot of 00:16:53.590 --> 00:16:56.789 times it's commonplace when an album is re -released, 00:16:56.789 --> 00:17:00.629 any bonus material is tacked on at the end of 00:17:00.629 --> 00:17:05.829 the album. But here it's batting cleanup or track 00:17:05.829 --> 00:17:08.670 four in between movers and shakers and I'll be 00:17:08.670 --> 00:17:12.170 the one. And this placement feels really calculated 00:17:12.170 --> 00:17:15.089 as someone who's probably a fan of the album 00:17:15.089 --> 00:17:18.440 as an art form. What was your decision in changing 00:17:18.440 --> 00:17:22.200 the album's original sequence? Well, I think 00:17:22.200 --> 00:17:24.880 that's where it would have gone had we finished 00:17:24.880 --> 00:17:28.680 it. And I think the addition of Tear Me Down 00:17:28.680 --> 00:17:31.960 makes it a better record, makes it a more diverse 00:17:31.960 --> 00:17:36.480 record, gives it one more upbeat tune. And so 00:17:36.480 --> 00:17:38.700 I wanted to put it where I think I would have 00:17:38.700 --> 00:17:44.259 put it in the sequence back then. picky about 00:17:44.259 --> 00:17:46.500 sequencing and even though i know a lot of people 00:17:46.500 --> 00:17:48.619 don't care about sequencing especially these 00:17:48.619 --> 00:17:52.240 days so many of our favorite records through 00:17:52.240 --> 00:17:55.819 the years had an impact on us that was based 00:17:55.819 --> 00:17:59.880 on the way the records were sequenced and i made 00:17:59.880 --> 00:18:02.059 a point of saying i don't want to put it at the 00:18:02.059 --> 00:18:04.180 end i want to put it in the sequence as if it 00:18:04.180 --> 00:18:07.700 were part of the record and i think that's uh 00:18:07.700 --> 00:18:10.539 was the right decision i couldn't agree more 00:18:10.539 --> 00:18:13.710 and do you think that streaming comes into play 00:18:13.710 --> 00:18:17.329 with the fact that maybe people don't think as 00:18:17.329 --> 00:18:20.930 much about an album listen versus individual 00:18:20.930 --> 00:18:24.349 tracks anymore oh yeah absolutely yeah i think 00:18:24.349 --> 00:18:28.450 that changed everything i encourage young people 00:18:28.450 --> 00:18:32.750 to listen in sequence uh not just to my music 00:18:32.750 --> 00:18:36.289 but to music in general most artists care enough 00:18:36.289 --> 00:18:39.650 about the sequence to want to spend time dwelling 00:18:39.650 --> 00:18:42.410 on it and and come up with something that they're 00:18:42.410 --> 00:18:45.410 proud of again a lot of our favorite records 00:18:45.410 --> 00:18:48.910 imagine if the first track wasn't the first track 00:18:48.910 --> 00:18:51.329 or the closing track wasn't the closing track 00:18:51.329 --> 00:18:53.950 it would have been for a whole different record 00:18:53.950 --> 00:18:58.490 so i knew uh i knew fire in the kitchen was going 00:18:58.490 --> 00:19:00.990 to be the opener and i knew broken promised land 00:19:00.990 --> 00:19:04.329 was going to be the closer the rest of it i spent 00:19:04.329 --> 00:19:09.250 a lot of time switching around and uh you know 00:19:10.029 --> 00:19:12.250 You want the sequence to take you on a journey 00:19:12.250 --> 00:19:16.890 in the same way that a live show does. And I 00:19:16.890 --> 00:19:20.769 think all those things are important. Now I want 00:19:20.769 --> 00:19:22.789 to touch on a song that I mentioned earlier in 00:19:22.789 --> 00:20:25.710 passing, that being I'll Be The One. Now, the 00:20:25.710 --> 00:20:28.349 version we're listening to now is the new remix 00:20:28.349 --> 00:20:32.529 from Tales. However, on the Mo Voodoo bonus CD, 00:20:32.990 --> 00:20:36.089 Government Mule did a version on that album as 00:20:36.089 --> 00:20:40.069 well. As someone who loves pretty much any version 00:20:40.069 --> 00:20:43.490 of I'll Be The One, I'd love to know how you 00:20:43.490 --> 00:20:47.109 compare the solo Tales version to the Government 00:20:47.109 --> 00:20:50.170 Mule rendition from a musical and maybe even 00:20:50.170 --> 00:20:53.829 emotional perspective. Well, they're very different. 