What ever happened to the boogie? If you’ve asked yourself that question when contemplating music of the past 15-20 years, well, here you go: Gov’t Mule. Yes, the Mule is back and as bad ass as ever.

Gov’t Mule is kind of a happy anachronism in the world of popular rock music. They play heavy blues-based, take no prisoners rock n roll. It’s big and meaty; “music for yo ass” as is announced at the beginning of the Mule’s classic 1996 live offering At the Roseland Ballroom. The Mule’s music is decidedly out of favor with critics and most of the in-the-know listening public. Yet they provide something that is missing in this age of tragically hip and intellectual bands like Phoenix and Vampire Weekend: Balls. The Mule actually rocks! In short, they provide the boogie, man.

Led by guitarist extraordinaire Warren Haynes, Gov’t Mule isn’t just a derivative “classic” rock band; they re-contextualize and re-imagine blues-rock for the 21^st century.

Warren Haynes has been a figure in rock and country music for over thirty years. He got his start when he was tapped to play guitar for Outlaw country artist David Allen Coe’s band in 1980.  Haynes also spent time as a Nashville songwriter. Among his most notable contributions was co-writing the Garth Brooks hit Two of a Kind, Working on a Full House.

In 1989 he was asked to join the Allman Brothers Band by Dicky Betts. Along with Allman’s bassist Allen Woody, Haynes started Gov’t Mule in the mid 90s after they were discussing the dearth of the classic-type heavy guitar rock a-la Cream. With no upcoming projects for the Allmans on the horizon Haynes and Woody joined up with Dicky Betts’ side band drummer Matt Abts to form Gov’t Mule. (Sadly the great Allen Woody passed away in 2000—since then the band has never really been completely settled in regard to the bassist. This release sees the introduction of new bassist Jorgen Carlsson).

Although Haynes is well known for his work with the Allmans and The Dead (the reconstituted Grateful Dead), his best work has come through Gov’t Mule, and By A Thread is one of the band’s best. As my friend Carl said to me one night while we were digging this album, “these guys are not fucking around.” You said it brother.  

                                       ^{Warren Haynes: Not fucking around}

By A Thread is one of the best albums I’ve listened to in the past six months. Highly recommended.

Brief album notes:

The album kicks off with the slinky and funky Broke Down on the Brazos with an assist from ZZ Top guitarist Billy Gibbons.

Railroad Boy is a traditional sounding tune pumped up with a shot of adrenaline. Big fun here.

Any Open Window is a hard driving nod to Hendrix (I cannot wait until the weather gets nicer so I can roll the windows down, crank this tune up, and drive…)

Monday Mourning Meltdown finds the band exploring moody and cosmic astral planes of longing, regret, and ultimately moving forward. It’s a loose and soulful jam whose syncopated rhythms open into a jazzy outer space. Haynes evokes Eastern influences with sideways and surprising guitar flourishes.  Keyboardist Danny Louis shines here with colorful organ washes and counterpoints.

Forevermore is an old acoustic song that Haynes has been playing for years. One of my favorite songs on his 2003 Bonnaroo solo release. It is a beautiful and ethereal song, and I’m glad to see it finally get a proper studio release.

Inside Outside Woman Blues #3 is hardcore blues-rock, and in many ways sums up what The Mule is all about.  At over nine minutes this heavy guitar attack taps into the sanctified rhythm and won’t let go. If you want to know why Warren Haynes is considered one of the greatest guitarists around, listen to this.