Cheerleaders will be cheerleaders. Not only was it a diss, but the statement carries a lot of butthurt with it, which is odd for someone who has moved on as Dave Spero recently said. I guess like blueskyJohnson said, maybe with the ABB ending it was time for him to put his true feelings out there.

Stand up for what, blueskyJohnson? It was a stupid comment, unfortunately... A better analogy would be to compare to Gregg Allman & Friends, of course he couldn't say that because Gregg doesn't play any Dickey tunes in that band...

Total BS, if Butch or Gregg called DBGS a "tribute band" in an interview, most here would be crying about it for the next 20 years just as they have for every other snide comment either have made. You're a hypocrite on this as with most other things. Further, it is a FACT not opinion that Dickey did not hand over sheet music to other members and say "play this". So while he is rightfully credited as sole songwriter on his tunes, the rest of the band wrote parts for these songs that he makes his band play today. Not "filler" as some might state incorrectly, but critical parts of the music if were played any differently would be considered "wrong" by casual and hardcore ABB fans alike. And yet some will continue this petty, lame contest about who played who's song, like it matter at all, and despite it being a completely backwards line of thought to begin with. It's unfortunate Dickey let his emotions get the best of him and let that comment slip, because as a professional musician I'm quite certain he "gets it" with respect to ABB playing the music that he contributed.

Brother Mike Kach rocks! Love his singing and his playing! 😀 😎

Hey Bird! Those little parts like the organ, drums, etc. are just filler. The main meat and potatoes of a song like Liz Reed are most defiantly Dickey! 😎

Dickey Betts did not co-write songs with the ABB to the degree some say; this is my Opinion. Unless someone has proof of this, theirs also is an Opinion. Albeit presented in verbiage as Fact. Dickey Betts was credited by Duane on FE for Liz Reed being Dickey's song, as example. Sure riffs, fills, and instrument parts were likely improved, added with rehearsal;, that would be musical process. Does not mean someone co-wrote a song, again in my Opinion. Feel free to correct with theorized "facts".

And as I explained to someone else yesterday, Gregg Allman never wrote any songs for DBGS so Dickey saying he doesn't play Gregg's song's in DBGS is completely obvious and doesn't compare to ABB playing Dickey's songs that he co-wrote with the ABB, for ABB. It would be easier just to say "I am butthurt" without making some crappy analogy.

