Latest / Ghost Cult Magazine Podcast / PODCAST: Episode 924 - Warren Haynes Talks All About The New Version of "Tales of Ordinary Madness"

Transcript

PODCAST: Episode 924 - Warren Haynes Talks All About The New Version of "Tales of Ordinary Madness" · Ghost Cult Magazine Podcast

• 0:00
  Hey, this is William Duvall of Alice In Chains and Metal
• 0:03
  Allegiance, and you are listening to ghostcultmag.com.
• 0:15
  Welcome back to the Ghost Cult Magazine podcast.
• 0:18
  I'm your host, OJ. It's been a while, my friends.
• 0:21
  I know we haven't had a proper straight up podcast on here in a
• 0:25
  while, but don't worry, we have some coming up very soon and
• 0:29
  this one is one of them. We're back with Warren Haynes.
• 0:32
  A lot of you know him from Government Meal, but a lot of
• 0:35
  older folks might know him from The Allman Brothers or even
• 0:38
  Hanging Out with the Dead and David Allen Coe and Dickie
• 0:41
  Betspad. He's been around for a long
• 0:44
  minute and I think he won a Grammy or two, I can't count.
• 0:47
  So without further ado, our buddy Don sits down with him to
• 0:50
  talk about the remix, the remastered solo debut of his
• 0:54
  Tales of Ordinary Madness out now on Megaforce Records.
• 0:57
  They talk about the passing of Bob, where why was necessary to
• 1:00
  remix this record and what's it like going from being the leader
• 1:04
  of a band to being not the leader of a band?
• 1:08
  The really fun stuff. If you're in a band, you
• 1:10
  understand sometimes you got to be the cheerleader and the the
• 1:13
  leader and then sometimes it's nice not to have to be the one
• 1:17
  booking all the shows and all and all that stuff.
• 1:21
  It's really good sometimes to not be in control, but sometimes
• 1:24
  you need to. And it's nice to hear his
• 1:26
  perspective on it. He has a short run of dates
• 1:28
  between now and the beginning of March.
• 1:30
  And if you like these podcasts, please go like, share, give it
• 1:33
  stars, whatever it is on Apple starred up, Spotify it starred
• 1:37
  up. Leave some comments, let people
• 1:38
  know that we're a thing and that we're really badass and good at
• 1:40
  what we do. I think it's time for the ghost
• 1:42
  code domination of 20 26. Warren Haynes, thank you so much
• 1:48
  for taking the time to talk to me for Ghost Cult Magazine.
• 1:51
  My pleasure. As we know, Bob Weir passed away
• 1:54
  last week. You know, I don't want to dwell
• 1:56
  too much on it, but you know, obviously it left quite a quite
• 2:00
  a void for all of us. You know, it hit like in a way a
• 2:03
  lot of things, you know, didn't you know, I was late on the bus
• 2:06
  for Jerry and so I understood the loss.
• 2:08
  But man, for Bobby, I understood it even more.
• 2:11
  But people must have felt like when Jerry passed.
• 2:13
  But with that being said, what are three words you would use to
• 2:16
  describe Bobby Weir from your perspective?
• 2:19
  Three individual words. That's hard, I know.
• 2:24
  Unique, passionate and compassionate.
• 2:29
  That's incredible. Those are all the things I feel
• 2:32
  like we knew as fans just from seeing him, you know, and from
• 2:36
  and not knowing him personally or anything.
• 2:38
  So like I feel like that that is it's it's an interesting to hear
• 2:41
  that from someone who actually knew him and worked with him.
• 2:44
  He was an amazing guy. He had an amazing outlook on
• 2:48
  life. He knew a lot of about a lot of
• 2:50
  things and always had a different perspective.
• 2:54
  He always came to the table with armed with armed with knowledge
• 2:58
  that you might not expect him to have on any given subject.
• 3:04
  You know, he always kind of changed your perspective on what
• 3:08
  you were talking about. He would.
• 3:10
  He would provide some sort of insight that made you think
• 3:13
  differently about things, you know, in a good way, you know?
• 3:16
  I mean, you know, and so I guess one of the other questions I
• 3:19
  want to ask you briefly about that was so you know, obviously
• 3:22
  I mean, at one point you were the busiest man in jam man
• 3:25
  business. Like you had the almonds going,
• 3:27
  you had you had you had mule going, you had the dead, you
• 3:32
  were doing your solo stuff. I mean, you had a lot going on.
