Life on the Road: Bob Dylan, Levon Helm, and Phil Lesh

Not every musician gets the incredible opportunity to tour alongside their musical heroes, but few artists have a highlight reel that rivals that of Larry Campbell and Teresa Williams. Their journey through the music industry is nothing short of remarkable.

Together, they have collaborated with iconic artists such as Jackson Browne, Phil Lesh and Friends, John Prine, Little Feat, and notably, had a significant partnership with Levon Helm that included extensive recording and touring. Larry has also established a solo career as a talented multi-instrumentalist, performing with legends like Tracy Chapman, k.d. lang, Sheryl Crow, Keith Richards, and spent eight years playing with Bob Dylan.

All the experiences they gained while supporting these well-known musicians have fueled their own artistic journey, resulting in a growing discography, including the upcoming album in 2024 titled All This Time. This album features a powerful collection of songs that create a vivid connection between their past and present, showcasing an impressive array of collaborations, including contributions from Bill Payne of Little Feat. Additionally, the album includes previously unreleased music featuring Levon Helm, finally sharing these treasures with the world.

After a busy touring year, Campbell and Williams are set to expand their musical horizons further in 2025 by traveling overseas to Scotland to participate in the Transatlantic Sessions alongside Loudon Wainwright III, Jerry Douglas, and other notable artists. Closer to home, they will also be featured at the annual 30A Songwriters Festival in Florida come mid-January, continuing their legacy of captivating performances.

During an insightful conversation with UCR, the duo took a moment to delve into their latest album and share stories about their remarkable collaborations.

It seems there wasn’t a grand master plan for your latest album; you simply wrote songs and when enough came together, you decided to make a record. That organic approach often leads to great music.
Teresa Williams:
Absolutely, I completely agree.

Larry Campbell: Yes, that’s true, Matt. There wasn’t any intentional theme that I was aware of initially. It took Teresa to point out that there was a deeper connection.

Williams: Look at what you created! I could sense the themes emerging, especially after the COVID experience. When Larry would share his songs with me, I could feel they were born from that period. He didn’t even realize it at the time.

Campbell: It was a subconscious process for me. Now, looking back, I can feel its impact. The experience of COVID hit me hard, leaving a profound mark. It was a dark time for many, not just for those who contracted the virus, but for everyone due to the isolation. The lack of human connection was especially challenging, as I often found myself apart from Teresa and our usual social interactions.

Williams: I was in the city, focused on physical therapy after shoulder surgery, while he was involved in the Love Rocks benefit. When Larry tested positive for COVID, I was about to head to Tennessee to care for my dad who has Alzheimer’s. I had even rented a car and was ready to leave the next day when everything changed.

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Campbell: At that time, I was in Woodstock.

Williams: The doctor called shortly afterward and informed me, “You’re not going anywhere. You’ve been exposed; you need to stay in your apartment.” [Laughs] That was a challenging moment.

That’s a crucial part of the story behind this album; I’m grateful we’re having this conversation.
Campbell: Indeed, this experience brought me closer to the brink of death than ever before in my life.

Williams: Well, there were the ’60s too. We’re thankful you made it through those turbulent times, but let’s save that story for another day! [Laughs] I’m just glad he’s here to share his journey with us, Matt.

Listen to Larry Campbell and Teresa Williams Perform ‘That’s All it Took’ With Levon Helm

Your long-standing collaboration with Levon Helm is remarkable, and it’s wonderful that some of his essence is included in the album. How did that materialize? It’s a beautiful foundation for any song.

Campbell: While we were recording the Electric Dirt album, we had an open day in the studio, and Levon knew we were gearing up to start our first record together. He suggested, “Why don’t we lay down some rhythm tracks?” We ended up recording about five tracks together. One of them, “You’re Runnin’ Wild,” a Louvin Brothers song, made it onto our first album. Another track, “Turnaround,” by Carl Perkins, was included in our second album. For this latest project, we revisited the studio archives and unearthed “That’s All it Took,” co-written by George Jones. Teresa and I had been performing that song during the [Midnight] Rambles for quite some time, so we were well-prepared.

Williams: It was thrilling to discover we might still have some material with Levon. Larry said, “Let me check and see what we can find.”

Campbell: Our engineer, Justin [Gulp], had all the hard drives with those recordings. We managed to locate the multi-tracks, but we had to replace some elements. Originally, Byron Isaacs played bass on it.

Williams: Byron is an exceptional bass player. We have tremendous respect for him.

Campbell: Unfortunately, there were some technical issues with the original recording, so we brought in Brandon Morrison to handle the bass and added his harmony vocals, making it a collaborative effort with Levon once again. It’s a wonderful reunion. We also welcomed Bill Payne to the project.

Williams: You truly haven’t experienced a shuffle until you’ve heard Levon Helm play one, trust me!

Campbell: That’s absolutely true.

Having both Bill Payne and Levon Helm on the same track feels like a dream scenario.
Campbell:
No doubt about it!

