No doubt IdlewildRickT -- I mean a schitzo leper colony or what -- where partyboy/prine/mulemen & Tom have a great time together The boys get to kick back a bit & enjoy Colo in between gigs tmrw (Winter Park) & Friday (Louisville) -- safe travels on the Rocky Mtn Highways, enjoy the scenery, rock on DB&GS, & thanks always to Dickey

I highly recommend the CD Shootout at The Spirit Ranch... Berry Duane Oakley, PEDRO, his pop and brother Jeff... and a cast of characters beyond description, magically mixed by the legendary Buddy Snyder... Live from the suburbs of Myakka State Park

Yes indeed, Great Pics!!!!!! And on the weekends YouTube Dickey sounds Greeaaatttttt!!!!!!!!!!!!!!!!!!!! And the Cat In The Hat looks great! God Bless an American Tradition, Mr Dickey Betts 🙂

Hello! Would like to catch up with you on the Flint River end of August!!! Carol 3590 Cutoff Road

Thanks for the pictures Steve. You can almost "hear" that style and tone of The Man in the Hat. Peace & Ride the Mule, Tom

Went through my pictures last night here are a few a buddy of mine took some time back... not sure of the year or venue..

From the blue site..... Legendary Dickey Betts Visits City Winery. by rockchicago In December, 2009, Dickey Betts announced his retirement from touring. Nearly four years later, his fans are pleased that Dickey is not the retiring type. Betts and his band Great Southern took the stage at The City Winery on Randolph Street for two nights this weekend. The shows were make-up dates from April, when Mr. Betts was ill and had to reschedule. Fighting off a setback is nothing new for the legendary guitar player. He has always shown himself to be an individual that, “when the going gets tough, Dickey gets going”. Take the year 1972 for example. After having already lost Duane Allman, the founder and leader of the up and coming Allman Brothers Band in which he was a member, Dickey’s fellow band mate Berry Oakley was also killed similarly to Duane, in a tragic motor cycle accident. The two accidents, understandably, left the band in shambles. The lead singer was a grieving, emotional mess, and it would have been no surprise if the band simply imploded and disbanded. But that’s not Dickey’s style. He had other ideas about that. Instead of replacing Duane’s guitar with another guitar player, they brought in a true piano player, Chuck Leavell, to compliment Greggs organ playing, added the capable Lamar Williams on bass, and Dickey proceeded to write some classic songs such as “Southbound”, “Jessica” and the bands all time biggest hit “Ramblin’ Man” for the 1973 Allman Brothers Band release “Brothers & Sisters”. So, instead of fading off into the sunset, Dickey Betts had carried the band on his shoulders through this terribly difficult time. He had put them back on top by using his own outstanding writing ability, both musically and lyrically, as well as his masterful guitar playing. The band had a number one hit, and was the top American touring act of that year. Interestingly enough to me was the idea that early on the Allman Brothers Band was labeled a “Southern Rock Band’. In my opinion, their first two studio albums, framed largely by Duane Allman’s direction, as well as the classic “Live at Fillmore East”, were more along the genre lines of Blues and Jazz. It wasn’t until the Betts guided “Brothers & Sisters” album that the sound changed directions to more of a country influence. Dickey’s first solo release a year later, the outstanding 1974 album “Highway Call”, also demonstrated his country roots quite nicely. Another example of Dickey’s resiliency came in June of 2000. The Allman Brothers Band unceremoniously handed, or, according to Dickey, “faxed” him his walking papers. That band with whom he had carried on his very shoulders in 1973 told him that he was no longer welcome. Once again those survival instincts kicked in. Betts rallied his troupes, and Dickey Betts & Great Southern was up and rocking in a short time with a tour that summer, followed by returning to the studio to record his 5th solo album, which would become their 2001 release “Let’s Get Together”, then followed by hitting the road again for another lengthy tour. As for this evening, we settled in for the second night of the two night stand. The opening act was The Empty Pockets, who feature Josh Solomon on guitar and vocals, Nate Bellon on bass/vocals, Danny Rosenthal on drums, and Erika Brett on vocals. They brought a fun energy and positive, upbeat presence to the stage for their very enjoyable set, getting the crowd primed for Dickey Betts. Initially gaining traction locally as a Buddy Holly tribute trio in 2006, and then with the subsequent addition of Erika on vocals, the band looks to have hit their stride. I highly recommend you checking them out (http://www.theemptypockets.com). They perform in Aurora at The Hollywood Casino this Friday night for two shows, as well as in Elmhurst on Thursday, the 15th