Hamp’s Hump PDF Tab

PDF Tab

Like many other blues artists, it seems Trey relies heavily on the Mixolydian mode and notice how he hits chord tones really well to outline the chord changes.  He also has a very swing feel to this.

I have included two clips.  To save these just right click on the link and Save As…:

• This clip is the intro of the song up to the first lyrics from the Alpine Valley show.  It is at full speed.
  • Funky Bitch Cip – Alpine Valley – Full Speed (~98bpm)
• This clip is the same clip but slowed down to 60bpm.  Ableton is GREAT for doing this kind of thing.  It is amazingly simple to do.
  • Funky Bitch Clip – Alpine Valley – 60bpm

And here is a link to the PDF tab.  As usual, I haven’t included timing but if you listen to the song you will pick it up.

PDF Tab

Of course, there may be errors in this file and any feedback would be greatly appreciated! Especially if this has helped you or was fun in any way.

I didn’t win the Hampton Reunion lottery and I didn’t have half a million dollars to pay scalpers for three nights worth of music plus transportation and lodging. But like a true phan, I sat by my computer from 8pm to midnight on March 6th, 7th and 8th, furiously pressing the refresh button on phish.com for set list updates. I was even fortunate enough to have some phriends call me from the shows and let me listen in via cell phone. Meanwhile, I longed for the day when I would once again be amongst the phrenzied Phisheads as Big Red, Leo, Cactus and the Bearded Lady took the stage and took me away to a place I had not been since 2004.

That day came on June 10th. Thanks to a great phriend (more like a brother), I was given a ticket to see the Phearsome Phoursome in Knoxville, TN… home to the Gators‘ rival Tennessee Douchebags, er, Volunteers. “Fine, that’s fine,” I said. It was well worth it to step onto enemy territory for the chance to see the greatest band in the world play live again.

With that same vim and vigor, Ryan and I set off from G’ville at approximately 9:30 in the morning, our destination seven hours away. We arrived in Knoville about two hours before showtime and promptly met up with the rest of our crew to find our seats. They were amazing. We were situated left-center stage in the third tier, affording us the perfect angle to see the band, the crowd and Chris Kuroda‘s eye-popping, mind-melting light show.

As the clock struck 8:30 (and Ryan and I finished our 20th game of Connect Four on his iPhone… he won all but one game I think), the lights dimmed, the crowd roared and I was about to spontaneously combust from excitement. Trey started strumming the three main chords in Runaway Jim – a typical upbeat opener – and that long-lost feeling that had been absent for half a decade was immediately replaced with a familiarity that seemed to have risen to the surface after an extended period of dormancy.

Runaway Jim ended after a very brief jam and the band took a quick breath before zipping into a spine-tingling Punch You In The Eye. Trey mastered every note with speed and efficiency while Page laid down the perfect accompanying riffs to make the entire crowd elevate to a level the Jim opener simply could not do.

PYITE was followed by one of the band’s new ditties, Ocelot, which offered a short-but-sweet solo and left me very excited for their impending new album. After Ocelot came the oh-so-funky Foam, which is always a delight. The only complaint I had (and I know Ryan shares this sentiment) was that Trey provided a short-lived, rather subdued jam instead of taking it to exotic heights like in years past.

To slow things down a bit, the boys played Train Song, with Ryan turning to me and singing on cue, “or you can tune up your car,” which brought a shit-eating grin to my face. I was glad to catch a Mike Gordon bluegrass song during this show… they’re always some of my favorite “unwinding” songs after a heavier offering.

A rare but exciting Undermind was next, which provided the best jam to that point in the show. That’s the great thing about Phish shows… you could have an amazing set list on paper and the one song you’d expect to be low-key (comparatively) ends up being the heaviest and hardest hitting. This was certainly true for Undermind.

The groovetastic Mike’s Song > I Am Hydrogen > Weekapaug Groove ensued shortly thereafter, prompting the first real roller coaster feeling of the evening, which the band navigated perfectly. Not for nothing, but you’d be hard-pressed to find a more beautiful and gut-wrenching song than Hydrogen. Of course, those emotions are blown to smithereens as soon as the first note of Weekapaug Groove is played.

