Sunday, October 07, 2018

2007 JERRY HENRY INTERVIEW WITH BILLY JOE ROYAL :Fellow music lover, Robert Register, emailed me with news of Billy Joe Royal coming to Dothan. There is very little that happens in the music world in and around that area, past or present, that gets by Robert. He also provided me with Billy Joe's latest release Going By Daydreams (Raindrops Records) and if that wasn't enough, he set me up with a interview. Robert being friends with music business heavy weights Paul Cochran and Buddy Buie makes things happen.
Georgia born Billy Joe Royal hit the big time in the 60's with Joe South's "Down in the Boondocks." That hit was followed up with "I Knew You When" "Hush" and "Cherry Hill Park". He toured with Dick Clark's Caravan of Stars and came to Birmingham many times with WVOK's Shower of Stars. He returned with country hits in 1985 when he signed with Atlantic and cut "Burned Like A Rocket". Then charted with remakes of "I Miss You Already", "Tell It Like It Is", "Keep Right On Hurtin", "I'll Pin A Note On Your Pillow", plus a song that he penned himself "Love Has No Right". He has been touring with B.J. Thomas and a DVD of their show is available on-line from B.J Thomas Music.
Going By Daydreams was produced by super producer, Chips Moman. This is not a greatest hits project. It is definitely for the over 40 crowd that appreciates Billy Joe's smooth delivery.
The only recognizable cover on this CD is "Under the Boardwalk" which he does very well.
"Class of '65" takes us to our class reunion and asks; What would you do if you knew you never left my heart/what would you do if you knew that you are still tearing me apart.
Another in that same mind set "Where Did the 60's Go" that tells her; You're still my flower child/I'm still your freedom fighter.
Every song on this CD seem as if they were written for Billy Joe.
This is a great musical experience that truly showcases this legendary singer.
It's only available at
JWH-Billy Joe it's been quite a few years since I've talked with you. How are you doing?
BJR-I'm doing great.
JWH-Do you remember back in the 70's when you hung around my shop, the Surf Hut in Panama City Beach?
BJR-Man yea, that was right around the corner from the Red Rooster. Good Lord, that goes back a ways. I played the Red Rooster a lot. So you live in Tuscaloosa now.
JWH-Yea, actually in Northport which is just across the river. Did you ever play here?
BJR-Gosh, it's been awhile. But yes. I've played everywhere. (laughter) It seems like I played a place called the Front Page or the Back Page or something like that there years ago. I know there were some other places but I just can't remember. I do remember working at Joe Namath's place there. What was that Brother's 3? Do you remember?
JWH-That was Bachelors III. You played all over PC Beach, didn't you?
BJR-I sure did. I played the Breakers with Wayne Cochran and the C.C. Riders. I played the Old Dutch some too.
JWH-I used to see you with Joe South a lot back then.
BJR-Good Lord yea. Joe hung around Panama City all the time. He was another that hung around your place.
JWH-Joe wrote "Down in the Boondocks" for you. What else did he write?
BJR-He wrote "Hush". He wrote "I Knew You When", "The Greatest Love", lots of stuff for me. He wrote "I Didn't Promise You a Rose Garden" for me but we didn't have a hit with it. Lynn Anderson did but it was written for me.
JWH-You did the Vegas thing like Elvis. Did you meet him?
BJR-Oh yea! I played Vegas in 1970. The day before I opened, that was the last day of January, I went to see him and we visited a little bit. Later on down the line I played Lake Tahoe, I headlined the lounge and he headlined the main room and both of our names were on the marquee. You know I never took a picture of that and I never got a picture took of me and Elvis. Every night we saw each other. A friend of mine that played on the Boondocks, Emory Gordy Jr., was the bass player at the time with Elvis. So yea I saw him every night for about a month and became friends. You think people are going to live forever and you don't think much about things like that.
JWH-You have been all over the world and now you are coming to Dothan.
BJR-Yea I'm coming down there to Cowboys. I have a lot of friends down there. You know John Rainey Atkins and all those guys that make so much really good music in that part of the country. Bobby Goldsboro was from there, Buddy Buie, the guy that put the Candymen together for Roy Orbison lives there. Those guys later became Atlanta Rhythm Section. There's a lot of talent from around there. Jimmy Dean, who is still a good friend of mine, is still down there.
JWH-I have a copy of your CD and look forward to giving it a listen. I got it yesterday.
BJR-Super! That can be ordered on It was produced by Chips Moman and he wrote several of the songs. Chips is a legend in the business. He's written a million hits. He produced Elvis's comeback album. He produced Willie and Waylon, Neal Diamond, B.J. Thomas, anybody that's anybody. He wrote "Sweet Caroline". He wrote "Lukenbock, Texas". He wrote songs for Aretha Franklin, Wilson Pickett, it goes on and on. Like I said he's a living legend. He's really something!
JWH-Did you ever get to go to Lukenbock?
BJR-No! (laughter) I have no idea where it is. (laughter)
JWH-I found it. It's in the middle of nowhere.
BJR-I just came from Houston, Texas and some friends of mine had been over there but no I have never seen the place. It's just a wide spot in the road isn't it?
JWH-It's just one store owned back then by a guy named Hondo.
BJR-What were you doing there?
JWH-I lived out there. I was in the radio business out in West Texas.
JWH-In Midland.
BJR-Yea, Good Lord, I've been there. How far is Midland from Lubbock?
JWH-100 miles.
BJR-That where Waylon and all those guys are from. Buddy Holley was from there too. We played out in Hobbs, New Mexico once and a bunch of us went over there. I hear it's a great music town.
JWH-Jesse Taylor, Joe Ely, Butch Hancock, Mac Davis, Terry Allen, Pat Green, Lloyd Maines and his Dixie Chick daughter Natalie are all from there.
BJR-You've been around. You been around this ole music business.
JWH-Back then, in the radio business, all of them wanted to know you. It was play me, play me.
BJR-(laughter) It had it's benefits both ways.
JWH-You're traveling with B.J. Thomas now aren't you?
BJR-Yea but not all the time. We just finished up Vegas last week. Right now I am riding around with a friend of mine checking out the venue for tomorrow. We're playing Goat, Music, and More down here in Lewisburg, Tennessee. It's a big deal here. Then we go to Retro Valley and I can't remember what's after that.
JWH-You stayed with it all these years. You never dropped out, did you?
BJR-No, I've been lucky enough to make a living doing what I wanted to do. Even when the records weren't happening, I got a deal with the Flamingo Hotel out in Vegas. As a matter of fact I moved to California and worked there and Lake Tahoe. In the 80's I moved back to Georgia and started going up to Nashville. Knock on wood I have always managed to work. This is what I always wanted to do.
JWH-When did you know this is what you wanted to do?
BJR-Well, I think I always knew. At least I wanted to. I came from a family that all they knew was work. They worked at a cotton mill. To make a living making music was kind of unheard of back then. I had uncles that played on the side and never full time. When I was 9 years old I took steel guitar lessons. I played and sang on a radio show. Anyway I got the bug. We moved to Atlanta and there was a show out of Eastpoint called the Georgia Jubilee. I auditioned for that. The regulars on that show was Jerry Reed, Ray Stevens, and Joe South. Freddie Weller and I auditioned the same day. There was all kind of fine talent with that. Then when it folded up I got a job down in Savannah and that was the greatest thing that ever happened to me. I played in this huge club, the Bamboo Ranch,and anybody that was anybody played there. Joe South came down and started playing guitar. So as kids we played with Sam Cooke, Marty Robbins, George Jones, Fats Domino, Chuck Berry, the Isley Brothers, Faron Young and anybody that was anybody came through those doors. I've been lucky my whole life. I met Joe South that knew Bill Lowery. Joe and I had cut some stuff on our own which was just awful. We took it to Bill and he said he didn't like the stuff and he took us to Nashville. I had 6 or 7 records before "Down in the Boondocks". Of course it was on a major label and it hit.
JWH-So you were one of those 10 year over night successes?
BJR-(laughter) Not quite that long but quite a while. But I made it and don't have any complaints. The pipes are still working and I feel great. Yesterday I did a interview with The Country Weekly and they asked if everything was still working. (laughter) I told them I was healthy as a mule.
JWH-That's great to hear. Billy Joe I sure appreciate you calling and I look forward to listening to your CD tonight.
BJR-Thank You and I hope you guys get to come down and see me in Dothan. We can catch up on old times.

