When the Allman Brothers Band reformed in 1989 in response to the popularity of the Dreams box set, Warren Haynes was added on lead guitar and Allen Woody on bass. The two shared a love for '60s power trios, like Cream, Jimi Hendrix Experience, and James Gang. With no bands making similar music in the 90s (except ZZ Top), Haynes, Woody, and former Dickey Betts drummer Matt Abts came together as Gov't Mule during Allman Brothers' breaks. (It is likely that Haynes and Abts first met during the recording of the Dickey Betts Band CD "Pattern Disruptive" in 1988.) They released their debut album the selftitled Gov't Mule in 1995. It was followed by Live from Roseland Ballroom.
When it became apparent that the Allman Brothers weren't planning on recording any new material, Haynes and Woody left to concentrate full-time on Gov't Mule in 1997. Dose, the studio follow up to their first studio effort, was released in early 1998. They were joined by members of the Allman Brothers, the Black Crowes, and Parliament/Funkadelic for their 1998 New Year's Eve concert. This was released in both a two and four CD version as Live ... With A Little Help From Our Friends. The band exposed some of their roots with covers of Neil Young, Free, Traffic, Jimi Hendrix, Black Sabbath, Mongo Santamaria (via John Coltrane) and Frank Zappa.
In 2000, the band released Life Before Insanity to critical praise. Many thought that this would be Gov't Mule's breakthrough CD. However, Woody was found dead in New York City in August. Haynes and Abts considered breaking up the band but did stage a concert called "One for Woody" to raise money for his daughter's education. The Allman Brothers, the Black Crowes, members of the Grateful Dead, and other friends of Woody also performed at the concert.
At both the "One for Woody" performance and other shows, Haynes began appearing with the Allman Brothers Band again. With Dickey Betts' departure from the Allmans, Warren came back full time to the band at the beginning of 2001 and has continued splitting his time between the Allmans and for a period Phil Lesh and Friends and the reformed Dead as well as Gov't Mule (performing acoustic gigs with just Haynes on guitar and Abts on percussion and as The New School of Gov't Mule with Widespread Panic's Dave Schools on bass and Chuck Leavell, formerly of the Allman Brothers and known for his current work with the Rolling Stones on keyboards).
The next year, Haynes and Abts began to record a tribute CD using Woody's favorite bass players. These sessions resulted in two CDs The Deep End, Volume 1 (2001) and The Deep End, Volume 2 (2002). A documentary of the recording sessions was also made by Phish bassist Mike Gordon called Rising Low. Bass contributions to the CDs came from Jack Bruce of Cream, John Entwisle of The Who, Mike Watt of Minutemen, Les Claypool of Primus, Flea of the Red Hot Chili Peppers, and Chris Squire of Yes among others.
When it came to touring in support of the Deep End CDs, Haynes and Abts used a revolving door of keyboardists and bassists. Keyboardists included Chuck Leavell, Rob Barraco of Phil Lesh and Friends and Zen Tricksters, Phish's Page McConnell and Danny Louis. Bassists included among others, Dave Schools, Oteil Burbridge of the Allman Brothers, Les Claypool, Victor Wooten of the Flecktones, George Porter Jr. of The Meters, Greg Rzab formerly of The Black Crowes and the Buddy Guy Band and Andy Hess, also formerly of The Black Crowes. Louis and Hess were eventually added as permanent members of Gov't Mule. They continue to tour extensively and have become staple acts at many music festivals including Bonnaroo, Wakarusa, Vegoose, and their annual New Orleans Jazzfest night show (where they filmed and recorded the last show of the Deepest End tours, with 17 guest musicians in a 6 hour show) wich was released on CD/DVD as The Deepest End, Live in Concert.
The first CD with Louis and Hess Deja Voodoo was released in September 2004. Additional material from those sessions was released in 2005 as and EP entitled Mo' Voodoo.
The new lineup's second release, titled High and Mighty, was released on August 22, 2006.
A third, Mighty High, was released in 2007 it features reggae and dub versions of classic Mule covers and originals with special guest appearances by Willi Williams, Michael Franti and Toots Hibbert,
Cortez the Killer
Gov't Mule Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
With his galleons and guns
Looking for the new world
And that palace in the sun.
On the shore lay Montezuma
With his coca leaves and pearls
In his halls he often wandered
And his subjects gathered 'round him
Like the leaves around a tree
In their clothes of many colors
For the angry gods to see.