After the Mike’s Groove, I was certain the first set was over. I was wrong. The band moved into a stunning Squirming Coil, with Page taking over towards the end and laying down one of the best solos of the night. One thing I’m really digging about post-breakup Phish is Page’s role as 1b to Trey’s 1a. His jazzy, classical undertones are the perfect compliment to Big Red’s fierce, fiery licks on the Languedoc.

To close out the first set, the band absolutely nailed Character Zero. Kuroda’s lights on this song were particularly special, helping to take the crowd to new plateaus. And just like that, the house lights came up and we were left blue balled and wanting that sweet, sweet release.

Set two began with another standard opener – Back On The Train. I always like the light, fun songs like that for set openers… they help get you back into the groove and build you up for what’s to come. Speaking of…

Waves, which is one of the most underrated songs in the band’s catalog, offered that very release I was left yearning for after the Character Zero set one closer. The jam was complex, with peaks and valleys that segued seamlessly into a brief trance-laden jam I was sure was an intro to David Bowie. I was wrong. The band started the first few notes of A Song I Heard The Ocean Sing. At that point, I knew I was witnessing a special show.

After that came the Bowie I was looking for. I can’t speak highly enough about this jam. I’ve listened to nearly every show Phish has played in the past 10 or so years and this was definitely one of (if not THE) best Bowie jams in that time frame. Trey shredded his way into the composed outro, sending the entire audience to cloud nine.

Page’s soulful, sentimental Army Of One followed the epic Bowie, giving the band and the crowd a much-needed reprieve, if only for a few minutes. I say “if only for a few minutes” because as soon as that song ended, the band tore into Reba, taking an already-frenzied audience into absolute pandemonium. The boys nailed every note and laid down a smooth, well-woven jam that climaxed at just the right moment. I was overcome with joy and my cheeks hurt from smiling so much.

After Reba came a brief acapella Hello My Baby, with the band huddled directly in front of us, left-center stage. When the boys were done harmonizing, they returned to their stations, grabbed their gear and zipped into the ever-upbeat Julius. As if that weren’t enough, fan favorite Cavern followed, with the entire audience singing alone in unison with the band. Then came the moment I was waiting for, not just all night, but for nearly five years.

Without question, my favorite Phish song is Harry Hood. To me, it is one of the most complete, complex and awe-inspiring compositions ever created. It features happy reggae beats, dark, ominous patterns and an angelic jam packed into the middle. As Fish played the first few notes on his drum kit, I was so overcome with joy, I almost cried.

Just as I had hoped, Hood provided a heavenly jam that took me to a place seemingly lost in the depths of my mind and the hallows of my heart. As soon as the band and audience began chanting “you can feel good, good, good about Hood,” I knew that feeling was back to stay. It was the perfect ending to a perfect set and a perfect show.

Of course, the cherry on top was the Frankenstein encore with Page on the keytar he made famous at the Hampton Reunion. I love Edgar Winter and I really love when Phish covers him, so I couldn’t have been happier leaving an unforgettable evening with such an uproarious tune like Frankenstein.

Yes, Phish is back in full force and I was glad to be sharin’ in the groove once more after such a long reprieve. Of the many things Ryan and I talked about on the ride back to G’ville, one thing we discussed and agreed on was the breakup or hiatus or whatever you’d call it was a blessing in disguise. This band is so in-tune with each other, feeding off each other’s jams with precision and excellence. It may have taken them a long time to get back on train, but trust me, the ride is worthwhile.