• 3:36
  What was the difference for you from a from a perspective of
• 3:39
  being like where you're usually in charge, where it's usually
• 3:41
  your ship that you're steering? What was what was the dynamic
• 3:44
  from going to that to where you're saying like going into
• 3:46
  the dead and the almonds where you were kind of like you
• 3:49
  weren't the big guy in charge at that point, You know, when it
• 3:51
  came to that, did you have to play a different role and was it
• 3:54
  hard to you hard for you to switch roles, I guess?
• 3:57
  Well. I've always been very
• 3:58
  comfortable in, in all those different fashions, you know,
• 4:02
  and, and being being a bandleader, I'm comfortable with
• 4:06
  being not a bandleader. I'm, I'm comfortable with, you
• 4:10
  know, in every situation it's different anyway.
• 4:15
  And, you know, there are times when not being the bandleader
• 4:18
  takes pressure off of you and you can just kind of relax more
• 4:22
  and think about things in a different light, you know, and
• 4:25
  concentrate on different aspects of what you love to do, you
• 4:29
  know, and excuse me, in my band and in Government Mule, you
• 4:34
  know, it's, it's always up to me to have the solutions.
• 4:37
  And it's sometimes it's nice not to be that person, you know, and
• 4:43
  you also learn from the way other people look at things,
• 4:47
  especially the responsibilities that come with with being a band
• 4:52
  director or a bandleader or MD or whatever the case might be
• 4:57
  similar to being the producer on a record.
• 5:00
  It's nice sometimes when you don't have to be the one making
• 5:02
  all the decisions. So I'm good in all those
• 5:07
  different situations, and it's nice to get somebody else's
• 5:12
  perspective because everybody thinks completely differently in
• 5:16
  those situations, and watching the way someone else deals with
• 5:21
  it can give you perspective on what you're doing right and what
• 5:24
  you're doing wrong, you know? Yeah, I mean, so, yeah.
• 5:27
  So it is really like, like you said, like it's a dynamic that,
• 5:30
  you know, because from my perspective, I've actually been
• 5:32
  a player and I've also LED my own bands.
• 5:34
  And there's something to set to be said about me being able to
• 5:36
  show up with my bass guitar and go, cool.
• 5:38
  All I have to do is plug in and play.
• 5:39
  I don't have to book the gigs. I don't have to do shit, you
• 5:41
  know what I mean? Yeah, Yeah.
• 5:44
  It's nice, but you know, there's also something to be said about
• 5:49
  being able to decide how you want things to go definitively
• 5:54
  and, and, and I'm I'm cool with that as well.
• 5:57
  You know, even my role in The Allman Brothers changed
• 6:00
  drastically through the years. You know, when I joined, I was
• 6:04
  the new guy and they always were good about making us part of the
• 6:07
  band. And then, you know, I was
• 6:09
  included in the songwriting process and they let me sing
• 6:12
  from the very beginning. And you know, it was never
• 6:16
  coming from, from those guys, the, the feeling of separation
• 6:20
  between the new members and the old members.
• 6:23
  But you're going to feel that automatically because you're
• 6:25
  coming into something that is is new.
• 6:28
  And in that case, something that I had so much reverence for and
• 6:32
  was such a huge fan of through the years that my role grew a
• 6:37
  lot and changed a lot. And then in 2001, when Greg
• 6:42
  called me and asked me to come back into the band, he said, I
• 6:47
  really need you to take the He said, I really need you to take
• 6:49
  over the the kind of leadership role in this band.
• 6:52
  I think, you know, everyone respects you.
• 6:55
  You've worked with everybody long enough.
• 6:57
  And it would be great if you could kind of, and then when he
• 7:01
  was talking about, you know, like riding the setlist and, and
• 7:05
  just being the, the final voice on certain things, you know,
• 7:11
  never in a way that you're somebody's boss.
• 7:14
  It's just somebody has has to make decisions.
• 7:16
  And as Derek and I started working together more and more,
• 7:19
  we started kind of taking a dual approach to that role, you know,
• 7:23
  especially things like setlist. We would work together on the
• 7:26
  the setlist. And because Greg didn't really
• 7:29
  want to do that, you know, right.