Friday, September 14, 2018


I'm sad to say, my old friend, and fellow musician, Kenneth Griffith, passed away today at his home inDothan... When Kenneth didn't show up for our "Monday Night Jam Session", Carl Adams, and Mitch Goodson went to his house and discovered his body... They said he appeared to have died peacefully in his sleep... I met Kenneth in High School and we played together in several bands over the years... Kenneth was a gentle soul with a sharp wit, and tremendous talent... He will be missed...
Frank Tanton

I just got word tonight that Kenneth Griffith died today. He was an incredible bassist and I don't think he ever had one enemy in this world. Kenneth was the bass player in Beaverteeth before I joined the group---I think Claude Bell took the spot when he quit, and I took over when Claude quit. Kenneth played a fretless bass and did it exquisitely. I tried to play it once and put it down after less than a minute.

When Kenneth decided to quit music, he talked to me about it. He said he wanted to go to college and be a farm agent, and he said some of our musician buddies were laughing and giving him a hard time about it. I told him to do it. I told him most of us would end up in a cardboard box down by the railroad track and he would end up with a retirement package that would make our eyes bleed.

He was several years younger than me, but I hope he got to enjoy some of that before today.

Take care---
Jimmy Dean

From : Kenneth Griffith
Sent : Sunday, February 26, 2006 1:28 PM
To :
Subject : A year in the life

Hi, Robert.

I'm enjoying reading you blog and looking at the great pictures. I never have found a copy of that first Atlanta Rhythm Section album on CD. Rodney Justo probably knows where some are, but I don't know how to get in touch with him.

Some of the things you've posted recently reminded me of things in my past. If you'll indulge me for a few moments I'll tell you about it.