00:20:53.869 --> 00:20:59.829 I think normally the government rendition of 00:20:59.829 --> 00:21:03.690 something that I've done as a solo artist would 00:21:03.690 --> 00:21:07.970 probably be heavier. But in this case, it's mellower. 00:21:08.109 --> 00:21:11.009 I think the original version of I'll Be the One 00:21:11.009 --> 00:21:15.670 on Tales of Ordinary Madness is pretty loud and 00:21:15.670 --> 00:21:19.640 pretty aggressive. And I went back and forth 00:21:19.640 --> 00:21:22.220 when I was writing it and recording it and the 00:21:22.220 --> 00:21:25.599 way I performed it live with it not always being 00:21:25.599 --> 00:21:29.480 that way. I've done it acoustic, which is interesting. 00:21:29.859 --> 00:21:35.119 But I wanted the version on the Movudu EP to 00:21:35.119 --> 00:21:37.980 be a little more R &B and a little less rock. 00:21:38.359 --> 00:21:43.940 And so that's the way I look at it. I also think 00:21:43.940 --> 00:21:48.380 the remix that Jim Scott did. captures it more 00:21:48.380 --> 00:21:50.619 than the original mix. Even though the original 00:21:50.619 --> 00:21:54.619 mix was really good, the remix is a little more 00:21:54.619 --> 00:22:00.980 organic and timeless. And once again, a reminder 00:22:00.980 --> 00:22:03.000 to those listening, while I'm playing clips in 00:22:03.000 --> 00:22:05.559 the episode tonight, you can hear the full versions 00:22:05.559 --> 00:22:09.660 over on the episode page at myweeklymixtape .com. 00:22:11.319 --> 00:22:13.839 Now, Warren, I apologize. I have to sidebar a 00:22:13.839 --> 00:22:16.140 moment here because... During your last answer, 00:22:16.180 --> 00:22:18.980 you talked about the acoustic version of I'll 00:22:18.980 --> 00:22:23.799 Be The One, and it brings me to one place. Live 00:22:23.799 --> 00:22:28.720 at Bonnaroo, 2004. That album to me was such 00:22:28.720 --> 00:22:31.259 a snapshot and a moment in time, that morning 00:22:31.259 --> 00:22:34.759 acoustic set. Can you talk about what that performance 00:22:34.759 --> 00:22:37.900 meant to you? Because there's something about 00:22:37.900 --> 00:22:42.240 it. There's a magic to it, and it's just a special 00:22:42.240 --> 00:22:47.720 performance. I think some of that was that it 00:22:47.720 --> 00:22:51.400 wasn't intended to be a live album. They had 00:22:51.400 --> 00:22:54.460 asked me to do a solo set at Bonnaroo, and that 00:22:54.460 --> 00:22:58.079 was the first time that I had played by myself 00:22:58.079 --> 00:23:02.900 in front of a big audience. And we recorded it. 00:23:02.940 --> 00:23:08.180 It's really easy to record a solo set. And after 00:23:08.180 --> 00:23:11.140 the fact, I thought, you know, it felt pretty 00:23:11.140 --> 00:23:14.730 good. Maybe we should think about releasing it. 00:23:14.769 --> 00:23:17.509 But it wasn't until afterward that that thought 00:23:17.509 --> 00:23:20.890 crossed my mind. And maybe part of the reason 00:23:20.890 --> 00:23:25.250 it felt good was because I was too tired to be 00:23:25.250 --> 00:23:29.569 nervous. I mean, I don't think I'd ever performed 00:23:29.569 --> 00:23:33.930 that early ever in my life. And in true Bonnaroo 00:23:33.930 --> 00:23:36.190 fashion, you know, we were up all night the night 00:23:36.190 --> 00:23:41.700 before. Got up and... drank some coffee and dusted 00:23:41.700 --> 00:23:45.460 off the cobwebs and went on stage. And I remember 00:23:45.460 --> 00:23:50.579 being tired, but maybe that worked to my advantage. 00:23:51.079 --> 00:23:53.819 I mean, you couldn't tell in the performance. 