• 7:31
  He enjoyed not having to do that stuff, you know, And, you know,
• 7:36
  so it was interesting to to see that transformation as well.
• 7:42
  You know, especially when we were doing like all those nights
• 7:45
  at the Beacon Theater where we would try to do a different
• 7:48
  setlist every night. And Derek and I would put
• 7:50
  together a setlist and show it to Greg.
• 7:53
  And he would occasionally make a suggestion, you know, can we do
• 7:56
  this instead of that or something?
• 7:58
  But for the most part, he was like, yeah, that's cool.
• 8:01
  That's awesome. Yeah.
• 8:03
  In some ways that was like him kind of take trying to like
• 8:05
  phase into retirement I guess you know?
• 8:07
  Like, yeah, but you know, he he was always that way, you know,
• 8:11
  from the beginning, you know, Dwayne was the leader of the
• 8:14
  band, right? And, and Barry Oakley was kind
• 8:17
  of second in command, you know, and, and so Dwayne died and then
• 8:21
  Barry died. So somebody had to step up.
• 8:24
  So Dickie stepped up and became that person.
• 8:27
  But from what Jamo and Bush would tell me, Dickie nor Greg
• 8:31
  really either one wanted that role.
• 8:34
  And Dickie kind of inherited it. But I think that I think Greg
• 8:41
  was always more comfortable with like Dwayne being the person in
• 8:45
  charge. Dwayne was the older brother.
• 8:47
  And so he he never, never did kind of get over that.
• 8:51
  Oh yeah, exactly. But well, I have to tell you,
• 8:55
  I'm super psyched about the re release of Tales of Ordinary
• 8:58
  Madness. Like I remember picking that up
• 9:00
  in 90. I think I picked it up in 94
• 9:03
  actually, because 96 Rock was playing Fire in the kitchen a
• 9:06
  lot. And I just remember thinking
• 9:08
  like, I don't know who this dude is, but it's like the Black Rose
• 9:12
  but better. I need to get this.
• 9:14
  And so being a metal head at the time, like it really kind of
• 9:17
  appealed to that kind of harder edge for me.
• 9:20
  And I was always impressed with how you were able to kind of
• 9:23
  bridge some of your like your like your Black Sabbath
• 9:26
  influences and stuff with that kind of Southern, almost like
• 9:30
  night of Southern roots rock kind of thing, I think.
• 9:33
  And like, so was that kind of a natural marriage of influences,
• 9:37
  I guess for you? Because it really seemed to kind
• 9:39
  of come to head on this album. Yeah, I was, You know, I grew up
• 9:42
  listening to so many different types of music, so it just
• 9:46
  seemed natural to me to combine all the influences together in a
• 9:51
  way that seemed to make sense. You know, that record is very
• 9:56
  much a rock'n'roll record, but there's soul music influence
• 9:59
  there and it's. It's interesting that when when
• 10:03
  I was preparing to make that record with Chuck Lavelle, Chuck
• 10:07
  produced that record and and I Co produced it with him.
• 10:11
  But I had a lot of material at that point because I had never
• 10:14
  done a solo record. And we were going through
• 10:19
  probably around 30 songs or something that we were choosing
• 10:23
  from. And a lot of songs didn't wind
• 10:27
  up making the cut for that record based more than anything
• 10:33
  on the way they fit into the to the overall program, you know,
• 10:37
  stylistically. Like, you know, Soul Shine was
• 10:40
  written before then, but we made the decision not to record it
• 10:45
  because it didn't seem like it sounded like the rest of the
• 10:48
  record, you know, and several other tunes that would appear
• 10:53
  later that were around at that point.
• 10:57
  But yeah, I'm, I'm, that was something I was, I was very
• 11:01
  satisfied with that record as a first attempt.
• 11:04
  You got to make your first record.
• 11:05
  You only get to make it once. And I, I was, I was happy with
• 11:10
  it from a performance standpoint and, and the song selection and
• 11:14
  everything. But I, I'm always felt like the
• 11:17
  mix was a little too held over from like late 80s, early 90s,
• 11:23
  because records at that time were a little slicker, a little
• 11:26
  more reverb, a little more processed.