I was barely 19 in the fall of 1970 when my parents took me to the Greyhound bus station in downtown Dothan where I boarded a bus for Muscle Shoals. A job was waiting for me there as the staff bassist in a little second-tier studio named "Widget." The studio was not far down the street from Muscle Shoal Sounds studio. The house band at Widget was to work on projects for the studio plus cut demo tracks with the Muscle Shoals Horns, which was then comprised of Harrison Calloway, Ronnie Eades, and Harvey Thompson. In my time there I recorded a fair amount of material that never saw the light of day as far as I know, and remember recording one demo for Harrison Calloway that was later recorded by Z.Z Hill. Joe Cocker and Leon Russell were recording at MSS while I was at Widget. I didn't meet Eddie Hinton but he was there, and I heard he had recently sold his Lincoln to pay for strings to be put on his record. I met all the Swampers: Barry Beckett, Roger Hawkins, Jimmy Johnson, and Roger Hawkins. I also met Donnie Fritz, whose grand piano was used on a lot of Widget recordings. There was also buzz in MS about a band from Florida that had recently been there but had move on: Lynyrd Skynyrd. They were still a few years away from hitting it big.
[wwwwwwwwwwyker & Court Pickett also recorded at WIDGET.-ed.]

Despite being at the fringe of all these great things, Muscle Shoals was very cold for a boy who'd grown up in the milder weather of the Wiregrass, and I got homesick. When David Adkins called me in the spring and told me that he and John Rainey were putting together a new band that would also be the staff band for Playground Studio in Valparaiso, I was ready to come home. That band became the original Beaver Teeth. The lineup was David Adkins on drums and vocals, Lamar Alley on vocals and guitar, Larry Shell on vocals and guitar, John Rainey Adkins on guitar and vocals, and me playing my Hofner bass. Larry Shell was a great singer/songwriter who later went on to some success as a song publisher in Nashville. Beaver Teeth was named by John Rainey because of Larry's prominent buck teeth. That was a good band, and was to my thinking the most unique of the several Beaver Teeth incarnations, though later versions of the group may have been better. I recorded quite a few sessions at Playground Studios with Larry, David, and John Rainey. That was a great time for me, but it didn't last. Late that summer when I just turned 20, Larry and Lamar left the band. We had made a couple of trips up to Atlanta to see the new studio Buddy Buie was building in Doraville. Me being on the chubby side, several people thought it would be a good idea for me to see Dr. Rankin, whose office was in the building housing the Buie/Cochran offices and the old Mastersound studio, where the Classics IV and Candymen had recorded. Actually a lot of hits of the late 60's came out of that Mastersound Studio. (One aside about Playground Studios in Valparaiso, Findley Duncan operated that studio for years, and he had old tapes of the Allman brothers (just the brothers, not the band) when they'd recorded there.)

photo courtesy of
The '77 version of BEAVERTEETH
L TO R: Jeff Cheshire, David Adkins, Rodney Justo, Larry Hunter, Mike Turner, John Rainey Adkins

On one trip to Atlanta, I remember cutting a couple of songs for Wilbur Walton when Studio One was new. David played drums, Paul Goddard, the great ARS bass player, played rhythm guitar, I played bass, and I think Dean Daughtry played piano. I bet Wilbur still has those tapes.

After Larry and Lamar left Beaver Teeth, David moved to guitar, Frank Tanton was added on keyboards, and Charlie Silva came in on drums and lead vocals. Charlie was a great drummer and singer, but his biggest talent was that he could do something called the "helicopter" with a certain part of his anatomy. This also made him quite popular with the ladies. That version of Beaver Teeth only lasted a couple of months, but we did record some sessions at Studio One, with Ronnie Hammond as the engineer. Frank and I then left the band. I was replaced by Jack Lane, who had to have been the best bass player in the world--he was phenomenal. Clark Craits took over the keyboard job. Jack Lane was the bass player for several months, and when he left Jimmie Dean, another really great bass player took over that job, keeping the bass chair for several years.

After I left Beaver Teeth, I played with almost every band in Dothan: Norman Andrews and the Concrete Bubble, Wilbur Walton, Jr. and Blackhawk (we played one summer at the Hang Out in PC), Strawdawg, MG and the Capers. In my mid-twenties I went off to school at Auburn to study agronomy and have never played professionally again, though I still play and try to keep up my chops.

This is a long letter, and somewhat self-indulgent, but my life has crossed that of a lot of the people's whose stories you've been posting here, and I think I may have filled in a few details.

Thanks for reading. I still wish I could find that ARS CD!


Text of BEAVERTEETH press kit put together by Dothan's DEAN ATTRACTIONS:

If you took five top studio musicians from Georgia, Florida and Alabama, what would you have? A sound that's sharp as beaver teeth.
And that's what they're called...Beaver Teeth

This unique group was bred by years of studio work and show tours. They have worked with Bobby Goldsboro, Billy Joe Royal, Roy Orbison, The Classics IV and others.

The NOW sound of the group is reflected through blues and ballads of the past, heavy rock, commercial pop, as well as much original material.