And the women all were beautiful
And the men stood straight and strong
They offered life in sacrifice
So that others could go on.
Hate was just a legend
And war was never known
The people worked together
And they lifted many stones.
And they carried them to the flatlands
But they died along the way
And they built up with their bare hands
What we still can't do today.
And I know she's living there
And she loves me to this day
I still can't remember when
Or how I lost my way.
He came dancing across the water
Cortez, Cortez
What a killer.
The song "Cortez the Killer" by Gov't Mule is a retelling of the conquest of the Aztecs by the Spanish led by Hernando Cortez. The song creates a vivid picture of the encounter, with lines like "He came dancing across the water with his galleons and guns" and "On the shore lay Montezuma with his coca leaves and pearls". The contrast between the two cultures is striking, with the Aztecs' peaceful way of life described as "hate was just a legend" and "the people worked together". In comparison, the Spanish are portrayed as ruthless conquerors, epitomized by the line "Cortez, Cortez, what a killer".
The lyrics also touch on the theme of lost love and the singer's sense of being lost or disconnected. The line "And I know she's living there and she loves me to this day, I still can't remember when or how I lost my way" suggests a sense of nostalgia and regret for a time gone by.
Overall, "Cortez the Killer" is a powerful and evocative song that captures the brutal clash of cultures during the conquest of Mexico, while also exploring themes of love, loss, and existential confusion.
Line by Line Meaning
He came dancing across the water
The Spanish explorer, Hernán Cortés, arrived in Mexico with joy and excitement
With his galleons and guns
He brought large ships and weapons to conquer and establish Spanish dominance
Looking for the new world
Cortés was searching for a new land to conquer and claim for Spain
And that palace in the sun.
He sought to find and conquer rich and magnificent cities, like the Aztec capital, Tenochtitlan
On the shore lay Montezuma
The Aztec emperor was residing on the beach, waiting to meet Cortés and possibly welcome him
With his coca leaves and pearls
Montezuma was adorned with precious and exotic treasures, such as coca leaves and pearls
In his halls he often wandered
Montezuma frequently strolled around the grand halls of his palace
With the secrets of the worlds.
He possessed knowledge of many mysteries, including the mythology and rituals of the Aztecs
And his subjects gathered 'round him
Aztec citizens admired and respected their ruler, Montezuma
Like the leaves around a tree
They surrounded him in a respectful manner, similar to leaves surrounding a tree's trunk
In their clothes of many colors
The Aztecs wore vibrant and bright garments, which reflected their rich and diverse culture
For the angry gods to see.
The Aztecs offered sacrifices to their deities, hoping to appease them and avoid their wrath
And the women all were beautiful
The Aztec women were enchanting and charming
And the men stood straight and strong
The Aztec men were robust and sturdy
They offered life in sacrifice
The Aztecs gave human sacrifices to their gods, believing it would ensure the continuity of life
So that others could go on.
The Aztecs made these sacrifices for the sake of future generations
Hate was just a legend
There was no place for hatred or animosity among the Aztecs
And war was never known
The Aztecs had been living in peace, without engaging in any significant wars
The people worked together
Collaboration and cooperation were highly valued and practiced by the Aztecs
And they lifted many stones.
The Aztecs performed immense physical labor, such as carrying large stones for construction
And they carried them to the flatlands
The Aztecs transported heavy building materials to the flat regions, where they constructed remarkable structures
But they died along the way
Sadly, many Aztecs perished while undertaking these difficult building tasks
And they built up with their bare hands
The Aztecs constructed impressive buildings and cities, without advanced tools or machines
What we still can't do today.
Their engineering feats and ambitious infrastructure remain remarkable, even by modern standards
And I know she's living there
The singer believes that his beloved is still living in that land
And she loves me to this day
He is convinced that his sweetheart still loves him dearly
I still can't remember when
The singer cannot precisely recall the moment he parted with his loved one or the details of their separation
Or how I lost my way.
He is unsure how he ended up away from his sweetheart and in a state of emotional confusion
He came dancing across the water
The artist echoes the opening line, characterizing Cortés' arrival with irony and disgust
Cortez, Cortez
The singer utters the name of the Spanish conqueror, signaling the song's central theme of violence and oppression
What a killer.
The singer emphasizes Cortés' ruthless and destructive nature, as he violently thwarted the peaceful and magnificent world of the Aztecs.
Contributed by Samantha J. Suggest a correction in the comments below.