• 11:29
  And in the, a couple of years later, bands started going back
• 11:35
  to more organic recording processes and, and mixing
• 11:38
  processes. And so I always felt like I
• 11:41
  would love to hear that record mixed a little more organically.
• 11:44
  So when the 30th anniversary was approaching, I talked to Missy
• 11:50
  Collazo that that runs Megaforce Records now.
• 11:54
  She always had that in the back of her mind too, that she would
• 11:57
  love to hear that record remix. And so we ran into each other at
• 12:02
  the Beacon Theater at a benefit concert.
• 12:04
  We had a conversation and we just said, hey, if we're both
• 12:07
  into it, let's just let's do that.
• 12:08
  And so that's how this thing came about.
• 12:11
  And then we got Jim Scott, who is fantastic to remix it.
• 12:17
  I, you know, it's, it's not some instantly recognizable like huge
• 12:23
  difference, but there there's quite a difference.
• 12:27
  And I think people that care about those sort of things will,
• 12:31
  will hear that difference and people that don't pay that much
• 12:35
  attention to it will will still enjoy it because it's not like
• 12:38
  we're we've changed things drastically.
• 12:40
  It just sounds a little more like I'm envisioned it sounding.
• 12:43
  You know, and that's interesting because I feel like that a lot
• 12:47
  of times when bands re release albums or remix or remaster,
• 12:50
  whether sometimes you really can't tell a difference.
• 12:53
  But like other times when it's a more organic style of music,
• 12:57
  say, like what you play, especially with this album, the
• 13:00
  warmth of it comes through in a way that you didn't hear it.
• 13:03
  And I think especially now that artists are putting, you know,
• 13:06
  releasing albums on vinyl for the first time, like, I don't
• 13:09
  think that. Did Tales of Ordinary Masks come
• 13:12
  out on vinyl, or was that just ACDI?
• 13:14
  Don't think it officially came out on on vinyl I think.
• 13:18
  I think there's some unofficial versions out there.
• 13:22
  Because that's the other thing too, is when you're kind of
• 13:24
  approaching this kind of thing, like you've got to kind of go
• 13:26
  into it, I'm sure with the idea of like, OK, now it's going to
• 13:29
  be released to vinyl. It's going to be released to CD
• 13:32
  also. So you have to kind of make
• 13:34
  those changes, I guess, to compensate for going to a new
• 13:37
  medium. Yeah.
• 13:38
  That that was part of it as well.
• 13:39
  And I'm really glad that that record's going to be available
• 13:43
  on Vinyl Sweep. These days, our fans buy more
• 13:48
  vinyl than CDs, you know. Yeah, that's my midlife crisis,
• 13:52
  by the way. You know, I'm 52.
• 13:54
  I've. I've got 500 records.
• 13:55
  My wife is like, you need to stop.
• 13:57
  And I'm like, no, I don't. I got my own room.
• 14:00
  I'm good, you know? But there's something to be said
• 14:04
  about the nostalgic factor of it, too.
• 14:06
  But also, like, you know, people from my generation like to hold
• 14:09
  that. Yes.
• 14:10
  Look at the artwork, look at the inserts, and you know, you also
• 14:13
  have to dedicate yourself when listening to a record.
• 14:16
  You know, you can't go get up and do a bunch of things because
• 14:18
  when you do, you come back in, the first side's almost done,
• 14:21
  you know? So I, I feel like when things go
• 14:24
  to vinyl, you're, you're actually going to sharpen your
• 14:26
  attention as far as what you're putting in to listen.
• 14:29
  Yeah. And I think for, for young
• 14:31
  listeners that have never experienced that, that vinyl,
• 14:35
  you know, it's, it's hard to explain to somebody how much
• 14:38
  cooler it was when you bought a record that had big artwork and
• 14:42
  big liner notes and, and credits.
• 14:45
  And, you know, we used to read the, the covers from end to end.
• 14:49
  We, we read every aspect, every detail of the records we loved.
• 14:54
  And you gained a lot of insight, you know, and somebody could
• 14:57
  say, well, you can go online and read it.
• 14:59
  It's like, yeah, you can, but I don't.
• 15:01
  Want to? I'd much prefer to sit in my
• 15:04
  chair and hold it, you know, and get, really take it in because
• 15:08
  that's what we did when we were a kid.