00:23:54.400 --> 00:23:57.019 Well, sometimes that's a good thing. You know, 00:23:57.079 --> 00:24:03.180 I have this weird kind of rule of thumb, or maybe 00:24:03.180 --> 00:24:06.759 that's not the right terminology, but this weird 00:24:06.759 --> 00:24:10.230 philosophy that... Although you don't want to 00:24:10.230 --> 00:24:12.950 purposely put yourself in a position of having 00:24:12.950 --> 00:24:18.569 to perform tired. The times that it happens in 00:24:18.569 --> 00:24:22.029 my experience where you think, oh, I'm fucking 00:24:22.029 --> 00:24:23.970 exhausted. This is going to be a weird night. 00:24:24.609 --> 00:24:29.829 Somehow they turn out really good. Well, one 00:24:29.829 --> 00:24:32.250 thing that I've always admired about you as a 00:24:32.250 --> 00:24:35.450 musician is how naturally you're able to collaborate 00:24:35.450 --> 00:24:38.849 with so many artists, including. Pass my weekly 00:24:38.849 --> 00:24:41.549 mixtape guests like Blackberry Smoke and Walter 00:24:41.549 --> 00:24:44.769 Trout to Kenny Wayne Shepard and Joe Bonamassa. 00:24:44.849 --> 00:24:47.150 And that's just scratching the surface. There's 00:24:47.150 --> 00:24:49.690 also Railroad Earth and Grace Potter on your 00:24:49.690 --> 00:24:54.009 Ashes and Dust album. In your experience, what 00:24:54.009 --> 00:24:57.549 makes a musical collaboration feel grounded and 00:24:57.549 --> 00:25:02.710 natural from the start? Sometimes it just has 00:25:02.710 --> 00:25:07.019 to be. that unspoken thing that happens that 00:25:07.019 --> 00:25:10.559 you can't predict or force. But some of that 00:25:10.559 --> 00:25:16.579 is the right amount of similarity between the 00:25:16.579 --> 00:25:20.779 two artists and between the influences that make 00:25:20.779 --> 00:25:24.380 up those artists and the right amount of contrast. 00:25:24.839 --> 00:25:29.970 I think for a collaboration to really work, There's 00:25:29.970 --> 00:25:32.829 got to be a certain degree of contrast, and I 00:25:32.829 --> 00:25:36.829 think that's a healthy thing. And some of it 00:25:36.829 --> 00:25:42.430 has to do with mutual respect. You know, if you 00:25:42.430 --> 00:25:46.130 try to do something and one of the artists doesn't 00:25:46.130 --> 00:25:48.269 respect the other one, it's probably going to 00:25:48.269 --> 00:25:53.450 come off insincere. And what I mean by that is 00:25:53.450 --> 00:25:58.970 you have to accommodate the other person's personality 00:25:58.970 --> 00:26:03.329 in the way that it's kind of hard to describe 00:26:03.329 --> 00:26:08.069 but um there's just a vibe that happens when 00:26:08.069 --> 00:26:11.230 you can feel that mutual respect that elevates 00:26:11.230 --> 00:26:14.789 the music you know i've been in situations where 00:26:14.789 --> 00:26:19.970 i was very intimidated by the other artist but 00:26:19.970 --> 00:26:23.890 they graciously made me feel less intimidated 00:26:23.890 --> 00:26:30.049 by just uh showing me a lot of respect and and 00:26:30.049 --> 00:26:33.849 uh and being courteous and and compassionate 00:26:33.849 --> 00:26:37.269 people like the first time i worked with a little 00:26:37.269 --> 00:26:40.369 milton the blues artist who was one of the greats 00:26:40.369 --> 00:26:43.190 i worked with him quite a bit and we became really 00:26:43.190 --> 00:26:47.509 good friends but the first time we worked together 00:26:47.509 --> 00:26:50.170 we we had already become pretty good friends 00:26:50.170 --> 00:26:54.049 but i was still pretty intimidated by him and 00:26:54.049 --> 00:26:58.039 uh We were in Muscle Shoals making a record. 00:26:59.079 --> 00:27:03.160 And when it was time for me to do my vocal performance, 00:27:03.619 --> 00:27:07.940 Milton came and stood in the vocal booth with 00:27:07.940 --> 00:27:10.880 me. No pressure. And then I was like, Milton, 00:27:11.059 --> 00:27:14.339 I was like, Milton, get the fuck out of here, 00:27:14.380 --> 00:27:18.259 man. I'm intimidated enough with you in the building. 