Two Quit My Morning Jacket

Lead guitarist Johnny Quaid and keyboardist Danny Cash have quit My Morning Jacket after four years in the band. Both departures were amicable and both Quaid and Cash cited a desire to step back from the rigorous work schedule that the Louisville, Kentucky, troupe took on in support of its third album and major-label debut, 2003's It Still Moves.

Quaid and Cash were on board for MMJ's debut, 1999's Tennessee Fire, and its other independent release, 2001's At Dawn. With buzz from press and other musicians over their high-energy live shows and unique brand of reverb-drenched rock & roll, the group signed to ATO Records (an RCA imprint co-owned by Dave Matthews), which released Moves last year.

In a letter to fans, Quaid (cousin of the band's frontman Jim James) wrote, "[Playing in the band] is all I ever wanted, but now all I want is at home." Cash added, "It's been a good run. I've been to places that I never dreamed I'd get to go. Unfortunately the lifestyle of a touring musician is not the one for me."

Guitarist Carl Broemel and keyboardist Bo Koster -- recommended to the group through "friend-of-a-friend recommendations" -- have already rehearsed with MMJ and been taken in as new members. "Please know that Danny and John are still part of My Morning Jacket's fabric and friendship," a letter from the remaining members read. "We couldn't be happier for them to take their lives in a direction they're most comfortable with."

The newcomers have to hit the ground running, as My Morning Jacket still have seven U.S. tour dates left between now and the end of the month, before heading overseas to London and Dublin for a pair of gigs. On February 19th, James will begin a ten-date tour with Bright Eyes and M. Ward.

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Song Stories

“All Along the Watchtower”

The Jimi Hendrix Experience | 1968

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."

More Song Stories entries »

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