Technology has its perks in facilitating such collaborations.
Campbell:
Indeed! Both of them were my heroes while growing up. I remember in 1973, a friend invited me to see Bonnie Raitt perform with Little Feat at Max’s Kansas City. I didn’t know who they were back then, but I was curious. We ended up sitting just ten feet from the stage, and witnessing Little Feat live was life-changing for me.

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Seeing Lowell George that close must have been surreal!
Campbell: It completely transformed my perspective on music. I had never imagined that music could be created in such a unique and vibrant way. Who knew that was possible?

Williams: I remember my drummer boyfriend playing “Dixie Chicken” in his basement in Long Island, and I thought my head would explode. It felt like I had discovered my people! Like Larry mentioned, it was astonishing to realize this band even existed. We worked with them last winter, and as we walked through the theater, I was still in awe of their swampy sound. How can you articulate that? It’s just this beautiful gumbo of…

Campbell: …American music.

Williams: Exactly, it’s raw and authentic. Kenny Gradney, who used to play with Delaney and Bonnie, adds another layer to that complexity. The threads of these connections make perfect sense.

Your time spent performing with Little Feat must have been memorable.
Campbell: It was an incredible experience—fabulous yet intimidating. Their music is complex, requiring complete focus. The band members are wonderful to work with; making music with them feels incredibly uplifting and joyous.

Williams: It’s similar to the energy with Levon—just uplifting and joyous. All the musicians from that era we’ve played with share that spirit. Whether it’s Phil Lesh and Friends [Note: this interview took place before Lesh’s unfortunate passing], Hot Tuna with Jack Casady and Jorma Kaukonen, or Jackson Browne, the joy is always palpable. As we often say down South, they’re just “so into” the music. John Sebastian in Woodstock is another example; you can drop by just to say hello or share a meal, and he’ll hand you a guitar saying, “You’ve got to play this!”

It sounds like those visits are never brief.
Williams:
Exactly! It’s the same vibe with everyone. “Oh, check out this new instrument!”

Campbell: They all retain that youthful enthusiasm for music, like 11-year-old kids.

Larry, you recently spoke with my friend Ray Padgett for his Bob Dylan newsletter. The story about your three-day experience with Bob is fascinating. You performed songs from his vast catalog, along with some shared favorites. That experience seems distinct from typical auditions.

Campbell: It was fantastic! I was told that technically it wasn’t an audition in the usual sense, but whatever it was in Bob’s world. It mostly involved hanging out and playing classic rock and country tunes alongside some of his material. It was great fun and had an amazing vibe. After those three days of what was more like a jam session, Jeff Kramer, Bob’s manager, informed us, “We’re leaving Tuesday for Nova Scotia; here’s the schedule.” Once we hit the road, we played many songs that I had never encountered before, but I simply jumped in and played along.

I recently spoke with Phil Manzanera from Roxy Music. It seems common among those who have worked with Bob that stepping into that situation is an unpredictable adventure.
Campbell: Absolutely! Each day was different, and each tour presented its own unique challenges.

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What’s the most interesting insight you gained while working with Bob?
Campbell: It was Teresa who highlighted this aspect to me, as I was in the thick of it. Her observation during our performances was that as a performer, you’re not limited to a single genre.

Williams: I remember one performance in Mississippi, where I experienced it as a fan from the back of the venue.

Campbell: Yes, if you feel a genuine connection to a particular style of music and believe you can authentically interpret it, then you should embrace it. Teresa helped me realize this truth, and it fundamentally shifted my approach to music.

Williams: It had a similar effect on me. I wanted to pursue my career as a singer, but I felt confined by the industry’s expectations. I love so many genres, from country to rock to bluegrass, and even jazz! Artists like Billie Holiday, Sarah Vaughan, and Bessie Smith inspired me. It was confusing because the industry wanted to categorize me, but seeing Bob embrace various styles was liberating.

Campbell: My years with Levon mirrored that journey. As music director, I had the freedom to introduce songs I thought Levon would excel at, and he often surprised me with choices I never expected. We would perform those songs, and they would gain a sense of authenticity simply because we poured our souls into the music.

Experiences like that are incredibly enjoyable and creatively stimulating.
Campbell: A prime example is “Tennessee Jed.” Teresa and I performed with Phil and Levon on a few occasions.

Williams: We had a co-billed tour, and it was a bit comical figuring out which bus to board! [Laughs]

Campbell: Levon expressed admiration for Phil’s music, and as we worked on the Electric Dirt album, I thought about finding a song that could bridge our two distinct musical styles. “Tennessee Jed” seemed like the perfect fit.

Williams: It just flowed seamlessly.

Campbell: Absolutely! Levon embodied “Tennessee Jed.” That song, during the Band’s early days, likely wouldn’t have even crossed their minds. But through his experiences with Phil and his unique personality, he was able to make any song his own, and it worked beautifully. There were countless instances like that.

Listen to Levon Helm’s Version of ‘Tennessee Jed’ by the Grateful Dead

Discover the Fascinating Stories Behind 20 Iconic Bob Dylan Album Covers

Take a look back at the artwork chosen by the famously enigmatic songwriter.

Gallery Credit: Allison Rapp

Next: Explore How the Band’s ‘Music From Big Pink’ Changed Music Forever

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