Set List

Runaway Jim
Punch You In The Eye
Ocelot
Foam
Train Song
Undermind
Mike’s Song >
I Am Hydrogen >
Weekapaug Groove
The Squirming Coil
Character Zero

Back On The Train
Waves >
A Song I Heard The Ocean Sing >
David Bowie
Army Of One
Reba
Hello My Baby
Julius >
Cavern >
Harry Hood

Frankenstein *

Notes
* – Page on keytar

• Phish 2009-06-10 Knoxville, TN Torrent (via bt.etree.org)

Wanee Festival

[[Show as slideshow]]

Photos Courtesy of Samantha Newton

The Allman Brothers are finally back…just not as jammy as before. Nonetheless, we won’t complain about two nights worth of southern blues, rock and jam music. The Liz Reed was just what the doctor ordered. So was the glorious The Sky Is Crying cover they pulled out.  As a whole, the band seemed a little less willing to extend out from their comfort zone then in years past.  The crowd at this years Wanee was definitely larger and maybe more interest was a bad thing.  The first night of the Allman Brothers was mellow and relaxed, almost as if Derek was just waiting for the show to be over and he could get to his set.  The second night was a lot more energy and in my opinion was a MUCH better show.  The band seemed to at least be enjoying themselves and not just waiting for it to be over.

Gov’t Mule

I hate to be so negative on so many bands but there are certain musicians, while I respect their ability and craft, that I just can’t seem to enjoy.  Acts like Gov’t Mule, where the songwriting is bleh, the jams are tired, and the highlights of the show are the covers they play. This just gets old after a few times of seeing them.  One thing about bands like this is that they are trying too hard to blur the line between being a popular band and still keep an air of improvisation.  What separates the big boys like Phish from a Gov’t Mule is that the WHOLE BAND is involved in every solo.  It is not just ‘hey let’s back up the soloist,’ instead it is ‘if I feel like taking this in a new direction I will and am encouraged to do so.’  I saw Phish a few nights after Wanee and the difference is overwhelming.  Phish is the best improvisational band out their today, there is no comparison.

Derek Trucks Band

I miss the days where the Derek Trucks Band played the songs off of their Soul Serenade and Songlines albums. It is almost like we are losing Derek to popular culture.  He started with such great, jazzy/bluesy stuff and now it is more and more pop.  When was the last Afro Blue or Oriental Folk Song? I am so sick of The Weight and Already Free.  Also, I have the feeling Derek would be better off in a band that was not his own, his song writing isn’t the best, but he could be part of something great if he just had the right people around him.  I realize this all sounds pretty negative.  I had a great time at these shows and it was a blast, I just feel like I have seen the same Derek show year after year and I can’t really tell you the difference between them.  Every Phish show I have been to is so much different and I can distinguish them all, I wish it was the same with Derek.

Buddy Guy

Since I have started with so much negative, here are some real positives at the festival.  Buddy Guy was a huge highlight of the festival.  For his age and also the legend that he has to live up to, it is amazing the show he can put on.  The show had some great blues and felt like a warm, sitting on the porch, listening experience.  Buddy proceeded to come off stage and wirelessly play guitar and sing while walking through the crowd.  It was a blast and the crowd was great.

The Lee Boys w/ Oteil, Keller Williams

Another highlight was definitely the Lee Boys with Oteil Burbridge.  The mix of pedal steel gospel and Oteil’s jazz bass makes a great energetic combination.  You could tell that the whole band and crowd was into the show and the growing crowd of artists backstage let you know that something special was happening.  Roosevelt Collier puts on a great show but I was really impressed by the rhythm guitarist, Matt Grondin.  Funky, nice motion in his lines, and completely willing to just help everyone else sound better.  He didn’t even take a single solo.  Also, solid as always, was Keller Williams.  He is usually so upbeat and happy it is difficult not to have a good time if the crowd responds at all.

BK3 (Bill Kreutzmann Trio)

A band that I was surprised by was BK3 (Bill Kreutzmann Trio).  First off, the sight of a Paul Languedoc guitar will always catch my attention.  We were walking up to the stage from afar and we were all like, damn that really sounds like Trey’s tone.  Little did we know that one of those beautiful hollow body creations of Mr. Languedoc was being used.  I need to get my hands on one of them.  Anyways, I thought this show was great and I would be excited to see BK3 again.  They played a great Scarlet and felt like an improvisational band should.  Nice grooves, not too minor, and fans bobbing their heads.  If you haven’t had a chance to see these guys I would highly recommend it.

