Dickey Betts, the legendary singer-songwriter and co-founder of the Allman Brothers Band, passed away at 80, leaving behind a rich legacy of Southern rock and unforgettable music. For those familiar with Bob Dylan’s “Murder Most Foul,” the lyric “Play ‘Blue Sky,’ play Dickey Betts” served as a poignant reminder of Betts’ enduring influence. Beyond “Blue Sky,” another Betts composition, “Ramblin’ Man,” held a special place in his interactions with Dylan. This article delves into the connection between Dickey Betts and Bob Dylan, exploring their shared musical moments, including the story behind Dylan joining Betts on stage for “Ramblin’ Man,” and other fascinating anecdotes from Betts’ recollections.
Dickey Betts and Bob Dylan backstage at the Rock and Roll Hall of Fame in 1995, a moment that highlights their musical connection, relevant to discussions about the "Ramblin' Man Song" and their collaborations.
This exploration draws from a candid interview with Dickey Betts, originally featured in the book Pledging My Time: Conversations with Bob Dylan Band Members. Betts’ vibrant personality and captivating storytelling shine through as he recounts his encounters with Dylan, offering a unique glimpse into their relationship, musical admiration, and shared experiences.
Early Encounters and Musical Kinship
Betts’ first crossing of paths with Bob Dylan dates back to the 1970s. Intrigued by Dylan’s songwriting and musical journey, Betts sought an opportunity to observe and learn from the iconic artist firsthand. Arranging a visit through Bill Graham, Betts joined Dylan’s tour for a brief period, connecting with Robbie Robertson and Dylan himself. These initial interactions, though brief, sparked a connection between the two musicians.
Betts described these early encounters as a learning experience, a “sabbatical” to refine his songwriting. He admired Dylan’s artistry and sought inspiration from being in his presence, much like his long-standing friendship with fellow songwriting great Billy Joe Shaver. Both Dylan and Shaver, in their distinct styles, represented the pinnacle of songwriting, and Betts drew creative energy from associating with such talents.
“Ramblin’ Man” and a Surprise Performance
Decades later, the connection between Betts and Dylan solidified through impromptu stage collaborations, particularly centered around “Ramblin’ Man,” one of the Allman Brothers Band’s signature songs penned by Betts. During Dylan’s performances in Betts’ home area of central Florida in the 1990s, it became almost customary for Betts to join Dylan on stage, much to the delight of audiences.
One memorable instance involved Dylan’s show at the Van Wezel Theater in Sarasota. Betts and his wife Donna visited Dylan backstage. Donna, meeting Dylan for the first time, engaged in playful banter, which Betts noted was unusual for Dylan, who was often placed on a pedestal. This lighthearted interaction paved the way for a spontaneous musical moment.
The conversation turned to “Ramblin’ Man,” and Dylan surprised Betts by declaring, “I know all the words to ‘Ramblin’ Man.’ I shoulda wrote that song myself.” Intrigued, Betts challenged Dylan, and to his astonishment, Dylan flawlessly performed “Ramblin’ Man” on stage, singing every word correctly and imbuing it with his unique vocal delivery. Betts was genuinely impressed, even playfully imitating Dylan’s rendition, emphasizing how Dylan made the lyrics resonate with a new depth. This performance solidified the mutual respect and appreciation between the two musicians, particularly regarding “Ramblin’ Man.”
Backstage Camaraderie and Shared Interests
Beyond the stage, Betts and Dylan shared a comfortable backstage camaraderie. Betts recounted that whenever Dylan played in his vicinity, he was always invited backstage, a gesture he found particularly noteworthy given Dylan’s reputation for being reclusive. According to Dylan’s manager Jeff Kramer, Dylan admired Betts’ guitar playing, considering him a favorite guitarist.
Their backstage conversations ranged from music to boxing, a sport Dylan was known to be passionate about. Betts described himself as more of a listener in these interactions, absorbing the atmosphere and Dylan’s insights. He humorously mentioned that interviews were among the most he talked in a week, contrasting with his more reserved backstage presence with Dylan.
Donna Betts added another layer to their interactions, recalling Dylan mentioning playing for the Pope, which Dylan described as “just like another gig,” humorously suggesting the Pope was taking cues from the Dalai Lama in befriending rock stars. These anecdotes paint a picture of a relaxed and informal relationship between Betts and Dylan, built on mutual respect and shared experiences.
The Presidential Inauguration Incident
One particularly colorful anecdote Betts shared was from the 1992 Clinton inauguration. The Allman Brothers Band was playing at one of the inaugural balls, and Betts recounted a chaotic evening involving a disruptive individual and a surprising reaction from Dylan.
According to Betts, a man, later revealed to be Stephen Stills’ “gofer,” was behaving obnoxiously in the green room, boasting of being a senator and insulting those around him, including Betts. Frustration mounted when the band struggled to perform a simple blues tune on stage. Upon returning backstage, the heckler continued his insults, leading to a physical altercation where Betts punched the man, who then fell into Bob Dylan’s lap.
Dylan’s reaction, as Betts recalled, was not one of shock but amusement, reportedly saying, “Well I’m glad somebody knocked that sonofabitch out!” This unexpected incident further illustrates the unconventional and often humorous nature of Betts’ encounters, and even Dylan’s presence in the midst of it. The story became a recurring joke between Betts and Dylan, with Dylan playfully referencing Betts’ “right cross” whenever they met.
Jimmie Rodgers Tribute and Musical Roots
In 1997, Dylan curated a Jimmie Rodgers tribute album, and Betts was invited to participate. This project highlighted their shared appreciation for musical roots and traditions. Betts, deeply knowledgeable about Jimmie Rodgers’ music, chose to perform “Waiting for a Train,” showcasing his vocal and yodeling skills.
Betts approached the tribute with a desire for authenticity, requesting “old horn players” who had played in the 1940s, seeking musicians with a genuine connection to the era and style of Jimmie Rodgers. He collaborated with veteran musicians who had played with Benny Goodman, further emphasizing his commitment to honoring the legacy of Jimmie Rodgers. This collaboration underscored the depth of Betts’ musicality and his and Dylan’s mutual respect for the foundations of American music.
“Murder Most Foul” and a Final Nod
Decades later, Dylan’s 2020 epic song “Murder Most Foul” included the line “Play ‘Blue Sky,’ play Dickey Betts,” a lyric that resonated deeply with fans and musicians alike. Betts described the mention as a great honor, albeit initially feeling slightly embarrassed by the attention. He humorously downplayed it, suggesting Dylan might have simply used his name for the rhyme with “Getz,” but acknowledged the profound flattery of being name-checked in a Bob Dylan song.
The “Murder Most Foul” reference served as a final, public acknowledgment of Dickey Betts’ significance in music history by one of its most iconic figures. It brought renewed attention to Betts’ contributions and solidified his place within the broader narrative of American music, forever linking him to Bob Dylan in a unique and memorable way.
In conclusion, the relationship between Dickey Betts and Bob Dylan was one of mutual respect, musical kinship, and shared moments both on and off stage. From Dylan’s surprise “Ramblin’ Man” performance to backstage anecdotes and Dylan’s lyrical nod in “Murder Most Foul,” their connection provides a fascinating glimpse into the intertwined worlds of Southern rock and American songwriting legends. Dickey Betts’ memories offer a warm and insightful perspective on Bob Dylan, revealing a personal and often humorous side of the enigmatic artist, all while highlighting the enduring power of music and the bonds it creates between artists.