00:27:18.960 --> 00:27:21.480 I don't need you standing right next to me, you 00:27:21.480 --> 00:27:23.220 know, because he's one of the greatest singers 00:27:23.220 --> 00:27:26.740 of all times. And he laughed. He's like, okay, 00:27:26.819 --> 00:27:28.839 I'll get out of here. He's always just trying 00:27:28.839 --> 00:27:33.920 to show you some love, you know. But if that 00:27:33.920 --> 00:27:37.240 had gone a different direction, the vibe would 00:27:37.240 --> 00:27:39.799 have been strange. You know, it just, it worked 00:27:39.799 --> 00:27:43.740 out because he was a beautiful guy. And we had 00:27:43.740 --> 00:27:46.319 that mutual respect for each other. And I think 00:27:46.319 --> 00:27:48.460 that's one of the things that makes it work. 00:27:49.339 --> 00:27:52.559 Well, while we're on collaborations, I'd forever 00:27:52.559 --> 00:27:55.000 kick myself if I don't take this opportunity 00:27:55.000 --> 00:27:59.359 to at least touch on one solo of yours that truly 00:27:59.359 --> 00:28:02.539 resonates with me on another level. And that's 00:28:02.539 --> 00:28:05.099 your stunning slide work on Blues Travelers, 00:28:05.099 --> 00:28:07.950 The Mountains Win Again. If you'd be so kind, 00:28:08.069 --> 00:28:10.529 I would love nothing more than to hear a little 00:28:10.529 --> 00:28:12.869 bit about the backstory behind that incredible 00:28:12.869 --> 00:28:15.769 solo and how your work with them came together. 00:28:16.890 --> 00:28:21.990 Yeah, it's actually an interesting story. Blues 00:28:21.990 --> 00:28:23.869 Traveler had been doing a lot of stuff with the 00:28:23.869 --> 00:28:26.329 Allman Brothers. They had opened a lot of shows 00:28:26.329 --> 00:28:30.750 for us and we had become friends. And they had 00:28:30.750 --> 00:28:34.690 asked me to come and play a solo on Mountains 00:28:34.690 --> 00:28:38.160 When Again. They didn't specify a slide solo. 00:28:38.299 --> 00:28:40.619 They just said, come play a guitar solo on this 00:28:40.619 --> 00:28:47.380 track. And coincidentally, Government Mule was 00:28:47.380 --> 00:28:52.359 kind of looking for a producer at that time because 00:28:52.359 --> 00:28:54.319 we had not made our first record yet, and we 00:28:54.319 --> 00:28:56.359 didn't know who we wanted to produce the first 00:28:56.359 --> 00:29:00.920 record. So Thompson and Barbiero were producing 00:29:00.920 --> 00:29:06.170 Blues Traveler, and I went in to... do that overdub 00:29:06.170 --> 00:29:11.990 with the two of them in the studio. And I played 00:29:11.990 --> 00:29:15.950 a couple of solos. One of them might have said, 00:29:16.150 --> 00:29:18.069 what do you think about Sly Guitar? And I was 00:29:18.069 --> 00:29:21.690 like, I felt like at that point, every record 00:29:21.690 --> 00:29:24.470 that I was playing on, people were asking me 00:29:24.470 --> 00:29:27.130 to play Sly Guitar. And I was like, I kind of 00:29:27.130 --> 00:29:30.190 feel it being non -Sly for whatever reason. I 00:29:30.190 --> 00:29:31.970 don't know why, if I was just being stubborn 00:29:31.970 --> 00:29:35.799 or that was my first impression. But I played 00:29:35.799 --> 00:29:39.160 a couple of solos without the slide. And then 00:29:39.160 --> 00:29:43.559 I think Michael said, you want to try one with 00:29:43.559 --> 00:29:46.200 the slide? And I was like, sure. Yeah, let's 00:29:46.200 --> 00:29:51.019 do it. And he says that I brought the slide bottle 00:29:51.019 --> 00:29:54.119 that was given to me that used to belong to Dwayne 00:29:54.119 --> 00:29:56.319 Allman. I don't remember that, but he's probably 00:29:56.319 --> 00:29:58.619 correct because he usually is. He has a great 00:29:58.619 --> 00:30:02.250 memory. But he said that I. Reached in my bag 00:30:02.250 --> 00:30:04.569 and pulled out that Dwayne Allman slide and played 00:30:04.569 --> 00:30:07.089 the slide solo. And that, you know, everybody 00:30:07.089 --> 00:30:09.109 was like, yeah, that's the one. That's the one 00:30:09.109 --> 00:30:13.670 we want to use. You know, I love that solo and 00:30:13.670 --> 00:30:17.009 I love that song. And I was really honored to 00:30:17.009 --> 00:30:21.329 be