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,
Mr. Man
Gov't Mule Lyrics
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How much longer can we keep our heads in the sand
Can't you hear me, don't you even hear me
I'm screaming as loud as I can
Can't you hear me, Mr. Man
There's no concern for the people dying
There's more concern for keeping the upper hand
And you still don't understand
Why they hate you, Mr. Man
You better get ready
I said ready
Time to get ready
Can you see that day when your world starts crumbling
Can yous see that day when you meet your maker again
Will he be like you, do you think he's really like you
You can bet your soul depends
On that, Mr. Man
It's time to get ready
I said ready
You better get ready
In Gov't Mule's song "Mr. Man," the lyrics call out the societal issue of ignoring the voices of the people and keeping our heads in the sand. The sense of urgency is emphasized by the repetition of the phrase "Can't you hear me" and the use of the name "Mr. Man," which could refer to a specific person or to those in positions of power in general. The lyrics criticize those who prioritize maintaining the upper hand over caring for the vulnerable, leading to resentment from those who are being ignored. The chorus serves as a warning that a day will come when the world will start to crumble and we will face our maker, and the question is posed as to whether this maker will be like us and understand why we acted the way we did.
One possible interpretation of the song is that it speaks to the importance of voice and representation in society, and the danger of ignoring those who are not in positions of power. It also highlights the importance of empathy and compassion, and how neglecting these qualities can lead to negative consequences, both on a personal and societal level. Ultimately, the song is a call to action to address these issues before it's too late.
Line by Line Meaning
How much more can we ignore the voices
The importance of the voices has been overlooked and not given due attention, leading to continued ignorance.
How much longer can we keep our heads in the sand
The strategy of ignoring the problem is not a viable solution and cannot go on indefinitely.
Can't you hear me, don't you even hear me
Despite screaming at the top of their lungs, no one seems to be listening or paying attention.
I'm screaming as loud as I can
The frustration of trying to get the message across while being dismissed and ignored is tremendous.
Can't you hear me, Mr. Man
Directly addressing the focus of the song, the one in power who has ignored the warning signs.
There's no concern for the people dying
Lack of empathy or action towards those suffering most from the situation at hand.
There's more concern for keeping the upper hand
The focus is solely on retaining power, rather than addressing or solving the problem at hand.
In their faces, we're laughing in their faces
While those in power ignore the problem, the sufferers are ridiculed and belittled for their distress.
And you still don't understand
Despite the clear signs and red flags, there is a persistent failure to comprehend the gravity of the situation.
Why they hate you, Mr. Man
The inevitable backlash and anger towards the person in power who neglected their duty and allowed things to get worse.
You better get ready
A warning to the person in power that they should prepare for consequences if they continue to neglect their responsibility.
I said ready
A repetition of the previous statement, emphasizing the urgency and gravity of the situation.
Time to get ready
A call to action, reminding the person in power that they need to act now before it's too late.
Can you see that day when your world starts crumbling
A warning that those in power will not remain safe and unaffected by the problem indefinitely.
Can you see that day when you meet your maker again
A reference to the idea of judgment day and the consequences that await in the afterlife.
Will he be like you, do you think he's really like you
A rhetorical question, challenging the person in power to consider whether they will receive mercy and understanding for their actions.
You can bet your soul depends
A warning that the person's actions not only have consequences for their physical world, but also for their afterlife.
On that, Mr. Man
A direct address to the person in power who has the most responsibility for the outcome of the situation.
Lyrics © BMG RIGHTS MANAGEMENT US, LLC
Written by: WARREN HAYNES
Lyrics Licensed & Provided by LyricFind