Bill Wyman's first album in 9 years, Drive My Car is out August 9.
Drive My Car will be available digitally, on CD and gatefold vinyl. Both CD and digital formats will feature two additional bonus tracks.
As a founding member and rhythm architect of The Rolling Stones, Bill became a household name, revered by fans and peers alike. With a career spanning over six decades, Wyman steps back into the spotlight with a fresh collection of songs showcasing his passion and talent. Five tracks, including the albumās title track are self-penned, a testament to Billās enduring songwriting talent. āItās not something I do every day, but sometimes I just see a guitar in the corner of the room, pick it up to play around, and then something clicks into place,ā he explains.
Bill Wyman - Drive My Car (Official Lyric Video)
Recorded at Wymanās home studio, Drive My Car features a tight-knit group of long-time collaborators, including guitarist Terry Taylor and drummer Paul Beavis. āA bass player and a drummer are a team, youāre the rhythm section, the foundation of the whole thing,ā Bill emphasizes. The album opens with a unique rendition of Bob Dylanās 'Thunder On The Mountain,' combining elements from both Dylan's original and Wanda Jacksonās lively cover. āIāve known Bob since the mid-ā60s," says Bill. "He used to take me and Brian Jones round the Greenwich Village clubs whenever we were in New York. We were very good friends for a while, he was a really nice guy.ā
Another highlight is a cover of Taj Mahalās 'Light Rain.' Bill recounts their long-standing friendship, which began in 1968 when Taj was invited to join The Stones Rock ānā Roll Circus TV special. āHe was fascinated that I was a member of the Royal Horticultural Society ā we bonded over botany!ā he recalls fondly.
Bill Wyman had a busy 2023. The oldest of the Rolling Stones (āThey all talk about the war, but none of them remember it like I do!ā), Bill mined his memories for vivid anecdotes of his wartime childhood and published them in an engrossing book, Billy In The Wars. At the same time, he was planning for the future, recording the songs for Drive My Car.
Reflecting on the albumās overall sound, Bill cites JJ Cale as a major influence. āI think the biggest influence on the album as a whole is JJ Cale, his laidback groove has always appealed to me. Friends Iāve played it to have said things like āit really sounds like youā, and that makes me happy. Iāve never tried to be anyone else - Iām Bill, basically.ā
For more information, please visit billwyman.com.
The country and bluegrass power duo show off a selection of their acoustic and electric guitars, which include gems like an original Frying Pan and a 1927 Montgomery Ward acoustic.
Since their debut, Before the Sun Goes Down, in 2014, Rob Ickes and Trey Hensley have made a name for themselves as some of the hottest country and bluegrass players in the business. As individuals, their credits range from Willie Nelson to Earl Scruggs to Merle Haggardāand as a duo, theyāve toured and recorded with artists including Tommy Emmanuel, Taj Mahal, Jorma Kaukonen & Hot Tuna, Luther Dickinson, and Molly Tuttle. Itās likely their forthcoming full-length release, Living in a Song, will only bolster their already impressive reputation.
Out on February 10th, Living in a Song is a new collection of two covers and 10 originals that were inspired by Ickes and Hensleyās life on the road. They collaborated with long-time producer Brent Maher (Merle Haggard, Willie Nelson) along with some award-winning songwriters to compose a total of 40 songs, which were then trimmed down to the resulting selection. That final cut of material leans into a classic country sound, with some Americana and bluegrass thrown in.
Along with the aforementioned credits, Ickes and Hensley have long been established, separately, as formidable musicians. Ickes has been International Bluegrass Music Association Dobro Player of the Year an incredible 15 times, and Hensley made his debut performance at the Grand Ole Opry at just 11 years old. In other words, the two have been around the block, and especially know their way around dobros and flattop acoustics.
Earlier this month, PGās John Bohlinger met up with the duo at 3Sirens Studio in Nashville, where they played some mind-blowing music, and gave a rundown of some of their favorite guitars and gear.
Click here to pre-save Living in a Song which releases on Friday, Feb. 10.
Brought to you by DāAddario Humidipak.
Mind-Bending Bender
This dreadnought was built for Trey by the Oregon-based Preston Thompson Guitars in 2018. Itās the companyās D-MA model, with sinker mahogany back and sides and an Adirondack spruce top. But what truly makes the guitar special is its StringBender B-bender, which was built into the model by former Byrd and StringBender founder, Gene Parsons, himself. Itās also equipped with an LR Baggs Lyric. As for accessories, Trey uses DāAddario Nickel Bronze .013-.056 strings on all of his guitars, Blue Chip TAD60 picks, a Dunlop Blues Bottle slide, and a DāAddario Rich Robinson slide.