Jorma Kaukonen

Jorma Kaukonen is a must-see live. If you appreciate the fine art of acoustic finger picking and song writing, you can’t afford to miss one of the game’s living legends live.  Unfortunately, it poured for most of Jorma’s set and it was a bit hard to hear.  This was one of the acts that I was really looking forward to and he sounded great.

Drive-By Truckers and Ron Hollowan

Last and certainly least…my two least favorite acts ever. First, the Drive-By Truckers. You suck. I see no reason that anybody would enjoy what you play.  I don’t mean to be too hard but seriously, who listens to this crap?  The songwriting is terrible, the signer sucks, the musicians are sub-par, and you all act like you are some big rock band that everyone admires.  Everytime I have seen you which has been 3 times too many, there is a large crowd to start and about 20 people by the end.  Please spare us and go play some carnivals, just stay away from Wanee.  Thanks.

Next up is Ron Holloway – You single-handedly kill every single jam you are involved in with your over-the-top, screeching sax solos.  I almost cry every time someone announces that Ron Holloway will be joining them.  With so many great sax players out there that can add so much to a song I don’t see why this guy gets so much attention from the Allman Brothers.  I know I am supposed to just be appreciative of the music and I do respect the fact that he is doing what he is doing but I don’t need to see him ruin song after song when I could be watching the Allman Brothers take more time themselves.

Maybe if the Drive-By Truckers would add Ron Holloway to their band all of this anguish could be avoided.

[Show as slideshow]

[View with PicLens]

12►

Wanee Music Festival 2009 Torrent Links

(Lee Boys, Keller Williams, Derek Trucks Band, BK3, Dumpstaphunk, Jaimoe’s Jassz Band,  Gov’t Mule, Little Feat, The Radiators, Arc Angels, Umphrey’s McGee)

AND FINALLY, for all your Wanee Music Festival Torrent downloads, here are a ton of links to keep your eardrums satiated for a while…

• The Lee Boys with Oteil Burbridge Torrent
• Keller Williams Torrent
• Derek Trucks Band Torrent
• BK3 (Bill Kreutzmann Trio) Torrent
• Dumpstaphunk Torrent
• Jaimoe’s Jasssz Band Torrent
• Gov’t Mule Torrent
• Little Feat Torrent
• The Radiators Torrent
• Arc Angels Torrent
• Umphrey’s McGee Torrent

Derek Trucks Band
Wanee Festival
Mushroom Stage
Live Oak, Florida
April 14th, 2006

Chevrolet
Volunteered Slavery >
I’ll Find My Way
Crow Jane
Sahib Teri Bandi
I Wish I Knew
Maybe Your Baby
Mahjoun > Greensleeves+
Key To The Highway=
Soul Stew=
Everything Is Everything=
The Weight*
Spirit In The Dark*%
Feel So Bad*-#

+with Jack Pearson (Guitar)
=with Luther Dickinson (Guitar)
*with Susan Tedeschi (Vocals)
-with Susan Tedeschi (Guitar)
%with Rosevelt Collier (Pedal Steel Guitar)
#with Floyd Miles (Vocals)

You can find the set FREE for download (in mp3 format) below at archive.org:

http://www.archive.org/details/dtb2006-04-14.pvm480.flac16

Highlights from the show include the always-electrifying Indian-instrumental Sahib Teri Bandi, which Derek took to exotic extremes, a whaling rendition of The Weight with Susan channeling her inner Aretha, and Feel So Bad, with Floyd and Susan’s back-and-forth bluesy vocals taking over. See you at Wanee 2009!

The 5th annual Wanee Festival will take place June 5-6 at the Spirit of the Suwannee Park in Live Oak, FL.

Check out this video of the Brothers, Guy and Trey and Page jamming out to Southbound at the Beacon earlier this year…

www.youtube.com/watch?v=4wHnMWOSW3c

Lettuce – Speak E.Z. on Last.fm

HERE IS THE PDF OF THE TAB

Or….you can click on the image below to bring up the tab in a new window.

Ryan recently posted a link to bt.etree.org, which features endless amounts of incredible recordings of all your favorite jam bands. This is the first in what will be a monthly feature of our favorite downloads from the site.