The well known John Rainey Adkins was formerly lead guitarist for the very popular Candy Men, Roy Orbison back-up band. Since then, he has been doing studio work in Atlanta, Ga. and Valparaiso, Fla. Having been successful as writer also, John Rainey has to be one of the most skillful and devoted musicians around.

David Adkins, John Rainey's little brother, plays practically any instrument. David is featured as the drummer for the group. Also a studio musician at Playground Studios at Valparaiso. David's versatility is one of the main factors that contributes to the amazing sounds of Beaver Teeth.

The bass guitarist, Kenneth Griffith, comes to the group from a recording studio in Muscle Shoals, Alabama.

The multi-talented Lamar Alley, began playing at the age of six. Lamar sings and helps with the guitar work.

Larry Shell plays rhythm guitar, piano and performs vocals for the group. With a voice and writing ability to compliment, Larry has had several records of his own, as well as years of studio work in Valparaiso, Fla.

Beaver Teeth, promoted exclusively by DEAN ATTRACTIONS, has the experience and versatility needed to perform all of today's music. Their sharp sound is guaranteed to satisfy!

for more information contact:

301 North Cherokee Avenue
Dothan, Alabama 36301
Phone 205/ 794-4719

Rodney Justo
"robert register" 
Re: "Cuba, Alabama" Solicits Your Feedback Before Composing Tonight's Post!
Sun, 26 Feb 2006 16:10:16 -0500

Kenneth, it's great to hear from you.(I guess it's called hearing,even though I'm reading)
I found a copy of the original ARS on CD in California recently.( I had another one that I bought on the internet but I gave it to someone) if you'll send me your address I'll burn you a copy.
By the way it's kinda' crazy that you no longer play.I have memories of you being an OUTSTANDING player.
Best Wishes......

Hi, Robert.

It was surprising that you built my letter into an entire blog; that was a nice thing to do.
It was great to see the replies from Jimmy and Rodney too. I’d forgotten about the part about playing for Farley Taylor’s radio program. I haven’t seen Jimmy in several years, but he always reminds me about that “Little Kenny Griffith” bit. I only played with the “Taylor Mades” for a few months. Farley always “Brought it all back.” People would tell me what a crook Farley was, but he always was honest with me. He paid me exactly what he said he would when he said he would.

Anyway, I’d better not go off writing another long letter. If you can get my address to Rodney and thank him for his nice comment about me I will really appreciate it. Here’s my address if he will burn me the CD:

Kenneth Griffith
If you will, please pass my email address on to Jimmy. I’d love to get a note from him.

Thanks a lot, Robert. I check your blog every morning and enjoy reading it. And even though I did get that degree from Auburn, I enjoy the Bama stuff too.


The first time I ever saw Kenneth Griffith play was in an old radio studio above
Hugo Griggs Carpet Store
about a block east the old Houston Hotel
that a lot of bands used for practice. I don't remember who all was in the band, but I believe Lamar Alley was the guitar player and Wayne Paulk was the singer. They did a hell of a rendition of "Kansas City." The year may have been 1968 or 69 or 70?????

I remember Kenneth playing around with a fretless bass.
I had never seen a rock & roller play bass like that. Prior to that, I had only heard Jaco Pastorius, a Brazilian jazz musician in Flora Purim's band play fretless.

It was almost like hearing someone play a slide bass, only with fingers doing the slide rather than a steel or a bottle.

A really haunting sound.

Kenneth was a hell of a bassplayer.
J. Hodges

H, Robert.
I sent you an email the other day, but I’m not sure it ever went to anywhere you could see it. I’m the Kenneth Griffith who’s in several of the pictures that Frank Tanton sent you and that you posted on your blog. I was an original member of Beaverteeth and Strawdog. I also played with Wilbur in a group called Blackhawk in the early seventies, and I played with Mitch Goodson and the Kapers in the mid-seventies.

As a charter member of Beaverteeth, I got to spend time at Studio One in Doraville when Buddy Buie was building the studio and putting the ARS together. At that time Rodney Justo was the singer, and Ronnie Hammond was an assistant engineer. They also had a great saxophone player who was one of the writers of ‘Spookie.’ I’ve forgotten his name, but he never became a member of the group. All that was pretty impressive stuff for someone like me.

Anyway, I’m trying to find a CD of the first Atlanta Rhythm Section album. My old vinyl copy is too worn out for me to make my own copy. I see where Buddy Bui posts to your blog, maybe you could put my request out there and someone will know where I can get a copy.

Thanks for the help. I bookmarked your blog, so you can count me as a regular visitor from now on.


Good to hear from you, Daddy Mack!

Maybe the Memory Cell or The Nix or the notorious Perry from Abbeville will be able to help you get a CD of that Frist ARS abblum.

You may not remember me but when you see me you will.

I used to hang around Jerry Wise's Studio on the Circle during the summer with Burke back in the day and I remember you being one genuinely friendly cat!

The SPAMMER FROM BAMMER now shoots out your request and maybe someone will be able to get you that first ARS album on CD!


I appreciate your emails and your blogs. I have to agree that it would be great if Alabama schools included courses on Alabama history. I’m not crazy about all this “global perspective” crud. Teach the students Alabama and American history, and make sure they learn about two of the best things that a bunch of dead white men ever gave the world: the American Republic and the U.S. Constitution.
What could be more global than a nation dedicated to the proposition that all men are created equal?