• 15:09
  I mean, you know, I'd take an album home.
• 15:11
  I'd lay on my bed, put my headphones on, and I just, you
• 15:14
  know, like I knew the names of all of Iron Maiden's roadies,
• 15:17
  you know, like, all just from reading this stuff, who mixed
• 15:20
  it, who produced it, like, as a kid.
• 15:22
  That's information you know. Yeah.
• 15:25
  And we didn't know what a producer did, but we knew who
• 15:28
  they were, that their job must be really important because
• 15:32
  they, you know, they, they even read these same names on all
• 15:37
  your favorite records and go, oh, that person's got to be
• 15:40
  awesome, you know? The fact that I saw Martin Birch
• 15:42
  on the back of every Iron Maiden album, like, he must be good.
• 15:45
  Of course, as I got older, I realized what he did, you know?
• 15:48
  And I was like, yeah, you learn yourself.
• 15:51
  But so I also do have to say that off of this album, there
• 15:55
  were so many songs that, you know, but yeah, I'll be the one
• 15:59
  seems to be a one that has maintained its spot as a staple
• 16:03
  for you and actually put it as the first song on a mixtape for
• 16:07
  my wife when we met in 97. I think that might have sealed
• 16:10
  the deal, you know, so, but we'll see.
• 16:12
  I I did love the fact that that song, it hits.
• 16:15
  It still hits in a way that it it probably hit back when it
• 16:18
  came out, but a little more intensely, as you know from an
• 16:21
  older perspective as a listener. Yeah, I'm really happy with the
• 16:25
  way that remix came about. The organic nature of the mix
• 16:31
  really helps that song a lot. And the original mix was was
• 16:35
  cool as well. But I, I, I listened to that the
• 16:38
  other day in my car, the new mix for the first time in a while.
• 16:41
  And it just really brings that song to life.
• 16:45
  And that song, I always had a special place in my heart.
• 16:48
  You know, I play it, you know, Government Mule plays it every
• 16:51
  now and then. I play it in some of my solo
• 16:55
  shows. And I think it'll it'll be
• 16:57
  around a while. It's a it's a great testament
• 17:00
  to, you know, I mean, to me it's like this such a well written
• 17:03
  song. And I mean, I guess it's for
• 17:05
  someone who's been a fan for so long, that album still it is, I
• 17:09
  don't know, Miss Chef's Kiss, you know, like, I still love to
• 17:11
  hear it. I can't wait to throw it on my
• 17:13
  turntable when I get it, you know?
• 17:15
  And it's such a well that I can't think of an album that's
• 17:17
  more deserving to get this treatment.
• 17:19
  And so I'm super glad it's happening.
• 17:22
  Thank you. It's cool that that someone that
• 17:25
  like yourself, that is coming from the metal background
• 17:29
  embraces a tune like that. That's, you know, pretty far
• 17:33
  from metal. But you know, I think some
• 17:37
  songs, you know, everybody loves songs.
• 17:40
  So if if a song hits you, it doesn't really matter what
• 17:43
  direction it comes from, you know what I mean?
• 17:45
  You know, I mean, like I said, I grew up a metalhead.
• 17:47
  I was in I I immersed myself in the jam band scene starting in
• 17:50
  94, you know, on So I always had had this love of all the
• 17:55
  different genres of music. But one of the things I used to
• 17:57
  tell people is like their songs, I say like Warren Haynes,
• 18:00
  Government Mule Fish, you know, Almonds, the Dead, whatever.
• 18:04
  That hit every bit as hard as the most metal song you can
• 18:07
  think of. Because it's not about volume.
• 18:10
  It's not about it's about like the lyrics, the passion, the
• 18:13
  drive that goes in behind putting out a song and
• 18:16
  performing a song. And I usually use that that
• 18:19
  analogy to a lot of people. Yeah, You know, songs have such
• 18:23
  power when they come together in that unexplainable sort of way.
• 18:27
  When you take a really good lyric and marry it with music
• 18:32
  that intensifies that lyric beyond where it was on its own,
• 18:38
  and then you add in a great performance.
• 18:41
  Those three things combine kind of hit the emotional core of of
• 18:49
  the listener in a way that any one of those three on its own
• 18:54
  wouldn't be nearly as effective, you know, So when those three
• 19:00
  things come together, the experience is fantastic.