at the Gazebo. Dickey Betts took the stage shortly after nine o’clock, and got things started with a 15 minute rendition of the instrumental “High Falls”, the first of a six song set. That may seem like a small number of tunes, but with a 15 minute opener, and a 20 minute set closer (Jessica), you’re just not going to get a Beach Boys like 22 song first set. That appeared quite alright with the near sellout audience. Dickey was in fine form, his classic sounding tone coming through loud and clear on his red Gibson SG. The night wasn’t without a few technical glitches sound wise however, which was a little disappointing in that this was the second night of the two shows. Any issues with the sound system should have been worked out the previous night. You could tell Dickey was having a hard time hearing his vocals in the monitor most of the evening, having to revert to cupping his hand around his ear at times to hear himself sing. But he took it in stride, and delivered a spirited, professional performance from start to finish. The crowd was engaged from the opening notes through the final song as well; showing the veteran guitar master how much Chicago appreciates not only what he has done, but what he can still do. Four months shy of his 70th birthday, there are no guarantees as to how many more times Betts will pass through Chicago, if at all, and his fans clearly wanted to let him know how much he means to them. The second song of the evening found Dickey reaching back to the 1977 “Great Southern” album for “Nothing You Can Do”, and third was the Blind Willie McTell classic “Statesboro Blues”. I liked the opening drum drive better than in years past. It sounded fuller, more powerful, and more in sync. This song show cased Duane Betts on guitar. Carrying himself with a very stoic, laid back presence on stage, Duane stepped up and showed me a great deal of improvement and poise in his guitar playing since his early days as a member of Great Southern some 8 or so years ago. After a tight version of Blue Sky, in which Dickey Betts demonstrated why he is considered to be the legend that he is by performing some excellent guitar playing, and also accentuated keyboardist Mike Kach on piano, with a nice long solo piece. The fifth song, the Allman Brothers staple “You Don’t Love Me” gave the third guitar player in the band, Andy Aledort, an opportunity to show his chops with some fine slide guitar work as well. Andy is a very talented player in his own right, and has been with Dickey for about 10 years. Driving the rhythm section on dual drum kits were long time G.S. member Frankie Lombardi and returning drummer Kenny Crawley, who previously had a stint with Dickey’s band from 2005-2008. As mentioned, the set ended with a 20 minute version of “Jessica” that found the band going off into a Grateful Dead like “noodling” direction for a portion of the song, and after what I would call “a choppy transition” back to the melody of the song, finished strong and had the crowd energized going into intermission. The second set opened with a focused version of “Back Where it All Begins”, then came an extended version of “In Memory of Elizabeth Reed” that really defined the night. Bass player Pedro Arevalo was possessed during this nearly 30 minute romp, thumping his four string like a prize fighter in the ring, while Duane Betts showed even yet another level of his playing that I had never seen from him before, bringing the appreciative audience to its feet. “No One Left To Run With” was next, and although the classic Bo Diddley melody sounded powerful and tight, Mike Kach vocals were set way to low in the mix, and like Dickey earlier, he clearly couldn’t hear himself on the monitor. At one point I was afraid he was going to pop a vain in his neck straining his voice. For the encore, the 10th song of the evening was the perennial crowd pleaser “Ramblin’ Man”. The electricity in the room was palpable, and in spite of a few minor hiccups that were probably not even noticed by most, it was clear that the crowd, even on a Sunday night, could have gone for another 30-40 minutes of this band. But they’ll just have to trust that the venerable survivor known as Forrest Richard Betts will be back another day.

Incredible how much Duane looks like his dad... And you can tell Kim is Dickey's also... Adam ...How about some gigs in the Deep South ? New Awlins has some great new venues...We need a Dickey fix.. Sing while I'm walkin :walk:

Those were taken in Japan... I should find out the photographer... so he or she gets credit for snapping some good ones

Check out the annual 'Jam for Duane' thread on the Forum. If ya cant make it to the event, show your love and support for Duane by helping us with buying a commemorative shirt and make a donation. All proceeds go to the performers and expenses as always. This year is going to be great, cant wait to see folks. Some fantastic musicians! Jammin for Duane!