Kenneth Griffith
He doesn't have it exactly right about Georgia Pines.
John Rainey wasn't there when we cut the song at Fred Foster's studio in Nashville.

We did cut a version of Georgia Pines in Beaverteeth. That is Charlie singing @
I know we recorded it once up in Birmingham and we may have cut it again down at Playground in Florida, because Jim Lancaster has the tracks on it.
Jimmy Dean

From:Rodney Justo
"robert register"
Re: Flashbacks From "The Dirty Bird" With Young Junior's Own Frank Tanton
Sun, 13 Feb 2005 11:22:45 -0500

Of course I remember Frank, although I can't say that I could pick him out of a lineup almost 35 years later.
I think that they recorded "Georgia Pines","Happy Tonight",and another original song at that session.
I remember John Rainey,David and I commenting how Charley sounded a little "dated" on the third song.
Kenneth Griffith was a really good bass player and if I recall correctly, an excellent student at, I think, George Wallace Jr. (or Community)College

Re: Jim Hodges On Dothan Bands
Sun, 18 Sep 2005 19:30:54 -0500

Strawdog was a hot band... Lamar Alley and George Cheshire on guitars, Frank Tanton on keys, Kenneth Griffith on bass, and little Larry Holmes on drums. We were the house band at the Flamingo Club in Dothan 71-72...
I think Robert Dean may still have the old promotional pictures of the band that were taken in the club's nasty-ass bathroom...
Frank Tanton


Hey y'all:
The citizens of Zero, Northwest Florida mourn the passing of Kenneth Griffith.

As acting mayor of Zero,
I propose that ALL flags fly at half staff this week in honor of Kenneth Griffith.


"Until one is committed,
there is hesitance,
the chance to draw back,
always ineffectiveness concerning all acts of initiative (and creation).

There is one elementary truth, the ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself then Providence moves too.

All sorts of things occur to help one that would never have otherwise occurred.
A whole stream of events issue from the decision, rousing in one's favor all matter of unforeseen incidents, meetings and material assistance, which no man would have dreamed could have come his way.

Whatever you can do or dream, you can begin it.
Boldness has genius, power and magic in it. Begin now". ...Goethe
Hey y'all:

Kenneth Griffith's funeral was this evening at Byrd Funeral Home in Dothan.
Graveside services will be held tomorrow morning in Tallassee.
Kenneth's obituary & condolences follow this post.

Sunday, November 05, 2017

FROM Preston Truman Duckett (PRESTON T. 's website )
Buddy Buie a rewrite from the Preston T. Line 
(in Down Home Today March 22nd, 1969. A
Weekly writing from the Preston T. Show
on WDIG Radio nightly Mon-Sat.)

Had a nice chat last week with someone I have known and worked with and for many times during the past several years. I knew him when he was in the promotion business and was the emcee on many of the Rock Shows he promoted in Dothan. But we are here to write about Buddy Buie and not me, so here we go. Buddy said “I started Carlton-Buie Promotions after flunking out of Auburn and promoted Rock & Roll Shows in the South.” We can actually start his story before this because in the beginning Buddy managed the Webs, and as he told me the reason for this was because Bobby Goldsboro and John Rainey Adkins were “bashful and they needed a mouthpiece to get jobs.” Buddy went to work with Roy Orbison, along with the Webs, and this gave him his first introduction to the “Major League.” Buddy got tired of the travel and came back to Dothan to form the James Gang with Wilbur Walton. Later he formed the Candymen and used both groups in various Southern promotions. Buddy said, “After writing a few songs with Bobby Goldsboro and John Rainey Adkins, I decided to sell my management contract on Bobby and devote my full time to writing,” At first his earnings as a songwriter were not enough to keep him going in the life style he was accustomed to so he started looking for other sources of income. Around this time Buddy met Paul Cochran and together they formed the Buie-Cochran Management Company and again he was in the promotion business. Buie-Cochran opened a booking office in Atlanta and after one year sold that company to Bill Lowery, who suggested that Buddy once again give his full time to song writing. “Lowery, Cochran, and myself formed Low-Sal Music, Inc,” Buddy said “I had enjoyed no success with the major firms so we felt we’d try to make it as an independent.”, He continued “I began collaborating with J. R. Cobb, a member of the Classics IV and to this day he and I are a team.” After being in the publishing business for less than two months this Team wrote a song called “I Take It Back.” which was recorded by Sandy Posey. It was an instant hit, selling almost a million records and winning a BMI award as one of the top songs of 1967. Buddy became interested in producing and arranging during this period as he said. “I was not happy with the production that other producers had been doing on the acts that Paul and I managed.” He produced a record that had originally been recorded by Wilbur and the James Gang, it was GEORGIA PINES and Buddy says “it will always be one of my favorites.” Buddy heard and instrumental called Spooky on the Radio, he and J. R. wrote lyrics, and submitted them to the publishers for approval. They were and the rest is history, as SPOOKY became his first million seller. After a loser entitled MAMAS & PAPPAS he produced STORMY a song the team had written while on vacation at Ida Cason Gardens (ed. note: this is the original name of "Callaway Gardens"). This one went on to sell over a million records and has been recorded by many well known artists. When I ask Buddy about his newest song, TRACES, he said, “It is now number five in the nation and looks like it is even bigger than the others.” At this printing it is now # 2 in the nation. In addition to the Classics IV, Buddy also writes and produces for Billy Joe Royal, Wilbur Walton, Friend and Lover, The Candymen and Tommy Roe. There is no doubt that Buddy has made the Major Leagues. 

