Most Helpful Customer Reviews
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35 of 39 people found the following review helpful:
5.0 out of 5 stars
The Mule Rises Again, September 26, 2004
The death of Allen Woody could have been the end of Gov't Mule. It took some soul searching for Warren Haynes before he decided "the Mule" would continue. After two studio albums and a live album with a revolving cast of bass players, the transformation is complete. The addition of Danny Louis on keys and a permanent bass player Andy Hess has signaled the beginning of a new era. At first listen, it may seem that the volume has been turned down from "11". That may be so but in return, you get a clarity and texture that maybe wasn't there before. Warren still fires off some of the most awesome yet effortless looking guitar solos that I've ever heard. Matt Abts still provides the thunder behind the skins. What I think is different is the fact that "the Mule" has taken it to the next level. This is their most fully realized album to date and it's a humdinger. One that places them squarely in the midst of some of the best rock and roll bands out there today. A place they were destined to be.
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13 of 14 people found the following review helpful:
5.0 out of 5 stars
Americas Best, September 28, 2004
Like a lot of the other reviewers, I have seen the Mule many times (11 to be exact) with and without Allen Woody. Also like most Mule fanatics, I was unsure about the choice of Andy Hess to fill Woodys shoes, as well as the addition of Danny Louis as a full time keyboardist. I mean, we're talking the Mule here, an improvisational power trio in the grand tradition of Cream and Hendrix. But with this new CD, I am convinced that the Mule shall long remain the crown jewel of American rock bands.
I can't agree with the reviewers that have found this disc to be "emotionless" or "slow". I personally find it to be classic Mule, full of emotion ranging from wild disappointment to simmering rage. And in "Mr. Man", Warren even takes an angry politcal stand in this election year. No, I think that there is plenty of emotion on display. And slow? Well, I guess you have to define slow. If the complaint is in regards to Warrens tendency to pen sweet and sour love songs, like "Wine & Blood" or "Perfect Shelter", than we just need to agree to disagree. Warren and the Mule have long written songs like "Towering Fool" and "World of Difference" and they define the Mule sound everybit as much as "Blind Man In The Dark" or "Bad Little Doggie". The Mules ability to straddle the considerable gap between emotive singer/songwriter and blazing rock'n'roll band is what makes the Mule the Mule. I tend to consider this album to be way heavier than The Deep End sessions or even Life Before Insanity. Are the tempos slower? Maybe, but I find the slower tempos make the songs much more powerful and affecting as a result.
Warren wears some new/old influences on his sleeve during this disc, from the Pink Floyd/Beatles feel of "Silent Scream" to the Led Zeppelin crunch of "Lola Leave Your Light On". The only song that I find off the mark would be the press favorite "Slackjaw Jezebel". I personally find it too derivitive of Pretty Things "Dream/Joey" from the Silk Torpedoes LP. But thats a minor criticism. It probably represents a new "Driving Rain" type stab at getting some airplay. Warrens playing remains crisp and inventive while somehow managing to seem effortless and logical. Matt Abts is without doubt the worlds greatest drummer and has all the awards to prove it. Andy is a perfectly capable (though admittedly less dynamic) replacement for Woody and Danny Louis adds the atmospherics that allow Warren to explore his Beatle/Floyd/Zeppelin tendencies.
The fact that Warren has recording & writing deals with 5 bands (Mule, Allmans, Dead, Phil Lesh & Friends as well as his solo stuff) makes him a living legend. The fact that he has proven himself perfectly capable of handling such a workload with a stunningly high level of success ranks him with the icons.
In the end, I consider Deja Voodoo to be thier finest effort yet. Diverse yet complete and satisfying like each Mule album has always been. A must have for anyone interested in modern American music.
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7 of 7 people found the following review helpful:
4.0 out of 5 stars
New direction for the Mule, September 30, 2004
Deja Voodoo is where the new version of Gov't Mule is heading, and that's OK with me. With Allen Woody, they were a power trio, loud and heavy. Woody's death brought about the Deep End series and Matt and Warren tried their hands at some diversity, adding funk, eclectic jazz and different moods to the mix. I think those recordings were the happy result of experiments in finding where Mule could go in Woody's absence. Those experiments are honed and focused into the "New Mule" with Andy Hess and Danny Louis.
To me it's a perfect tribute to Allen Woody that it takes two musicians to fill in the sound where he left off, and by not trying to replace him with an agressive player or "Woody Clone" it keeps his legacy undisturbed and worthy of tribute.
Deja Voodoo is a fine album, focused and complete. The lack of "guest spots" is in its way refreshing, because the band is doing what it does, naked and raw as it would in concert. There are "slow" spots like Blood and Wine, but Warren has always written those moodier pieces. What strikes me are the funkier grooves and the dense textures of the new material. Warren's singing is as soulful as ever, most of the songs are fine songs in their own rite and could be pulled off by other artists in new and original arrangements.
There are some long moments that could have been saved for the concert stage, but they don't drag, and let's face it, the biggest reason we listen to these guys is to hear them play as well as they do. No complaints from me on jams.
A good album, worthy of your money. For the full experience, though, see Mule live. Pretty much the best damn band touring today, and you won't break the bank to buy tickets, either!
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