part of that. As I mentioned, Governor McMillan 00:30:21.329 --> 00:30:25.609 was thinking about a producer. And so when I 00:30:25.609 --> 00:30:28.230 went back and was talking to Woody, I was like, 00:30:28.250 --> 00:30:31.380 you know, I really enjoyed working. With Michael, 00:30:31.480 --> 00:30:34.279 I'd heard that he and Steve Thompson were kind 00:30:34.279 --> 00:30:37.640 of going separate ways. And I was like, maybe 00:30:37.640 --> 00:30:39.839 we should try him. I really, really enjoyed working 00:30:39.839 --> 00:30:43.500 with him. So that experience led to us choosing 00:30:43.500 --> 00:30:46.539 Michael to produce the first Government View 00:30:46.539 --> 00:30:49.619 record. We actually kind of auditioned him because 00:30:49.619 --> 00:30:53.779 we were going to record one song for this Hempalation 00:30:53.779 --> 00:30:56.940 compilation record where we did Don't Step on 00:30:56.940 --> 00:31:00.339 the Grass, Sam. And so I was talking to Woody. 00:31:00.420 --> 00:31:04.220 I said, why don't we try him for this one track? 00:31:04.279 --> 00:31:06.519 And if we like him, we'll use him for the album. 00:31:06.619 --> 00:31:09.259 And so that's the way that whole thing went there. 00:31:10.259 --> 00:31:12.680 Unbelievable. Now you mentioned Government Mule. 00:31:13.039 --> 00:31:15.619 2026 is going to be another huge year just for 00:31:15.619 --> 00:31:18.180 you on the road solo as well as with Government 00:31:18.180 --> 00:31:22.160 Mule. But beyond all the touring, are there any 00:31:22.160 --> 00:31:24.799 additional releases or maybe more new music that 00:31:24.799 --> 00:31:28.000 fans can look forward to this year? Well, I'm 00:31:28.000 --> 00:31:30.019 in the midst of trying to figure out what's going 00:31:30.019 --> 00:31:34.539 to be next from a recording standpoint. But I'm 00:31:34.539 --> 00:31:38.339 guessing you're referring to the reissue of the 00:31:38.339 --> 00:31:43.420 first Mule record. We are going to release the 00:31:43.420 --> 00:31:45.920 first government Mule record with a bonus disc, 00:31:46.160 --> 00:31:50.980 an entire CD of unreleased studio outtakes with 00:31:50.980 --> 00:31:54.079 the original trio with Alan Woody. And it's fantastic. 00:31:54.200 --> 00:31:57.250 It's really... I went through and hand -selected 00:31:57.250 --> 00:32:01.049 all the stuff that I didn't know existed or that 00:32:01.049 --> 00:32:04.369 I didn't realize was as good as it was. A lot 00:32:04.369 --> 00:32:09.210 of alternate takes. And I'm really happy that 00:32:09.210 --> 00:32:11.609 we're finally going to put that stuff out because 00:32:11.609 --> 00:32:15.769 it deserves to be out there. Now, are these the 00:32:15.769 --> 00:32:18.329 original mixes, or is this like the Tales release, 00:32:18.450 --> 00:32:21.890 all new mixes from the session? Most of them 00:32:21.890 --> 00:32:26.140 are Michael's original rough mixes. which are 00:32:26.140 --> 00:32:28.680 fantastic you know michael's one of those guys 00:32:28.680 --> 00:32:33.339 that his live in the studio rough mixes sound 00:32:33.339 --> 00:32:36.339 like a record he's just that that guy you know 00:32:36.339 --> 00:32:40.900 and we could only choose ones that had an actual 00:32:40.900 --> 00:32:43.400 vocal performance or something because i didn't 00:32:43.400 --> 00:32:46.059 want to re -record anything i wanted it to all 00:32:46.059 --> 00:32:49.779 be in its original form but there was enough 00:32:49.779 --> 00:32:52.180 stuff to choose from that we're like wow this 00:32:52.180 --> 00:32:54.900 is We filled up a whole disc of stuff I love. 00:32:56.440 --> 00:32:59.259 Well, to close things out and staying with the 00:32:59.259 --> 00:33:02.220 mixtape mode that this show is all about, what 00:33:02.220 --> 00:33:04.140 are three songs that you've been listening to 00:33:04.140 --> 00:33:07.579 lately, as Warren Haynes the fan, not the musician, 00:33:07.839 --> 00:33:10.279 that you would recommend the listeners check 00:33:10.279 --> 00:33:17.400 out? Well, let's see. This one's hard to find, 00:33:17.579 --> 00:33:22.130 but Ray Charles' version of... Oh, What a Beautiful 00:33:22.130 --> 00:33:25.710 Morning. It's on a record called True to Life, 00:33:25.970 --> 00:33:30.410 which is out of print. But that version, that 00:33:30.410 --> 00:33:32.529 vocal performance and that version of that tune 00:33:32.529 --> 00:33:35.450 is one of the greatest things I've ever heard. 