Here I break away from the rest of the reprint and add my condolences to Buddy’s Wife and Family members because as most of you know Buddy left us this year and He had accomplished more in his lifetime than he even suspected when he started the Big B Power Hour on Radio WOOF AM as a Teen Age youngster. We miss you Buddy and many wonderful thoughts and words have been said and printed on his behalf. Did not want to write a new memorial to Buddy so I humbly submit this Rewrite from March of 1969. May God Bless and Keep His Family and Fans.
Preston T. Duckett November 5, 2015

Friday, June 16, 2017

 We're pulling out all THE OLD DUTCH ARCHIVES for a new project so we'd sho' 'preciate any images or reminiscences you may want to share. You may contact me @
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"Those rednecks from Alabama come down to the beach with one pair of underwear and a $5 bill and they don't change either one!" Cliff Stiles, owner of the Old Dutch
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Please check out my 2013 PANAMA CITY LIVING article about the 30 year history of THE OLD DUTCH

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Image may contain: sky and outdoor THE OLD DUTCH IN THE EARLY '50s WHEN IT WAS MANAGED BY B'HAM'S JOSEPH BROTHERS (image courtesy of Dennis Joseph)
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 Cliff Stiles on the left. Alabama Governor "Big Jim" Folsom in the middle. "Big Jim" spent his honeymoon at the Old Dutch.

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from the Bay County Centennial website:


Frank Burghduff built the Old Dutch Tavern in the 1930s approximately 10 miles west of Panama City. Built entirely of Cyprus logs and all handmade roof shingles, this 2 ½ story building boasted a huge fireplace that took 113 tons of stone to complete. This was the beach’s first bar and one of the few man made attractions at the beach until further development began in the late 1930s. Although it also had a restaurant, by the 1960s it was known more as a nightclub that featured such acts as The Swinging Medallions, Bobby Goldsboro and the James Gang. Located near this site today is the Days Inn Panama City Beach.
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 Stiles Vs. Lambert 1954 may contain: one or more people, hat and outdoor

 Old Dutch ringing the dinner bell in front of the club. The Old Dutch catered to the construction workers on the the beach during the late 1940s.
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"My brother and sister and I used to get up early on Saturday and Sunday mornings to go clean 'the tavern'.  There was so much money on the floors that we finally gave up on picking it up, and would stack the chairs on the tables first, so we could SWEEP it up.  You know, a $20 bill was a lot of money back then, and several times we found 20’s on the floor.

Between the hotel and the tavern, we saw a lot of stuff.  My Dad would work as bouncer at the tavern.  He and Mom met a woman who would become one of their closest visitor friends over the years – Ruby Folsom Austin (yes, Cornelia’s mother).  She was down staying with us about 1971 or 72, when she let Mom and Dad be the first to know that Cornelia and George Wallace were engaged.  Lord, Ruby loved my Dad!

You can imagine it was an unusual childhood, and the Old Dutch figured heavily into it." ~ M.
" ~ M.

from Tommy Mann of the K-Otics:
We (K-OTICS) were playing at the Old Dutch in Panama City, This was the last week of May or the first week of June 1965. I finished college and left for PC that day, as I said in my interview with Garage Bands of the Sixties, my father was about to skin me alive because I was not going to work in one of the many College Grads training programs, Sears, John Deere, etc. He was at my graduation at Troy and I said bye and we were performing that night! After we had played a couple of nights we heard there was a band playing at the Old Hickory just down the road. We went to hear them and the place was a restaurant. There were only three guys there; John McElrath, Joe Morris and the lead guitar player. So you had Keyboards, Drums and guitar. They sounded really good and John was playing the Organ and an electric piano. I had not heard one before so I said then, that I had to have one in our band. John said they were waiting on the rest of the band to show up. There were only six people in the place other than us. He told us they were called the Medallions. The rest of the band showed up over the next couple of days and I wasn`t sure when they were going to stop! They ended up with eight members. The more players they added, the better they got and the bigger the crowds became. I told John that I thought they had a potential gold mine , he said why and I said I`m from the central part of Alabama and every summer there are thousands of kids from Al. etc. that come to the beach and have nowhere to go because they aren`t 21 and can`t get the clubs, like the Old Dutch, so they will love the Old Hickory Restaurant. They didn`t serve alcohol and there was no age limit. I believe it may have been the first Teen Club anywhere. During the week they played a song that they introduced as Double Shot and said they were in the process of putting it out on a record.