Up first…Phish‘s famed three-night run at the historic Red Rocks Amphitheater in Morrison, CO in the fine year of 1996.  These shows were made famous by getting Phish banned from Red Rocks because of the Phan “riots” that ensued!  Of course, what eyewitnesses say actually happened is some local community members were angered at the influx of people and the cops overreacted.  Watch the video below for some coverage of the event.  It seems that Phish has terrible luck at this venue considering this year the Ticketmaster mishap had lots of Phans thinking they had secretly snuck tickets a week before the tickets actually went on sale.

Anyways, this is a great run of shows and you should check it out.

The Shows!

08/04/96

Set I: Chalkdust Torture, Funky Bitch, Guyute, Fee, Split Open and Melt, The Mango Song, The Sloth, Maze, Loving Cup
Set II: AC/DC Bag, Reba, Scent of a Mule, Sample in a Jar, David Bowie, Sweet Adeline, Slave to the Traffic Light
Encore: Star Trek Theme¹, Rocky Top

¹ Page solo

08/05/96

Set I: Wilson, Poor Heart, Guelah Papyrus, The Divided Sky, Wolfman’s Brother, Foam, If I Could, Julius, Squirming Coil
Set II: Also Sprach Zarathustra, Down With Disease> It’s Ice, Halley’s Comet> Somewhere Over the Rainbow¹, Waste², Talk^{2 3}, Train Song², Strange Design², Amazing Grace, Mike’s Song> I am Hydrogen> Weekapaug Groove
Encore: Cavern

¹ Page solo
² Acoustic side-stage
³ First time played

08/06/96

Set I: Makisupa Policeman, Rift¹, Suzy Greenberg> Simple, Theme from the Bottom, The Lizards, Dinner and a Movie, Horn, Run Like An Antelope
Set II: The Curtain, Tweezer, Prince Caspian, A Day in the Life, Big Black Furry Creature from Mars, HYHU> Purple Rain> HYHU, Harry Hood²> Tweezer Reprise
Encore: Johnny B Goode

¹ “This is Red Rocks, This is the Edge!!”
² First “Hood” with audience chanting

These shows included many memorable events, such as the first appearance of the “Hood” chant during “Harry Hood,” as well as various “group crowd ideas” and a mini acoustic stage at one point in time.

ENJOY!

And of course, we can’t escape putting up some funny videos of the event.

www.youtube.com/watch?v=lIOPpiXhldg

Let’s first look at this pattern that can be ANYWHERE on the neck….NOTE: the R, 3, and 5 represent a Root, 3rd and 5th and not a tablature fret.

Let’s just call this the 6th String Major Triad Pattern.

 E|xxx|xxx|-5-|---|---|---|---|---|
 B|xxx|xxx|---|---|-3-|---|---|---|
 G|xxx|xxx|---|---|-R-|---|---|---|
 D|xxx|xxx|---|---|-5-|---|---|---|
 A|xxx|xxx|---|---|---|---|-3-|---|
 E|xxx|xxx|---|---|---|---|---|-R-|

Now, if you look, there are 4 chords here. I.e….

Chord One: Notice the chord is Root, 3rd, Fifth, in that order.

 E|xxx|xxx|---|---|---|---|---|---|
 B|xxx|xxx|---|---|---|---|---|---|
 G|xxx|xxx|---|---|---|---|---|---|
 D|xxx|xxx|---|---|-5-|---|---|---|
 A|xxx|xxx|---|---|---|---|-3-|---|
 E|xxx|xxx|---|---|---|---|---|-R-|

Chord Two: The chord is 3rd, 5th, Root.

 E|xxx|xxx|---|---|---|---|---|---|
 B|xxx|xxx|---|---|---|---|---|---|
 G|xxx|xxx|---|---|-R-|---|---|---|
 D|xxx|xxx|---|---|-5-|---|---|---|
 A|xxx|xxx|---|---|---|---|-3-|---|
 E|xxx|xxx|---|---|---|---|---|---|

Chord Three: The chord is 5th, Root, 3rd.