00:33:37.529 --> 00:33:40.529 What have I been listening to recently? I mean, 00:33:40.650 --> 00:33:46.009 I'm just being honest with trying to answer the 00:33:46.009 --> 00:33:49.099 question. the best way I can. One of the last 00:33:49.099 --> 00:33:52.420 records I listened to was, uh, yes, close to 00:33:52.420 --> 00:33:56.839 the edge. I was driving in my car and, uh, setting 00:33:56.839 --> 00:34:00.099 for the drive and listen to the entire album. 00:34:00.960 --> 00:34:04.759 I have such diverse taste in music. You know, 00:34:04.779 --> 00:34:08.019 I mean, I listened to a lot of miles Davis. I 00:34:08.019 --> 00:34:10.820 listened to, uh, feel it used to kill him. And 00:34:10.820 --> 00:34:14.579 Jaro is a fantastic, uh, miles record, but song 00:34:14.579 --> 00:34:18.300 wise. Let's see. What else would I put in there? 00:34:20.780 --> 00:34:24.900 You know, I listened to Little Wing the other 00:34:24.900 --> 00:34:29.500 day for the first time in a long time. And every 00:34:29.500 --> 00:34:32.679 time you hear it, you just wish it was longer. 00:34:32.860 --> 00:34:35.800 You know, it's like such a beautiful piece of 00:34:35.800 --> 00:34:40.079 music. I would love to hear Jimmy play that for 00:34:40.079 --> 00:34:45.019 like eight minutes. Wouldn't we all? Well, Warren, 00:34:45.179 --> 00:34:47.860 this has been an absolute honor. Thank you so 00:34:47.860 --> 00:34:50.159 much for joining me tonight on My Weekly Mixtape. 00:34:50.719 --> 00:34:53.639 My pleasure. And to those listening, you can 00:34:53.639 --> 00:34:56.280 hear all the songs we've discussed tonight over 00:34:56.280 --> 00:34:59.099 on the episode page at myweeklymixtape .com. 00:34:59.179 --> 00:35:02.500 And be sure to pick up a copy of the 2026 remix 00:35:02.500 --> 00:35:06.019 of Tales of Ordinary Madness, preferably from 00:35:06.019 --> 00:35:08.960 your favorite indie record store of choice. Now, 00:35:09.000 --> 00:35:10.619 if you like what you're hearing on the show, 00:35:10.760 --> 00:35:13.400 I would love to hear from you. MyWeeklyMixtape 00:35:13.400 --> 00:35:18.340 at gmail .com. Hit me up on social media at MyWeeklyMixtape. 00:35:18.360 --> 00:35:21.199 You can use the contact page at MyWeeklyMixtape 00:35:21.199 --> 00:35:25.079 .com or you can join the Mixtaper community at 00:35:25.079 --> 00:35:28.980 patreon .com forward slash MyWeeklyMixtape. It's 00:35:28.980 --> 00:35:31.380 free to join and there's several tiers there 00:35:31.380 --> 00:35:33.400 available if you'd like to support the show a 00:35:33.400 --> 00:35:36.219 little extra, including ad -free early access 00:35:36.219 --> 00:35:39.429 to episodes. bonus content, and so much more. 00:35:39.550 --> 00:35:42.489 Once again, that's patreon .com forward slash 00:35:42.489 --> 00:35:45.550 My Weekly Mixtape. Now, if you're listening on 00:35:45.550 --> 00:35:49.150 Apple Podcasts, Spotify, YouTube, wherever that 00:35:49.150 --> 00:35:52.530 may be, please leave a five -star review, a thumbs 00:35:52.530 --> 00:35:55.969 up, a gold star, drop a comment, you know, do 00:35:55.969 --> 00:35:58.550 all the things and help spread the word about 00:35:58.550 --> 00:36:01.050 My Weekly Mixtape to other music fans out there 00:36:01.050 --> 00:36:03.800 who might be interested in the show. Once again, 00:36:03.840 --> 00:36:06.500 my name is Brian Colburn. This has been my weekly 00:36:06.500 --> 00:36:09.539 mixtape. And until next time, enjoy the tunes.