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August Issue
more... GuitaristsBluesClassic RockWarren Haynes

Warren Haynes: Working-Class Hero

Warren Haynes: Working-Class Hero

Going Through the Motions
Haynes walks PG through each track on Man in Motion

“Man in Motion”
That is one of a couple of songs where we actually used a grand piano—most of the other songs use a Wurlitzer. I had come up with the horn arrangement in my head just walking around, and Gordie helped me change it a little bit. That song is hard to describe in terms of influences. It was a combination of a lot of different things.
Guitar: 1959 Gibson ES-345

“River’s Gonna Rise”
It definitely has the Albert King sound and approach. At the end of the song, we’re just jamming in the studio thinking we could always go back and either fade earlier or put an ending on it. We wound up using the longer version because we thought all the guitar freaks would like it.
Guitar: Gibson Les Paul Inspired by Warren Haynes

"Every Day Will Be Like a Holiday"
That was the only non-original song on the record. It had been stuck in my head for years and I always wanted to record it. The Mule actually played it once or twice, but when I started thinking about this record it seemed like a good candidate. I really love the combination of my voice along with Ruthie Foster and Ivan Neville, and all the interplay between Ivan and Ian. Just everything about that track is really special. I don’t remember the first time I heard that song, but I’m guessing that it was William Bell’s original version. I could never pinpoint exactly what recording it was. When I went back years later to revisit the song, I couldn’t find a version that sounded like what I remembered, so I just listened to a few different ones. William has been a friend for over 20 years, so it was a nice coincidence that he wrote the only outside song on the record.
Guitar: 1959 Gibson ES-345

"Sick of My Shadow"
I think the D’Angelico provided a nice contrast to the saxophone, especially since Ron is playing through a wah. It has a very early-to-mid-’70s vibe. People like Eddie Harris and Miles Davis’ album, On the Corner has stuff like that—a unique sound.
Guitar: D’Angelico New Yorker

"Your Wildest Dreams"
I use flatwound strings on the New Yorker, so it has that real earthy, warm sound. I have had that guitar about 10 years now. They sound amazing. I was able to do all the cool rhythm stuff, but with a sound that wasn’t as predictable.
Guitar: D’Angelico New Yorker

"On a Real Lonely Night"
Again, I wanted to contrast with the sax, which on this song didn’t have the wah. I thought all the cool question-and-answer stuff between the sax and the guitar works well. It is a little different sound from “Your Wildest Dreams,” even though it is the same guitar.
Guitar: D’Angelico New Yorker

"Hattiesburg Hustle"
We went for a little heavier sound on this song than the rest of the record—just because of the nature of the song. It could easily have been a Gov’t Mule song. I would say it’s the only one on the record that could have gone either way.
Guitar: Gordie Johnson’s Gibson ES-345

"A Friend to You"
This time—in addition to the amps—I ran it through a Leslie set on slow speed. That kind of cool Hendrix-y flange you hear is a real Leslie.
Guitar: D’Angelico New Yorker

"Take a Bullet"
David Grissom came by the studio the day we recorded that track—he lives near there and I told him just to drop by any day. I asked him if he wanted to play, so David played the rhythm guitar part, and I just sang on the basic track and played lead. Since the song is in E%, he tuned an ES-345 down to an open-Eb tuning. He was playing through the brown Fender Vibrolux that was from the late ’50s or early ’60s.
Guitar: 1969 Gibson ES-335

"Save Me"
We recorded that with just the piano, vocal, organ, and a small amount of guitar. We set up a really big old-school mic in the middle of the room and I sang about six feet away from it. I played through a Fender Super Reverb with some tremolo. We had originally thought it would be cool to record that song in a church—to capture that gospel essence of the tune. Willie has a really old church on his property and so we were actually going to try to record it in there. But they didn’t have a piano and we couldn’t move our piano, so we decided to just recreate the sound in the studio. We recorded it completely live and it was the last thing we did for the album.
Guitar: Gibson Les Paul Inspired by Warren Haynes

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