• 19:05
  And, and for people that are not musicians or don't really even
• 19:10
  care to dissect the technical aspects of things, which is a
• 19:15
  perfectly healthy thing to do for those people, it's all one
• 19:20
  thing. You know, when you when you say
• 19:22
  to someone, what do you love about this song?
• 19:24
  Oh, well, I love the way the drums come in in this spot or
• 19:28
  whatever. It's like, well, that has
• 19:29
  nothing to do with the song, but but I understand what you mean.
• 19:34
  That's really, really cool. But people don't tend to
• 19:38
  separate the production and the arrangement and the performance.
• 19:44
  Sometimes even the music and the lyrics.
• 19:46
  It's, it's all one big picture. And and that's cool because
• 19:50
  that's what people hear and feel when they hear something for the
• 19:53
  first time. And and so when those things
• 19:56
  come together, that that's what we're all striving for is that
• 20:00
  that magic, you know? And I do and I do, like I said,
• 20:03
  I do love that, that you know, that you acknowledge that and
• 20:06
  that you realize that because there are, you know, my wife and
• 20:09
  I were at the Bonnaroo show where you did the acoustic we
• 20:13
  were at that was the first and only Bonnaroo we ever did.
• 20:15
  We were officially too old to do a three day festival after that.
• 20:19
  So it hurt, you know, So, but that that show when you did
• 20:25
  Lucky, you know, by Radiohead, I just remember being so floored
• 20:29
  and so blown away that I couldn't wait to show my friends
• 20:32
  this. And I literally watched 5 metal
• 20:34
  dudes when I got that CD, put it on and they all got silent.
• 20:37
  Like that is super intense. And I was like, this is the guy
• 20:40
  in his guitar. But it was the conviction and
• 20:43
  the way that, you know, you exude that song like this is
• 20:46
  just me, Warren Haynes, but like, this is what you're going
• 20:49
  to get. And that's a, that's a, that's
• 20:51
  as metal as it gets. You know what I mean?
• 20:54
  I think, I think I opened the show with that you.
• 20:57
  Did that was the first song, Yeah.
• 20:59
  And which was like a last minute decision.
• 21:03
  I was just like, what can I, what should I do that would kind
• 21:07
  of shake everybody up and, and like get everybody's attention
• 21:11
  because it was, it was early in the day, you know, and, and I
• 21:15
  wasn't used to going, going on that early in the day.
• 21:18
  And most of those songs I had never played by myself anyway.
• 21:22
  And it was just like, all right, well, just dive into the pool
• 21:26
  and see what happens. You know, probably.
• 21:28
  One of the best audiences you could do that for, because
• 21:30
  that's the kind of audience that, you know, we're like,
• 21:32
  we're forgiving, you know, champion fans are like, Oh yeah,
• 21:35
  you know, do it, man. You got it.
• 21:37
  Absolutely that. That was a wonderful experience
• 21:40
  playing for that crowd by myself.
• 21:42
  It was very intimidating, but I was also too tired to be too
• 21:46
  nervous. So, so that, that helped, you
• 21:50
  know, but the, the audience was fantastic and, and I've never
• 21:54
  played in front of a big crowd like that by myself before.
• 21:59
  So it was a, it was a turning point for me.
• 22:02
  So to kind of go back to the album, one more last question
• 22:05
  about that was like when you were prepping for the re release
• 22:08
  and everything, did you have a moment where you were like
• 22:10
  listening back to the tracks and you thought maybe there were
• 22:13
  things that I don't know that you wish you had done that you
• 22:16
  didn't? Or that there were things that
• 22:18
  were done that you wished weren't.
• 22:20
  For tails. Yeah, yeah.
• 22:23
  Well, this may not be what you're referring to, but there's
• 22:27
  a bonus track of tearing me down that we recorded and we didn't
• 22:34
  finish it. We were out of time, we were
• 22:37
  over budget and something had to go.
• 22:41
  And I didn't want to eliminate tear me down because I I love
• 22:47
  the tune and was very excited about the, the version that we
• 22:51
  had recorded. But it wasn't, it wasn't done
• 22:54
  and we just made the decision, well, that's going to have to be
• 22:57
  saved until later. And then we wound up.