The Guts
Here's a tight shot of the inner mechanisms that engage the B-Bender.
Fighting Spirit
Treyās favorite guitar is his 1954 Martin D-28. āIāve had this one for about 20 years now,ā he says, āI think Iām the third owner of it.ā The first owner wore the neck down so that āitās real skinny and gets super fat right at the fifth fret.ā He brings his D-28 to most of his recording sessions, and while it also has an LR Baggs Lyric, āThis guitar does not want to be plugged in at all,ā he says, āIt just fights back.ā It has Brazilian rosewood back and sides; as for the top wood, āAnybodyās guess is as good as mine.ā
Ugly Duckling
Found at Fannyās House of Music in Nashville, this 1965 Harmony Sovereign Deluxe H1265 makes a bit of a statement with its prominent pickguard and mustache bridge. Or, as Trey puts it, āItās possibly the ugliest guitar Iāve ever seen.ā He calls the jumbo-bodied model his āTaj Mahal guitar,ā as the bluesman requested it when Trey and Rob joined him for a few performances late last year. āI really like it,ā Trey says, smiling, āItās the guitar that shouldnāt be.ā
No. 610
āThis is probably one of my other favorites,ā Trey says of his 2015 Wayne Henderson dreadnoughtāthe guitar makerās 610th build. Its specced to a Martin D-18, with mahogany back and sides. The Virginia builder famously built a few models for Eric Clapton, and notoriously has a very, very long wait listāwhich is why Trey was so afraid to put a pickup in it and take it out on the road after he got it. And thenā¦. āThe first night I took it out, it wasnāt on the strap button good, and it fell and hit the concrete floor. This piece here was split,ā he says, gesturing to an area on the top plate. Thankfully, he was able to get it repaired. āIt sounded really good before I dropped it, but it sounded about a million times better after I dropped it,ā he says, āSo, the moral of the story is: Drop your guitar.ā
Before the War
Another D-18 copy, this 2017 Pre-War Guitars Co. model has mahogany back and sides, and is outfitted with an LR Baggs Anthem SL. It bears Taj Mahalās signature on the front, and Treyās on the back. The latter choice was Treyās way of imitating Earl Scruggs, since he saw Scruggs had done the same to a couple of his instruments when he performed with him as a kid.
Black Dove
Next, a 2022 Gibson Elvis Dove, is āprobably the only oddball acoustic I have,ā says Trey. āI wasnāt planning on flatpicking on this thing, but Iāve already used it for some sessions.ā Its maple back and sides make it the perfect choice to emulate the J-200 he borrowed from his producer for a country record he and Rob just finished recording.
Tried and True
Last in the acoustic queue is Treyās 2021 Martin D-41. āThis oneās been my main guitar for about a year now,ā he says. Itās equipped with an LR Baggs Anthem SL, and has a bit of a lower setup compared to his other guitarsābut with medium gauge strings, he says, it doesnāt buzz.
Loud and Clear
When Trey isnāt going DI through his LR Baggs Voiceprint, he runs his acoustics through his Fishman Loudbox Artist.
Go-To Gibson
Treyās go-to electric is his Gibson Custom Shop 1958 Les Paul Reissue VOS, which he got in 2008. He keeps this guitar and his other electrics strung with DāAddario NYXL .010-.046 strings, which can be a bit jarring to his fretting hand when switching over from the .013s on his acoustics. āIt takes a minute to not rip the neck off,ā he says.
Byrd Build
This 2017 Parsons StringBender T-style was one of Gene Parsonsā early prototypes when he started building guitars.
Headshot For the Headstock
Here's Gene Parsons riding proudly on his 2017 T-style build for Trey Hensley.