 E|xxx|xxx|---|---|---|---|---|---|
 B|xxx|xxx|---|---|-3-|---|---|---|
 G|xxx|xxx|---|---|-R-|---|---|---|
 D|xxx|xxx|---|---|-5-|---|---|---|
 A|xxx|xxx|---|---|---|---|---|---|
 E|xxx|xxx|---|---|---|---|---|---|

Chord Four: The chord is Root, 3rd, 5th again.

 E|xxx|xxx|-5-|---|---|---|---|---|
 B|xxx|xxx|---|---|-3-|---|---|---|
 G|xxx|xxx|---|---|-R-|---|---|---|
 D|xxx|xxx|---|---|---|---|---|---|
 A|xxx|xxx|---|---|---|---|---|---|
 E|xxx|xxx|---|---|---|---|---|---|

The great thing is that all of these chords represent the same chord! So, if the Root is on the 8th fret or a C then these four chords are all C chords.  Here are some good exercises to practice….these are in tablature.

If you practice this every now and again for a week you will have it down, it is really pretty simple.

Ascending (Say or think if the note you are playing is a Root, Third, or Fifth)

E|---|---|---|---|---|---|---|---|---|---|---|-3-|
B|---|---|---|---|---|---|---|---|-5-|---|-5-|---|
G|---|---|---|---|---|-5-|---|-5-|---|-5-|---|---|
D|---|---|-5-|---|-5-|---|-5-|---|---|---|---|---|
A|---|-7-|---|-7-|---|---|---|---|---|---|---|---|
E|-8-|---|---|---|---|---|---|---|---|---|---|---|
   ^Chord One  ^Chord Two  ^Chord Three^Chord Four

Descending

E|-3-|---|---|---|---|---|---|---|---|---|---|---|
B|---|-5-|---|-5-|---|---|---|---|---|---|---|---|
G|---|---|-5-|---|-5-|---|-5-|---|---|---|---|---|
D|---|---|---|---|---|-5-|---|-5-|---|-5-|---|---|
A|---|---|---|---|---|---|---|---|-7-|---|-7-|---|
E|---|---|---|---|---|---|---|---|---|---|---|-8-|
   ^Chord Four ^Chord Three^Chord Two  ^Chord One

Chords

E|---|---|---|---|---|---|-3-|-3-|
B|---|---|---|---|-5-|-5-|-5-|-5-|
G|---|---|-5-|-5-|-5-|-5-|-5-|-5-|
D|-5-|-5-|-5-|-5-|-5-|-5-|---|---|
A|-7-|-7-|-7-|-7-|---|---|---|---|
E|-8-|-8-|---|---|---|---|---|---|
   ^C1     ^C2     ^C3     ^C4

And that is it for lesson one….believe it or not you learned what is called an inversion there too….but I will leave that for a little later.

Ami: Your music is so entrenched in the name of your two major bands. Can you tell us a little bit about growing up in the Hill Country of North Mississippi at places like Junior’s Juke Joint and how that helped shape and influence your current sound?

Cody: I was so fortunate growing up around Junior Kimbrough, R.L. Burnside and Otha Turner. They had these amazing families with real talented kids that I got to know, and that’s kind of how I got to absorb music. It was a real infant stage of musical upbringing, so I learned a lot from them early on that I took with me wherever I went. It’s just incredible. The songwriting and the whole deal that was going on back then, it was really incredible. And the thing is, it’s still happening. The Hill Country blues is actually a modern genre, and guys like Garry and Cedric Burnside with Burnside Exploration are still out there writing new music as we speak. It’s real exciting and very vital.

Ryan: The Hill Country blues, R.L. Burnside, Junior Kimbrough… it’s kind of that drone bass style that sticks in one key. What steps do you take to modernize that and how does Hill Country Revue add to that on technical level?

Cody: It’s funny… I feel like Hill Country Revue, we have a lot of different takes on this certain style of music I grew up playing. When we first started jamming on the songs, we were in the studio and I just started recording it. That became the first CD we printed up, which then got in the hands of Sirius radio. That said, I think the important thing is that we play roots music and keep tradition, but at the same time, I think it’s the artist’s responsibility to destroy it.

