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comes together, because there are some great recordings of the band. Gregg had all the shows multi track recorded, you could you can mix hundreds of Gregg Allman Band shows if you ever wanted to, because those files exist.


Brennan Carley: The Back to Macon album was the first album of Gregg’s that included a song of yours, “Love Like Kerosene. “How did you feel about that? Scott Sharrard: We’d been playing it live for a while. It had become a staple in the show. I was really flattered that Gregg liked the song to begin with. He asked me to put all my solo albums on his phone, at that time about four records. There were a number of songs he picked up on, there was a song called Endless Road that we used to play a lot. There was a song called Save Me that he used to play. There was another one called “Shadow Blues” that he was really into. We worked through all of them trying to figure out the best one to cover. I didn't even think about “Kerosene! Those other three I cherry picked for him. But one night he left me a voicemail in the middle of the night. Kerosene is blasting in the background and he’s saying, “I have to record this song!”


Brennan Carley: Let’s talk about South- ern Blood Scott Sharrard: We finally made the record that that he had been trying to make, probably since Laid Back. That's what he said, those are his words. Don Was was the missing link. I was telling Gregg about Don for years, saying look if you really want to do this, right, you should get Don to do it. My producing partner Charlie Mar- tin had engineered for Don a lot, when Don would work in New York at Dangerous Studios back in the 90s. Stuff with the [Black] Crowes and the [Rolling] Stones and stuff. Charlie al- ways said Don is great at working with bands. That really stuck with me because Gregg kept saying “I want to take this band, I want my band to be on my record.” I kept thinking, Don, that's the guy. When they did the All My Friends con- cert, that was the first time Don and Gregg had worked together, and they really hit it off. That planted the seed in Gregg’s mind. With Gregg, it


was all about vibe. Don is a super easygoing cat, they really liked each other. Don really put his heart into that record, and to Don Was’ credit, he let me and the members in the band have a lot of input. He treated us like we were the Crowes or the Stones. He didn't treat us like we were a bunch of sidemen that were there to work for him or Gregg. He had the horn players do all their own arrangement. I did all my own guitar parts and layering. The writing I did with Gregg and all that stuff and the arranging I did for the whole rhythm section was used on the record. Don really respected the creative process of the group, supporting Gregg as a solo artist. That was a really important dynamic in the success of that record. In terms of vibe, there's a vibe to Southern Blood. It's really a band of brothers, man. It's got that classic feel.


People have asked me about the Southern Blood record, and say, “Oh, my God, it must have been so heavy.” It was completely the opposite. It was all about where we were going to get the best barbecue and cracking jokes. It was just a ball. We were just having the time of our lives in Mus- cle Shoals that whole week. It was a great vibe, and Don, to his credit, really embraced us as a gang. Even with him being such an accomplished and well-known producer, even when we got to the end of the record in the mix, he was running things past me. After Gregg had passed away, he was sending questions to my phone and calling me. He didn't have to do that. He was really committed to the vibe that we had sown and put together with Gregg and he’s probably the only big-name producer that could have pulled that off.


Brennan Carley: You said Gregg had been trying to make a record like that since Laid Back. What he was trying to achieve? Scott Sharrard: Gregg Allman’s solo albums are very uneven. With the exception of Laid Back, I would say, I think the rest of them are uneven and they tend to be cover song heavy. There's no doubt that Gregg really struggled with being a songwriter in the last 30 years of his life. Before Duane died, he was quite prolific. But once Duane passed away, you get a “Queen of Hearts


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