To the T
The newest addition to Treyās electric arsenal is this Berly Guitars Telecaster, built with Rocketfire ā60s-style pickups and āfrets basically as big as my Les Paul.ā
Trey Hensleyās Pedalboards (Acoustic)
Treyās acoustic pedalboard is set up with a DāAddario tuner, an EHX Nano Q-Tron Envelope Filter, a Boss CE-2W Waza Craft Chorus, a Boss HM-2W Waza Craft Heavy Metal, a DigiTech Whammy Ricochet, an EarthQuaker Devices Ghost Echo Reverb, a Grace Design Alix preamp, and an LR Baggs Voiceprint. Power comes from a Voodoo Labs Pedal Power 2. It might be a bit unconventional for him to have two DIs, but he says he uses the Alix āfor some EQ and mainly a boost; Iām bypassing it as a DI.ā And, referring to the Voiceprint, he says, āIf I can only take one pedal, itās going to be that.ā
Trey Hensleyās Pedalboards (Electric)
āIāll preface it by saying, I donāt know what Iām doing,ā admits Trey. On his electric pedalboard, he goes into his Dunlop Zakk Wylde Wah, then his DāAddario tunerāāYou want that, after the wah,āāthen into an EHX Micro Q-Tron, a Keeley Super Phat Mod, a Keeley Sweet Spot Johnny Hiland Super Drive, a JHS PackRat, an EHX J Mascis Ramās Head Big Muff Pi, a Keeley Dark Side, and an MXR EVH Phase 90.
Olā Reliable
Trey has several amps for acoustic and electric. Today he was using a Fender ā68 Custom Princeton Reverb Reissue for his electric.
Bold and Byrly
āWhen you play a really good dobro, itās in your face super fast,ā says Rob Ickes, describing his main axe, a Byrl Guitars Rob Ickes Signature Series resonatorāan instrument distinguished by its half-and-half ebony and curly maple fretboard. Itās equipped with a Fishman Nashville Reso Series pickup, which Ickes says is probably the first pickup that heās used thatās nearly 100 percent faithful to the dobro sound. He uses DāAddario Nickel Bronze strings, Blue Chip thumb picks, and Bob Perry gold-plated fingerpicks, as well as a Scheerhorn bar slide.
Scheer Invention
This resonator guitar, made by Tim Scheerhorn, has Indian rosewood back and sides and a spruce top. According to Ickes, Scheerhorn āwas kind of the Stradivarius of the dobro.ā He was the first to start using solid woodsāas opposed to the earlier use of plywoodāand put sound posts inside the body, like those in a violin. āHe also does a little baffle that helps force the sound out of the sound holes,ā explains Ickes.
Maple Flames
The second Byrl resonator Ickes shared with us is made from flame maple, giving it that distinctive look, and is actually the first guitar he got from Byrl. He tunes it to an open G chord, which he recently discovered is the original Hawaiian tuning. It has a Beard Legend spun cone made of an aluminum alloy and named after Mike Auldridge.
One Manās Trash
Ickes found this 1930s dobro at a music store owned by a friend outside of Franklin, Tennessee. Itās made with a stamped cone. āItās a little bit garbage can, in a good way,ā he says, āIāll use it on sessions if I want a trashier sound.ā He normally keeps it in a lower tuning, such as open D.
Family Heirloom
This 1927 Montgomery Ward guitar has a story as intriguing as its sound. It belonged to Ickesā grandfather, who was a fiddle player: He discovered it one day in the attic of his family home. āThis one spoke to me right out of the box,ā he shares,ā It had that funkātimes 10.ā It sports signatures from Taj Mahal and Merle Haggard, the latter of whom Ickes recorded a bluegrass album with back in 2006. āI take this to a lot of sessions, in case they need that funky kind of dirt-road sound,ā he explains.
Let Slide
āThis next one is a more modern version of that,ā Ickes says of another model, a Wayne Henderson guitar which he says is the first slide guitar Henderson built. āI just said, āDo what you do, but raise the action a bit here at the nut.āā It has a Fishman Nashville Series Reso pickup which Ickes has go into a Fishman Aura Spectrum DI.
A Flash in the Pan
One of the most interesting guitars in Ickesā collection is his 1932 Rickenbacker Frying Pan, an electric lap steel that was one of the first ever of its kind to be created. āIt just cracks me up how they nailed it right out of the box,ā he comments. Its single knob is a combination of tone and volumeāāAs you move to the right, it gets brighter and louder. As you move to the left it gets quieter.ā
Silver Surfer
As you can tell, several of the guitars that Ickes brought on this Rig Rundown are from the 1930s, including this Rickenbacker lap steel, nicknamed the āSilver Surfer.ā Its mirror-like fretboard made it difficult for Ickes to see the frets when playing live, so he had them covered in red tape, which make them stand out much better.
Black and White
The last of Ickesā guitars is another 1930s Rickenbacker lap steel, which he fondly refers to as the āPanda,ā due to its black-and-white decor. He loves how it sounds, but admits, āThis is great if you donāt leave the house [with it],ā as itās very heavy and doesnāt really stay in tune.