Looks like great minds think alike, Tyler. 🙂

Nice article on Dickey and his upcoming gig.... Dickey Betts still rocking as Allman Brothers retire: interview By Wade Tatangelo , Herald-Tribune / Wednesday, October 29, 2014 Dickey Betts has a long, rich history with Robarts Arena. The Sarasota concert hall near his home off Highway 41 is where he will perform a charity show again Saturday with his group Great Southern. Betts first played Robarts with his most famous collaborators, the Allman Brothers Band, in November 1970 and April 1971. Dickey Betts on his days before, with and after Allman Brothers: interview The original lineup featured Betts sharing lead guitar duties with Duane Allman. Younger sibling Gregg Allman sang and played keyboard. Berry Oakley played bass and also occasionally sang lead. Butch Trucks and Jaimoe, then credited as Jai Johanny Johanson, each manned a drum kit. Melding the myriad sounds created by several generations of white and black Southerners, these young men, a mixed race group from Florida, created their own amalgam, one that would take a couple years and about 500 shows nationwide before the masses embraced its singularity and intensity. The Allman Brothers’ two concerts at Robarts, which also happens to be near where Betts grew up in Manatee County, were in support of the band’s second album, “Idlewild South.” The 1970 release features the Allman Brothers’ first charting single, “Revival,” written by Betts, as well as the debut of his instrumental opus, “In Memory of Elizabeth Reed.” While the studio version is relatively prosaic, the song became a nightly sensation on stage, showcasing the brilliant, simpatico guitar playing of Dickey Betts and Duane Allman. “Duane and I used to have a little wine and we’d sit and talk about how screwed up it is that every good band you get together, the guitar players start getting jealous of each other and start trying to hotdog out each other and ruin the whole thing,” Betts recalls, while relaxing at the ranch house he shares with wife Donna along Little Sarasota Bay. “Duane and I had an understanding, like an old soul kind of understanding, of let’s play together,” Betts says. “And then I wrote ‘Elizabeth Reed,’ and instead of Duane being jealous of it, he said, ‘That is the greatest thing, man.’” The Allman Brothers’ legendary live release “At Fillmore East” came out a few months after their April show at Robarts. The rendition of “In Memory of Elizabeth Reed,” at 13 minutes, is a masterpiece. The “1971 Fillmore East Recordings” box set issued earlier this year features four versions of “Elizabeth Reed,” each one a superb, distinctive testament to the uncanny chemistry of the prime Allman Brothers lineup. The interplay of those guitars, of Duane Allman and Dickey Betts and bass guitarist Berry Oakley, weaving in and out of each other as if maneuvered by the same mysterious musical genius, continue, to this day, to stir rednecks raised on rock ’n’ roll and country, and scholars steeped in the idioms of blues and jazz. Duane Allman died October 29, 1971. Berry Oakley died Nov. 11, 1972. Both men were 24. Both men were killed in motorcycle accidents mere blocks away from each other in Macon, Georgia. As de facto band leader, lead guitarist, chief songwriter and singer, Betts played a key role in continuing the Allman Brothers’ success for the better part of the next three decades. He wrote and sang lead on the band’s biggest hit, “Ramblin’ Man,” and wrote or co-wrote the gems “Blue Sky,” “Jessica,” “Southbound,” “Seven Turns,” “Back Where it all Begins” and many more minor hits and fan favorites, catchy ditties and complex instrumentals. In 2000, though, Betts and the other three surviving members of the original Allman Brothers had a highly publicized falling out. Betts has not performed with any of them, including Gregg Allman, since. The Allman Brothers Band announced earlier this year it will be retiring following its six shows at the Beacon Theatre in New York that concluded Tuesday. On the first night alone, the Allman Brothers performed Betts’ songs “Revival,” “In Memory of Elizabeth Reed,” “No One To Run With” and “True Gravity,” which was at least co-written with current Allman Brothers and former Dickey Betts Band guitarist Warren Haynes. “It makes it easier on my band because half their show is shit I wrote, which I do in my show,” Betts says about the Allman Brothers’ retirement plans. “I don’t have to do Gregg Allman songs. It will be easier as far as people understanding. I kind of question whether to say this or not, but it’s almost like the Allman Brothers turned into an Allman Brothers tribute band.” Following a performance about a year ago at Robarts, Betts and his Great Southern group, which includes his son, guitarist Duane Betts, returns Saturday to headline another charity concert. Dickey's country singing daughter, Kim Betts, and her Gamble Creek Band, will open the show followed by a performance by Kettle of Fish. In my review of the concert at Robarts last year featuring the same roster, I described Betts’ performance as one of his most inspired since he split with the Allman Brothers in 2000. Was that Robarts show last year special for him? “To me, that was an especially good show that night,” Betts says. “Kettle of Fish was so damn good they kind of intimidated me, you know? I said, ‘Man, those guys sound great.’ So maybe that’s the kind of little spur you need to do a special show. Actually, there are still some record companies talking about putting that tape out. I wish they would.” Presented by Caring for Children Charities and Toys for Tots, Saturday’s concert will benefit disadvantaged children in Sarasota and Manatee counties. Betts has played countless local charity shows. The 70 year-old, who is by turns shy, playful, stern, and emotive during our two-hour interview, seems embarrassed when asked, “Why is doing these charity shows so important to you?” “When you’re young, you’re struggling like hell just to make it,” Betts says. “Charity begins at home. You gotta support your family. But when you do pretty good, it’s just kind of the normal thing to do when you have the time and the power. I know what it’s like not to get too much on Christmas. I’m from humble beginnings. To say, ‘I’m sitting on my ass at home and I ain’t got time to do that,’ that wouldn’t be right. Doing these kinds of charity things just kind of comes natural. It’s not something you think about a lot.”