• 23:01
  It got recorded with Bootsy Collins for for the Deep End
• 23:05
  Sessions. But when I went back and and and
• 23:11
  finalized the version of Tear Me Down that was recorded for
• 23:14
  Tails, I really loved it. It had Randall Bramblett playing
• 23:18
  saxophone and and Bernie Worrell playing keyboards.
• 23:23
  And I had not heard all those tracks since then.
• 23:28
  So I went into the studio and, and just kind of culminated
• 23:31
  everything that was was there having not heard.
• 23:35
  I I think I had some sort of rough mix, but it wasn't
• 23:37
  indicative of everything that was on tape.
• 23:40
  So when we finished that and, and, and remixed it for this
• 23:45
  record, I was like, yeah, this song.
• 23:47
  I'm so glad this version it's got to.
• 23:51
  Be super great though, to be able to hear that song like when
• 23:54
  you have something that didn't make it or that wasn't quite
• 23:56
  complete. Now you got this like feeling of
• 23:59
  completion to it and. Yeah, now it's my favorite song
• 24:02
  on the record. Is it because of that though?
• 24:06
  Like, because it was like, it's kind of like the new adopted kid
• 24:10
  kind of, you know, you're like, OK, you're my favorite now.
• 24:14
  It's partially that because having not heard it for so long,
• 24:18
  I had this appreciation for it, you know, because with all the
• 24:22
  other songs, you know, I may go years without hearing those
• 24:25
  songs. But when I hear them all the
• 24:28
  hours and hours and hours that we put into to making that
• 24:31
  record come flowing back and, and the whole process.
• 24:35
  And so when I hear the version if, if it's been three years or
• 24:38
  whatever, and I hear it and I go, Oh yeah, it, it, it strikes
• 24:42
  a chord and I remember exactly what was up.
• 24:45
  You have an extensive tour coming up.
• 24:47
  You're doing the Warren Hain solo shows.
• 24:49
  Are you going to be playing most of the songs from Tales of War
• 24:52
  named writers on this run? I'm just starting to think about
• 24:55
  that now. I'd like to play as many of them
• 24:58
  as possible, and in most cases that's doable.
• 25:01
  You know, most of those songs have gotten played somewhere
• 25:05
  along the line from from time to time.
• 25:09
  And so I do want to focus more on the on that record than I
• 25:12
  ever have since those days. But there's a lot to choose
• 25:17
  from. And I also want to make every
• 25:19
  show different. So we're just, I'm trying to to
• 25:22
  touch and go figured out piece by piece.
• 25:25
  And and I'm I'm sure it'll it'll change about 50 times between
• 25:28
  now and then. So I noticed also you've you
• 25:32
  kind of left out South Carolina, North Carolina, Georgia off this
• 25:35
  tour. If you don't come this side of
• 25:37
  it, my wife's never going to forgive you.
• 25:39
  So like, are we going to see some more shows from you as?
• 25:42
  Far as I mean, yeah, I mean that, you know, that's, that's
• 25:45
  my stomping grounds there. I'll get back there.
• 25:50
  Definitely all the places that I, that I love to go, we'll
• 25:54
  we'll get back to. We're just kind of taking it one
• 25:56
  step at a time. Well, that's fantastic, man.
• 25:58
  Well, like I said, dude, Tales of ordering your madness sounds
• 26:01
  incredible. I'm super excited for you and
• 26:04
  for us to actually get to have it again and get have it on
• 26:07
  vinyl. I'm going to sit over here in my
• 26:08
  chair and read it word for word, man.
• 26:11
  Awesome. Well, Warren, thank you so much
• 26:14
  for taking the time, man. And like I said, just wanted to
• 26:17
  really let you know that I appreciate your music.
• 26:20
  I appreciate everything you do and like, you're just a
• 26:22
  incredible guy. My pleasure man, I enjoyed it.
• 26:25
  Well, look, well, best of luck to you on the tour and the album
• 26:28
  and hopefully we'll see you out in this neck of the woods.
• 26:30
  Sounds good, it won't be long. This has been another episode of
• 26:34
  the Ghost Quote Magazine podcast.
• 26:36
  Check us out at ghosthopemag.com and follow our socials at Ghost
• 26:40
  Cult Mag. Until the next time, Peace.