Dulcet Dairy Tones
Despite how Ickes typically favors vintage amps, heās fond of this newer 20-watt Milkman Creamer, which he bought with a lap steel from a friend in California after hearing the two in combination. It has all the vintage vibe without the hassle of old amps.
Liāl Champ
Another amp in Ickesā collection is his ā50s Fender Champ.
Small Yet Mighty
A third amp that Ickes shared with us is a vintage 1930s Rickenbacker.
Rob Ickesā Pedalboards (Dobro)
Ickes has two separate pedal boards for his dobro and for his lap steel. Both boards are powered with separate Truetone 1 Spots. He keeps things simple on his dobro board, which includes a Fishman Aura Spectrum DI, an MXR Eddie Van Halen Phase 90, a Walrus Audio Mako Series R1 Reverb, and a ā80s era Boss DM-2 Delay.
Rob Ickes' Lap Steel Pedalboard
The simple setup trend continues with his lap steel pedalboard, which is made up of another four pedals: an EXH Micro Q-Tron, a Keeley Super Phat Mod, an MXR Phase 90, and a Keeley Omni Reverb.
Way back in 1965, Taj Mahal left his Massachusetts home and headed to California in search of a 17-year-old blues phenom named Ry Cooder. The rest, as Mahal puts it, is āour-story.ā
Almost six decades after forming the short-lived Rising Sons, the two legends reconvene to pay tribute to the classic blues duo of Sonny Terry and Brownie McGhee on the warm and rootsy Get on Board.
Deep into Taj Mahal and Ry Cooderās Get on Board: The Songs of Sonny Terry & Brownie McGhee, percussionist Joachim Cooder lays out, letting the two elder musicians can take a pass through āPawn Shop Blues.ā To start, they loosely play around with the songās intro on their acoustic guitars. āYeah, nice,ā remarks Mahal off-handedly in his distinctive raspāpresent since he was a young man but, at 79, heās aged into itāand Cooder lightly chuckles. They hit the turnaround and settle into a slow, loping tempo. Itās a casual and informal affairāsome notes buzz, and it sounds like one of them is stomping his foot intermittently. Except for Cooderās slide choruses, neither guitar plays a rhythm or lead role. They simply converse.
The two legends sound less like theyāre making a record in a studio and more like theyāre hanging out and catching up over some music. Mahal describes this feel as āragged, but right.ā Itās the same kind of collective sound that historic blues duo Sonny Terry and Brownie McGhee often possessed. But on Get on Board, itās unique to these two old friends, who set out on their journeys long ago. āWeāre bouncing off one another, weāre bouncing off the music, and weāre bouncing off the joy of being able to play this stuff, having the opportunity,ā says Mahal.
Taj Mahal & Ry Cooder - The Making of 'GET ON BOARD'
That āragged, but rightā vibe pervades each track on Get on Board, from the opening thump of āMy Baby Done Changed the Lock on the Doorā to the springy call and response of āDrinkinā Wine Spo-Dee-O-Deeā to the closing ritardando on āI Shall Not Be Moved.ā And itās why, as Mahal explains, Get on Board transcends its recorded form: āItās the kind of thing, when you listen in on it if you have the record playing in the other room, youāre sure those guys are in the other room,ā he says. āEven though you know theyāre not there, you gotta go and look.ā
There are plenty of blues and folk albums that celebrate the genreās early heroesātribute projects that offer a feel-good time for musicians and listeners alike. And Get on Board is a masterfully produced, creative take on fantastic old music. But itās also a one-of-a-kind reunion of two musical polyglots who, itās fair to say, have explored the depth of the blues, following it on separate paths to the ends of the Earth and delving into the music from every angleāmaybe more than anyone else. Now, five decades after their initial career-starting collaboration in 1965, theyāve come back to their roots together.
The Early Days
The short-lived Rising Sons kickstarted the careers of both Mahal and Cooder. From left: Taj Mahal, Jesse Lee Kincaid, Gary Marker, Ry Cooder, and Kevin Kelley.
