An Interview With Luther Dickinson, Formerly Of The Black Crowes

With a father like Jim Dickinson, a producer and musician who, along with fellow Memphis, TN musicians, Charlie Freeman, Michael Utley, Tommy McClure, and Sammy Creason, formed the Dixie Flyers, a band who helped soundtrack Atlantic Records’ releases in the ‘70s, you could say that Luther Dickinson was born to play guitar.

Dickinson has done just that. He’s been a member of the Black Crowes and performed with John Hiatt, Jon Spencer, Lucero, the Replacements, and more. While all those stops have meaning to Dickinson, it’s the North Mississippi Allstars that center him. “The music of North Mississippi is a home away from home for me,” he tells ClassicRockHistory.com. “It’s a constant in the stream of travel.”

As for what’s motivating Dickinson through his many projects, he says: “I find that the guitar and music both are ever-inspiring and fascinating.”

He adds: “If a musician stays engaged and continues to practice and explore, putting time in with the craft, music is a never-ending source of inspiration. If you stay committed, it’s like Quincy Jones said, ‘Music gives back what you put into it.’”

At the moment, Dickinson is wholly focused on the Allstars, as they’ve got a new record out, Still Shakin’, which is reminiscent of their debut, 2000s Shake Hands with Shorty. Elsewhere, the 52-year-old guitarist remains open-minded and continues to explore new avenues.

“I regret not practicing the piano more,” he admits. “And not pursuing the idea of scoring film soundtracks at an early age. I have been doing film scores, and I love it. So, I want to pursue more instrumental music, quiet music with vocals, and film scores.”

What got the North Mississippi All-Stars’ latest record, Still Shakin’, off the ground?

We began recording to celebrate the 25th anniversary of our debut record [Shake Hands with Shorty], re-interpreting songs from our community’s repertoire in our way, which I call “modern Mississippi music.”

I used recording experiments to stay inspired and to trick myself into recording. Recording direct signals from tube amps, utilizing cassette four-track analog machines, was inspiring to me, as well as using funky old acoustic guitars with sound hole magnetic pickups.

Tell us about working with Robert Kimbrough, the type of player he is, and what he brought to the table. 

Robert Kimbrough is a wonderful musician and is so sweet in the way he keeps his father’s legacy evolving and adapting. He plays in the same fashion that I do, very loud but light, using a light touch on a hot guitar. His vocals and guitar work gave “Stay All Night” the Kimbrough vibe.

How about Duwayne Burnside? What motivated him to get involved with this project, and what was it like working with him?

At the time of recording, Duwayne was running a fantastic juke joint in Holly Springs, MS. I met him there and recorded his vocals and guitars in his juke joint after turning off all the air-conditioners and box fans. Duwayne is a total natural, a fantastic talent, and was a pleasure to work with. Duwayne dug our remix of his father’s song, “Poor Boy,” and was thrilled to contribute.

You’ve got Grahame Lesh on this record, too. What can you say about him, and why is this record dedicated to Phil?

Second-generation musicians are my tribe. The majority of my friends are from musical families. We, second-generation musicians, all have an easy rapport and collaboration. I didn’t grow up listening to or playing the Grateful Dead’s music, and Phil taught me their songs, strategies, and musical philosophies by hand. I’ll forever be grateful.

What can you say about Phil Lesh as a player and person? How did he and his music impact you?

I began working for Phil Lesh, playing in Phil and Friends, off and on, beginning in 2011, after I quit the Black Crowes. Like I said, I didn’t grow up listening to or playing the Grateful Dead music, and Phil taught me their songs, strategies, and musical philosophies by hand.

Phil was a wonderful teacher and a true psychedelic improvisational pioneer. Playing with Phil also gave me the opportunity to learn to play comfortably with a clean guitar tone as opposed to relying on distortion.

This record is reminiscent of Shake Hands with Shorty. What led you back there?

This is the 25th anniversary of the release of Shake Hands with Shorty, and we wanted to make an album celebrating that album’s DIY spirit. We recorded Shorty in our home studio in Mississippi.

It was a converted barn, and we did it on ADAT machines and mixed it through a primitive monitor console. It was completely homemade. We did the same with Still Shakin’ recording on laptops, by any means necessary, and I mixed it on headphones and in minivans. So, Still Shakin’ is completely DIY.

You’ve made a lot of stops along the way, like the Black Crowes, John Spencer, and Lucero. What did each of these stops teach you, and how are you applying it? 

Music is like food; variety is the spice of life. More than any other experience, I learned so much playing in New Orleans with George Porter and Johnny Vidacovich. They taught Joe how to really be comfortable improvising and not relying on structure, to be in the moment and at one with the music, and not hung up on an agenda.

Do you have a massive collection of vintage gear, or do you primarily use newer gear?

Our family’s heirloom guitars mean the most, like our father’s Gibson 175 or our mother’s Martin. I have the guitars from my youth. I love old, funky guitars, and they really inspire me. On the road, I use Category 5 amps from Texas. My Friends and I make guitars that I love. The company is called Vibratone Guitars. They are based on the Fender principle of bolt-on neck, but with humbucker-style pickups.

Do you have a secret weapon in terms of tone? Is it hard not to get caught up in the FOMO of effects pedals?

Pedals have never interested me. I love the combination of tube amps and guitar pickups with character. My secret weapon is a mindset of accepting the sound of the guitar and amp as it is and adjusting the quality of sound through my hands.

I don’t get caught up in the idea of “getting my sound” because every amp sounds different in every room, from moment to moment. The amp and the room will sound drastically different at the show from how they sounded at soundcheck. I find it best to simply accept the sound, make it as good as I can, relax, and be in the moment.

That said, I do love timed delay—and it must have a tap tempo. I also use an EQ pedal, but only to pull annoying frequencies out of the guitar sound. Some amp and room combinations magnify annoying frequencies. I love pulling those out.

Are there techniques on the guitar that have been hardest to master?

Playing perfectly in time is easier in the studio but harder live. The adrenaline of improvising makes me rush the tempo, which I despise and struggle with daily. One strategy I use is to lay out on “the one” at the beginning of bars, so as not to push the tempo exponentially.