Musician

I have only a couple of Super 6s now, but I do have quite a few black-face Fenders around the studio. They all have slightly different character and tone, so I keep collecting them.

I have only a couple of Super 6s now, but I do have quite a few black-face Fenders around the studio. They all have slightly different character and tone, so I keep collecting them.

But I don't pretend I earned a Lifetime Achievement Award.

I used a '57 Les Paul on one track, 'These Walls', which features Alam Khan on sarod. I tuned it way down because the sarode is naturally in C but I tuned the guitar down to D and he came up to D. It was all a pretty simple setup.

When you're dealing with the age of Snapchat, Facebook, and Instagram, then everything becomes very selfish and cynical.

You hear a great Art Blakey drum solo or Elvin Jones, and you can tell when they're taking a breath. You can tell when they're loading up for something big. There's just this humanity in it, and I think that's important as well.

I felt like for it to really turn into something, you have to jump in with both feet. And it always turns out a little different than you imagined it, but that's kind of the beauty of it, when you feel musically confident enough to just kind of follow where it goes.

When I had the idea to build a home studio, the purpose was to start making records.

Slide can sound like the most beautiful woman's voice.

Well I've been playing an SG forever, and I've got some other vintage Gibsons I like to use in the studio.

It's funny, sometimes life just comes down to bringing a little bit of light to somebody when you can.

We were just touring Europe, and I noticed that we'd go to all these beautiful places, and everyone's just taking a picture of themselves. I don't understand that at all. And I feel like that extends to music. I think we've lost the script a little bit.

I think we appreciate the musicianship we're surrounded with. Too many bands - it's an ego trip for the leader.

It's a funny thing... I started touring at nine or ten years old, and for the first ten, fifteen, almost twenty years of your career, you're the youngest guy on stage and the youngest guy in the room.

We all notice that the nights that are the most magical are the ones where everybody is taking a deep breath and kind of relaxing into it and relying on the people around you.

I think the first time I was at Red Rocks was my first gig as a member of the Allman Brothers Band, June of 1999.

When you think about your heroes, it absolutely shapes how you play and who you are.

And you can't have an Allman Brothers gig without an Allman brother. I've heard people try to argue that you can, but I'm not buying it.

My earliest memories are of traveling from Jacksonville, Florida, to visit my uncle and his family in Tallahassee.

But I think what makes a band great is that you're not trying to be someone else ever. At no point do you want it to become nostalgic; you never want to be a cover band for anybody.