Ami: Kind of like constantly redefining the boundaries?

Cody: Yeah, exactly. On “Make A Move,” HCR’s record that’s coming out, it’s got a gospel feel but it’s a Hill Country song at it’s roots, no doubt.

Ami: Can you explain to us the difference in dynamic from being a drummer and kind of behind the scenes with NMAS to being a guitarist and frontman with HCR?

Cody: I took a lot of comfort being behind my drum kit for years, but I wasn’t that interested in it, to be honest, and I was always an “all about the music” kind of guy, but that sort of changed. I don’t know what happened, but I was just ready for something different. I feel so lucky, you know? It all feels fresh and new again 10 years into it. It’s pretty amazing. Really, Hill Country has been a blessing for me through and through.

Ami: Speaking of your guitar work with Hill Country, can you describe the differences between the many guitars you use, like the old Gretsch Duo Jet and the Robin?

Cody: My main guitar is a Les Paul Standard and I use a pickup with a lead and a rhythm switch on it. Lately, my approach has been to us that almost a lot like drummers use pedals… I have a lot of pedals. So, that’s my main axe. Then there’s the Epiphone hollow body that’s my backup. It’s much better in the studio because it has more versatile tones. You can get the smooth, rubber band Stratocaster tones, the meaty hollow body sound, even the humbucker Les Paul fatness. And lately, I’ve got this Peavey that I really love. It’s super-modern.

Ami: Nice. So, we’re excited you’re coming back to Wanee this year. It’s been four years since NMAS played the festival, and as huge Allman fans and locals to the venue, we consider it our little baby. How excited are you to get back to the woods and does the venue’s atmosphere have the same invigorating effect on the artists as it does on, us, the fans?

Cody: Oh, absolutely! I love the look and the feel of the whole festival. It’s so green and there’s plenty of shade… just the way a festival should be. Not to mention, the Allman Brothers and the hospitality they extend to everyone. Their families are so cool, and hanging out with them, like you said, it’s invigorating and great. So, yeah, I’m stoked to be coming back.

www.youtube.com/watch?v=xT8-2PIDMvI

Ryan: You had mentioned your guitars and that you have a lot of pedals. A lot of our readers are interested in how artists are generating their sound. As far as pedals go, what are your tried and true equipment to use?

Cody: With Hill Country Revue, I have an electric washboard, which is mainly a wah-wah with delay. I also have a flanger and a phaser. The phaser is a newer model that will modulate sounds and actually generate notes. So I use that to really get some of that crazy, alien type of underwater sounds I get from a washboard. I like to use the washboard effects a lot, also.

Ryan: And as far as amps go, when you’re playing with Hill Country Revue, which ones do you use?

Cody: I got a Peavey Valve King 100-watt stack that’s so badass. I love it. I was using Marshall… just a small, solid stage rig, but these four tubes in this Peavey are just humming.

Ryan: Yeah, wow, that’s gotta be real loud.

Ami: So, one last question before let you go, Cody. Well, actually, it’s more like a request. We’ve been flooding the shit out of your website’s concert song request link. Both Ryan and I are huge fans of The Word. It’s certainly one of my favorite jam supergroups. So, we’d be forever grateful if you guys would play “Joyful Sounds” when you come to town this week.

Cody: Yeah, absolutely man. You know, we were hanging out with the Lee Boys the last time we were down there, and we’ve recently been working it up. Luther and I worked it up on guitar with a full band, so yeah, we’ll do it.

Ami: Solid. Whenever I listen to The Word play “Joyful Sounds,” I can’t help but have a smile on my face. That sound is just soul-shattering.

Cody: Thanks, man. The Word is a special thing, how that all came to be. It was exciting when it was first starting, and how it’s maintained is really cool. Man, I love The Word.

Ami: Any plans for a spontaneous reunion sometime soon?

Cody: Nah, man. Nothing on the horizon.

Ami: Well, call your brother and Robert (Randolph) and make it happen.

Cody: All right, brother… will do.