 John told me that it was supposed to be on DOT RECORDS within six months. We finished up at the Old Dutch and wished them luck and went on our way. About four months later we saw them again somewhere in south Georgia. I asked about their record release and John said DOT RECORDS wasn`t working out and he was looking elsewhere. I said:" good luck, I think the song is a hit". We saw them again a month or so later and they had not been able to find a way to get the record out. At that time I believe Kim and I said we were looking at recording it and I believe they may have been frustrated and said something like; go ahead somebody needs to. I still didn`t feel comfortable about it so I asked a lawyer friend to check the legality of it and he let me know about the Dick Hollerday version and said that any song that has been played on the airways was available for anybody to record and release as long as the writers were paid. Only then did I agree to proceed with Sam Phillips in Memphis. There, you have it Roberto!!

from Cliff Stiles' grandson :
" I enjoyed your article on the Old Dutch in Panama City Beach very much.  Cliff Stiles, the owner of the Old Dutch from 1944 until it was destroyed by a hurricane in 1975, was my grandfather.  I forwarded this article to my aunt, Richie Stiles Whitaker and I believe she was going to call you. 

You definitely captured the feel and vibe of the Old Dutch as a classic Southern roadhouse.  I had not reached drinking age by the time it was destroyed but I visited the tavern many times while growing up.  As a matter of fact, I saw my first strip tease act at the Old Dutch when I was in third grade.  My oldest brother, who was in college at that time took me.  The bouncer at the door looked at me and shook his head no.  He looked across the room at the manager Betty Koehler, and Betty nodded us in.  We were shown to a front row table and mostly what I remember from her act were tassles and a live boa constrictor.  I do remember my stories about this 'floor show' to friends back in elementary school were met with blank stares.

Your article said there are additional photos on your blog but I was unable to find them.  Can you tell me where to look?

Again, thank you for a great read.  I've forwarded your article to my siblings and a few others who remember the place.  Wonderful memories."

 Tuscaloosa's FRED DELOACH tells Jerry Henry about his summer at THE RED ROOSTER:

Steve Caldwell’s father, Earl Caldwell owned the building that the Old Hickory leased on Panama City Beach, not the Old Dutch which was up the beach. That’s where Bobby Goldsboro and the Webbs played. Bobby went out on his own and the Webbs became the Classics IV and they did "Spooky".....We played in bands because of our love of music, the music came from our hearts and it was a very good way to meet women.....I was in a band called the O-Men. I had become a good friends with John McElrath, the guy that put the Swingin Medallions together, and through him the O-Men got booked for a summer gig at the Beach Club which was right next to the Hang Out in Longbeach. Before we went down there we thought it was going to be wall to wall with beautiful girls in bikinis. We envisioned this as a 3 month vacation. When we got down there the real world hit us in the face. We played the matinee jam session at 3:00 every afternoon at the Beach Club. Then we came back and played from 8:00 till 9:00. Then the Pieces Of Eight (comprised mostly from the members of the original Swingin Medallions) which had the hit "The Lonely Drifter" came on from 9:00 till 10:00. Then we did 10:00 till 11:00. At 12:00 we went to the Cork and Bottle club at the Red Rooster (located in the old Beach Bank building) and gigged until 4:00 in the morning. We did this 7 days a week. I think we got paid $150 each a week and they paid the rent on the house where we stayed. It wasn’t all bad we did have some fun times but by the time summer was over we hated each other. That band was Bruce Hopper, Hatchet was the drummer because Ronnie Quarles couldn’t come, Tommy Stewart, I can’t remember who else. I do remember we had a Chevy Corvair van and like I told you by this time we hated each other. I told them to take me to the airport that I was flying back to Tuscaloosa. I got off the plane, walked in the airport and signed up for flying lessons. I went on to get a commerical license and instrument ticket. I did that for 6 years. Then I crashed an airplane. Chuck Leavell was living over in Idlewild South, most think it is a airport in New York but it is a cabin on a lake in Georgia. I stayed there while I got healed up. I slept in Scott Boyer’s bed because he was out on the road with Cowboy.....I played with TopTens for awhile with Denny Green and Tommy Stewart who had been in the Rubber Band that had started out as Johnny and the Monkeys and they played down in PC at the Old Hickory. That was Johnny Townsend, Tippy Armstrong, Johnny Wyker, and that bunch. Remember the vault was the bands break room in the Red Rooster. Tommy is playing with us and he had a Mark VI just like I did. The Mark VI had a molded case lined with red velvet. The case is sitting there open. Remember the men’s room was on the other side of the wall. This drunk stumbles in there and pees in Tommy’s case. (laughter) He threw that case away. (laughter)....

"The picture of the back of the tavern, pointing out the room for the bands, especially.  There were actually two rooms – the one directly on the back, and one more around to the right (looking from the rear).  Kasandra always got the nice room around on the side.  I remember for a time a skinny girl with bad teeth staying in the one on the back – she was a hippie, and a hooker.  She had a really hippie boyfriend who did odd jobs there, though my dad eventually ran him off for pot dealing.  Us kids found him asleep in the sand below the tavern a few weeks later, and he begged us not to tell our dad that we’d seen him.  He looked bad, and was all covered with sand.  We had more important things to do than squeal on him." ~ M.