Photo from KRLA Beat
Each playerās early history is essential to their music as a duo. āBoth of my parents were musical, and their culture was extremely musical and at a very high, sophisticated level,ā Mahal explains. āWeāre talking Ben Webster, Coleman Hawkins, Count Basie, Billy Eckstein, Billy Daniels, Duke Ellington, Ella Fitzgerald ⦠this kind of music. But there was also swinging, dancing music that was happening. Jitterbugging, all kinds of different stuff.ā
He began forming his own tastes in the nascent days of rock ānā roll, which Mahal says āwas a step way downā from the music he was exploringāmusic by artists from the 1930s and ā40s, who, he points out, were still alive and recording. āI was getting their juice as it was coming throughānot as an echo. By the time I came around to hear it, I kept thinking, thereās gotta be some older form of the music. And I would hear a little bit of it; my mother would sing some songs from South Carolina.ā And thus began his lifelong search for deeper and deeper musical connections: āOnce I found out that you could jump into that river, even into the ocean, and keep on finding it, itās like fish in the sea. The more you find, the more there isāand youāll never get to the end of it.ā
āWeāre bouncing off one another, weāre bouncing off the music, and weāre bouncing off the joy of being able to play this stuff, having the opportunity.ā āTaj Mahal
A young Ry Cooder was simultaneously on his own version of this quest, digging deeper into the history of American music. At just 12 years old, Cooder found a record called Get on Board by the duo of Sonny Terry and Brownie McGhee, along with percussionist Coyal McMahan. It was just one point in a long line of musical discoveries that would inform his life and music. Cooder points out that Sonny Terry and Brownie McGhee āmust have been the most recorded blues act ever.ā But his interest set him apart from his pre-teen peers in California, and he soon developed a reputation that reached Mahalāfive years his seniorāall the way in Massachusetts.
Mahal tells the story of hearing a guitarist perform one night early in his career and says, āIt was obvious this guy was listening to something else and played the instrument in a different way.ā They struck up a friendship, and Mahal learned that this guitarist had studied with a Californian named Ry Cooder. Upon learning Cooder was just 17 years old, āI blew my top!ā he exclaims. Soon enough, he packed up, booked a few gigs across the country, and headed west to find the young guitarist and start a band.
TIDBIT: To capture the feel of a vintage Folkways-style album, Get on Board was recorded live in Joachim Cooderās living room in just three days, with a fourth day for overdubs.
Despite their quick demise, Mahal looks back favorably on the Rising Sons: āRyās work on that album is still, to this day, stellar,ā he says. āI could listen to it any time in any joint. Anything that he plays. There was never nothing that he ever played that I did not like. Nothing. He heard the music.ā Mahal struck out on his own, with Cooder in the band for his 1968 self-titled debut. But they soon went their separate ways on long and fruitful careers.
Together, After a Lifetime of Achievement
It wasnāt until decades later, in 2014, when the Americana Music Association awarded Mahal a lifetime achievement award, that Mahal and Cooder would collaborate again. Backed by an all-star band at the AMA awards show at Nashvilleās Ryman Auditorium, the two former Rising Sons revisited āStatesboro Blues,ā which they recorded almost a half-century prior. But this version sounds nothing like the quick, youthful version on the ā92 reissue. Instead, the mid-tempo grooveādriven in part by Don Wasā bass and Joachim Cooderās drumsāis slower and deeper, Mahalās voice lower and stronger, and his dry, percussive fingerpicking is complemented by Cooderās dark, fuzzy slide work.
While this warm, rousing reunion lasted just under five minutesāand got a serious standing ovationāit reconnected Mahal and Cooder and planted a seed. Soon enough, Mahal says he ātook three or four instruments and a suitcase and a handbag and got on a train and went down to L.A. We got together and did some playing.ā Mahal pitched Cooder on the idea of doing a project together, trusting Cooder to come up with the concept. āHe knows what he likes, and he knows what I like,ā Mahal says. Encouraged by his son, Cooder formulated the Get on Board idea, and as Mahal explains, āNext thing you know, Iām on the train again back to L.A.ā
Taj Mahal's Gear
Taj Mahalāseen here at Bonnaroo with a DāAngelico archtopābrought just one guitar to the Get on Board sessions. Taking the train to L.A. from his Northern California home, he opted for his Gibson Kebā Moā Bluesmaster, because he loves that instrument and it is light to carry.
