Butch Trucks Quotes

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If there's anybody who knew how to play in a studio, it was Duane Allman.

Of all the songs we played, 'Statesboro Blues' was the most ripped-off.

I have the distinction of being the only member of the Allman Brothers who has never missed a single show. I have played every single show the Allman Brothers have ever played.

I feel like the Cal Ripkin of rock n' roll.

When we're playing, when we're really, really going... you're just in the moment. You're not thinking about yesterday, tomorrow, or anything else. The brain gets out of the way. Your body just does what it knows how to do, and it's just... it's like a religion.

Eric Clapton has earned all of our respect. He is the greatest. He opened the doors for us. Without Cream, there is no Allman Brothers.

The Allman Brothers 1969 to 1971... were all about... jumping off the cliff... Just taking music and being adventurous with it.

When we started, it was so intense: it was like a religion. And when you played with Duane Allman, you either gave it your all or you got out.

We did 300 shows in our first two years.

There will always be kids in every generation that understand that Lady Gaga is not music, it's theater.

We've been lucky because quite a few young people keep coming to see us play. We couldn't tour as much as we do if we could only count on the baby boomers.

I take my laptop with me on the road. When I come home, I log onto AOL, go to the Web site, and answer questions.

A lot of the cities where we have a strong following, we don't even get to every year anymore. But Stony Brook was a place that, from the very first time we went, the chemistry was right. They loved us, and we loved them, and we just kept going back and going back.

After 'Win, Lose or Draw' we were workin' on another album that nobody's ever heard, and it's a good thing nobody heard it.

'Enlightened Rogues' we made like the earlier ones: whatever tune came up, whatever direction it went in, that's the way it went. That's what we'll always do. I think if we ever stop doin' that, we ought to quit.

Our first album was kind of simple, but it had that fire, that energy that we have to have.

There's this new band that just started with us called the Dave Matthews Band. My God! I mean, I like those guys. Plus, Dave Matthews looks just like Forrest Gump.

Blues Traveler is hot, and Big Head Todd, the Screamin' Cheetah Wheelies - all of 'em.

Our approach is more the jazz approach, where you learn to play your instrument as well as you can, develop your craft, and then communicate with each other. That's the focus, not trying to give some message or entertain or have a good light show or whatever.

With The Allman Brothers, we made two studio records that were OK, but the first really great album was the live one, 'At Fillmore East.' We were a live band, and it's one of the reasons we were able to stick around for 45 years.

These people that dress up in spandex trousers with all the extraordinary makeup - I find it incredibly repulsive, always have.

I loathe and detest heavy metal.

A lot of these guys come up and say, 'Man, you were my influence, the way you thrashed the drums.' They don't seem to understand I was thrashing in order to hear what I was playing. It was anger, not enjoyment - and painful.

That whole Rock And Roll Hall Of Fame thing - at least half the people in there don't have a place in any kind of hall of fame anywhere, in my opinion.

Ginger Baker was never my favorite, but he was part of the group Cream that opened the door to what we did. They were the first band to really get into improvisation. They were an absolute necessity to what came later.

For a long time, our only mode of travel was an Econoline van. Eleven of us, with nine sleeping in the back on two mattresses.

Phil Walden had complete faith in us, and I'll respect him forever for that. I think he sunk about $150,000 in us. He was close to bankruptcy a lot of the time, and Atlantic kept telling him we didn't have a chance.

My wife speaks very good French. She said she would miss lots of things in the U.S., but we can't live there if Trump's president.

Donald Trump has been horrendous, saying things are bad because of Muslims or Mexicans. This is exactly what happened in the 1930s in Germany, and it's gonna get worse.

I'm not going to keep my mouth shut.

We have a well and a garden. I crawl around in the mud and grow great vegetables.

Majored in staying out of Vietnam.

When you're good-looking, I think you usually don't have to work as hard.

I've gotta be the only father begging his son to leave a six-figure job to go play in a rock n' roll band!

I'm enjoying the hell out of playing straight. It seems to be the case with everybody. We're having a lot more fun. The energy is going into the music now, instead of all the side trips we got into in the '70s.

That was my first love growing up - classical orchestral music, especially Impressionism.

I don't think we listened to any rock n' roll at all in the early days. It was Miles Davis and John Coltrane 95% of the time.

We're a live band. It's what we do best.

People feel entitled to take whatever's online without paying for it.

There are so many good, young bands out there who aren't getting the attention they deserve.

When we started the Allman Brothers Band, there was this great new technology that allowed us to get exposure: FM radio.

I have done nothing my entire life but play music.

Oh, he's magic. Faulkner has opened passages in my brain. You do things you'd never expect.

I was going to go back to college and become a math teacher.

I look at making a record and being in a recording studio as more of a craft; You have to be so much more careful and play simpler.

Playing live is really the art form. You're a lot freer, a lot looser. You've got people there that can give you feedback, and then you can play off of that. There's so much more energy.

Nobody is playing music like this, like the Allman Brothers, and there's still a lot of fans out there, so that's what we're doing with Les Brers.

We would work up a tune that would make me learn a drum pattern I hadn't played before. In the early stages, the pattern wouldn't just fall into place, and I would start thinking about it. And the more I thought about it, the worse it would get.

I remember somebody came in with Chicago Transit Authority, and we listened to it one time.

We were either listening to jazz or Robert Johnson, the old blues man, but not to our peers.

Duane lived life right on the edge. If you ever read Goethe's Faust, Duane Allman was very much that kind of figure. His deal with Mephistopheles was to experience everything life has to offer, good and bad.

The only way a musician can express feelings is playing.

We all knew that asking another guitar player to step into Duane Allman's shoes would not really be fair to anybody who had a conscience.

One that really caught me was Joe Morello. He was the first drummer I ever saw that could do a roll with one hand. He would turn his hand over and use his fingertips to get the stick bouncing. He could sit there with his right hand doing stuff on the cymbals and tom-toms while he was doing a roll with his left on the snare drum.

When I listened to Elvin Jones, man, for the first time I heard a drummer that had all the technique plus emotion, passion, feel, and just - good God!

I like some things other people don't like, and they like stuff I don't like.

When we started the Allman Brothers, it was all about the music.

When we started Allman Brothers, Atlantic Records kept telling us there was no way it was going anywhere.

You're playing for yourself. And if you're not playing for yourself, you're an entertainer, doing it for the crowd.

Listen to John Coltrane. When he plays 'A Love Supreme,' that guy is totally into himself.

This is show business, and there's room for the shows and the personalities. But I think there's also room for music, for people to play music, and there seems to be an audience developing that's willing to go listen to music again, rather than just be blown away by drum machines and choreography.

After being away from it for so long, it's really nice to go out and have 10- or 15,000 people show up and enjoy it. It leaves you with a very good feeling.

When I play, I stare at the left hand of whoever is playing lead. And I get to know what people are playing well enough that when they start going somewhere, once they arrive, I'm already there.

Once we started headlining at the Fillmore East, we were free to play all night, at least for the second set. 'Whipping Post' could get lengthy.

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