Photo by Douglas Mason
Guitars
- Gibson Kebā Moā Bluesmaster
Strings
- DāAddario
Cooder built his concept not just around the duo, but included Joachim. āThereās Taj and me. There was Sonny and Brownie,ā he explains. āDuet music, right? But the original Get on Board included the mysterious Coyle McMahan on bass vocals and maracas. I always thought the trio was more interesting. So, Joachim stepped into the McMahan chair, and that gave us a wider range.ā
When considering songs, Cooder points out that Sonny Terry and Brownie McGhee āhad a huge repertoire for us to consider. You have to figure out what will work best, and a record canāt be all blues shufflesāfor that kind of music you need Otis Spann or Memphis Slim, and a horn section, etcetera. So, we listened for songs more rural in feeling, like āHooray Hooray,ā and āI Shall Not Be Moved.ā Folk-blues, as it used to be called.ā
āA record canāt be all blues shuffles.ā āRy Cooder
āThis music was making a fleeting disappearance from the inside of the music I was listening to,ā says Mahal, adding that āsomething about the rural music was more connected with the African in it.ā But he refutes the idea that their goal was to keep Sonny and Brownieās music alive. Instead, he insists the music is already alive and he and Cooder are just helping it find new ears. āWhat you aināt seen aināt passed you yet,ā he quips.
Cooder says they aimed to capture an āold-styleā sound, ālike a Folkways record,ā the natural environment for these songs. To cultivate an authentically comfortable, low-key vibe, they set up in Joachimās Altadena, Calfornia, living room for four daysāthree for live tracking and one for overdubs. And things proceeded simply, with ālive singingāone take, maybe two at the most,ā according to Cooder.
Ry Cooderās Gear
Ry Cooder played a variety of instruments on Get on Board, including the Gibson F-4 mandolin that he used on Mahalās debut album.
Photo by Abby Ross
- Adams Brothers acoustic (circa 1900)
- Fairbanks long-scale custom banjo (circa 1900)
- ā60s Fender āCoodercasterā modded with an early ā60s Teisco pickup (neck) and a Valco lap-steel pickup (bridge)
- 1919 Gibson F-4 mandolin
- 1946 Martin D-18
Amps
- White amplifier (made by Fender)
Effects
- Echoplex
Strings
- DāAddario
Get on Board isnāt a genre exercise, but it feels vintage, thanks in some part to the select gear they chose. Mahal switches instruments, playing a Steinway piano, harmonicas, and fingerpicking his Gibson Kebā Moā Bluesmaster. Cooder brought along some vintage items. āI played a 1946 D-18, similar to Brownieāsālight and twangy,ā he says. āAlso, a peculiar Adams Brothers guitar, circa 1900. Itās rowboat size and super resonant. Check it on āBeautiful City.ā And my old Gibson F-4 mandolin on āHooray Hooray.ā Taj commented that I had played the same instrument on his first solo record. The lead instrument on āPacking Upā is a giant gut-string Fairbanks banjo, probably a custom order.ā
Although most of the record is acoustic, the opening track features a driving electric slide part that bears Cooderās unmistakable sonic thumbprint. āI overdubbed my usual bottleneck Stratocaster on āChanged the Lock,āā he explains. āThatās a White amp with a busted speaker, and a tape Echoplex which belonged to the great Leon Rhodes.ā [Rhodes played guitar in Ernest Tubbās Texas Troudabours.]
āWhat you aināt seen aināt passed you yet.ā āTaj Mahal
Except for the tight, driving version of āPacking Up Getting Ready to Go,ā there arenāt any particularly radical reinventions on Get on Board, so the biggest differences in Mahal and Cooderās versions of Terry and McGheeās songs are what the individuals bring to the music. As Mahal points out, Sonny and Brownie were the original purveyors, and he and Cooder are āa couple guys who have spent their lives bringing back these nuggets of great music for all to see and hear.ā
But Mahal and Cooder both bring a warmth to the music, and itās easy to think that stems from their mutual appreciationāa feeling that was missing from the original duo, who were famously at odds. In 1982, The New York Times wrote, āMr. Terry, the harmonica player and singer, and Mr. McGhee, the guitarist and singer, are staunch individualists whose partnership has been marked by feuds, splits, and reunions.ā Mahal and Cooder, as individual as they may be, are quite the opposite. Itās friendship that brought them back together after all these years, and helped fuel the creative energy on Get on Board, which Mahal says āfelt exciting.ā
And if thatās not enough, he adds: āI canāt think of anyone else Iād really wanna play this kind of music with.ā
Taj Mahal Ry Cooder Statesboro Blues
When Taj Mahal received a lifetime achievement award from the Americana Music Association, he joined the award showās house band, which featured Ry Cooder, onstage for this performance. Not only is the performance stellar, it also put the two back in touch and catalyzed the Get on Board project.