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The K-OTICS were playing gigs at THE OLD DUTCH the first time they ever heard the Swingin' Medallions play DOUBLE SHOT. They heard THE MEDALLIONS playing it at THE OLD HICKORY.

from Tommy "The Swamp Mann" Mann:
I first heard “Double Shot (Of My baby’s Love)” played by a local band in Troy. They had heard a band called The (Swingin’) Medallions play it somewhere. We played at a club in Panama City, Florida, at the Old Dutch Inn and went to another club where we head The Medallions. They played “Double Shot” and said they were going to record it. We started playing the song like most bands and figured they would release the record. We saw them months later and they said Dot Records refused to do the record. I, we well as my drummer, told them we were thinking of recording it and they said, “Go ahead.” I knew that there had been a version years before so I had a contact research the history and found the Dick Holler & The Holidays (original) version. Since the song had already been recorded it was perfectly okay for us – or anyone – to record. 

Both the K-OTICS and THE MEDALLIONS had hits with DOUBLE SHOT.

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"You probably don’t have a picture of C. F. Stiles in his classic “old rich guy” state, from the 70’s – he looked just like the Monopoly game Rich Guy!  He always dressed in a business suit, and was very rotund with a mostly bald head and BIG white moustache!  That time we traveled with him to Birmingham, he told us stories all the way up 231 and 31, about every little town and hamlet along the way – he WAS the epitome of old-school Alabamian.  He pointed out Prattmont, the north side of Prattville, where I’d actually come to live for twenty years as an adult.  I remember seeing a political cartoon of him (I think from the Birmingham newspaper), hanging in the Old Dutch Motel office.  It was a “Believe-it-or-Not” kind of illustrated collage, of him and his accomplishments.

Another old PC Beach pioneer, Ira Jenkins, had a barbecue joint across the street from the Motel, and I remember him and Mr. Stiles cussing one another (jokingly, of course) while I was painting the two harpoon guns at the Motel entrance door.  You can imagine what sport it was to see this fine old codger yelling across the street at another old codger, “Ira Jenkins, you’re a g-d sonofabitch!”, and then Mr. Jenkins yelling back, “Cliff Stiles, you’re TWO g-d sonofabitches!”  When he came to town, we were in heaven, like all small dogs are when they’re in the shadow of the big dog!

I learned a lot about the wealthy from Mr. Stiles." ~ M.
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"My parents hired on at the Old Dutch in the summer of 1970 as maintenance man and housekeeper.  My brother and sister and I (13, 12, and 11) were paid a little bit to keep the yards clean at the motel and tavern.  I was lucky enough to be Cliff Stiles’ house maintenance boy, and went to his spacious cottage on the other side of the Holiday Inn, to cut the grass, paint, etc.  He once took me and my brother and Dad to Birmingham to bring a truck back, putting us up in his Redmont Hotel – boy, we thought we were UPTOWN!

Many stories.  That summer, 1970, he brought the beautiful Venezuelan stripper, Diosa Kasandra, to the Old Dutch.  She (real name Michelle Bruno) fell in love with my family, and visited us every year after.  She’s still one of our closest family friends, retired now from ABC, where she was Peter Jennings’ makeup woman.  I have recent pictures, and she’s still pretty hot, if you can believe it’s possible to say that about a 71-year-old woman (think Raquel Welch)!  I was the only 12-year-old around who had autographed naked pictures of a woman he knew personally.  The famous singer Joe South (“Games People Play”) came to play there that summer, and he absolutely fell in love with Kasandra – he chased her around like a puppy, and she just wasn’t interested – she had been a world traveler, and was not easily impressed."~ M.
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"You had asked about EDGY – man, in 1970 we saw it all!  Braless was in “full swing” you might say.  Hippies were really beginning to be a part of the beach scene.   And bar fights, sometimes there were wonderful brawls in the Tavern.  Bobby Bolton, a retired policeman on Panama City Beach, can fill you in on LOTS of stories of that sort.  He’s also a pretty good friend of Betty Kohler’s, I believe.  He’s one of my favorite people on earth, though he probably doesn’t know it – just a good man.  He may still be a city commissioner on PCB, I know that he was, around 2007.  Another of the policemen at the time, Mike Odom, my dad really liked.  Odom was not a big man, but he could surely DRAG ‘EM out, as my dad used to say.  And my dad liked nothing better than draggin’ ‘em out of the tavern!

The Old Dutch WAS the La Vela and Spinnaker of the 70’s.  Anybody in Alabama and Georgia that had not been there, pretty much had not been to PCB.  I remember on several occasions people seeing others from their hometowns in “compromising” situations!  Folks came here to have a good time, and not worry about pretenses.  I remember the dance, the “Funky Chicken”, and the effect that had on the crowds – it was just too much to describe.  One of the plump maids put on a demonstration one night that brought down the house!

I sat in my first Corvette in 1970, listened to my first 8-track player, learned how to clean motel rooms, and do laundry in HUGE machines.  We had an Israeli couple hire on to help, and the wife ran the laundry while the husband helped Dad with repairs and maintenance.  One day the guy cooked fish for us – it was a pan full of CHOFERS, the little trash fish that everybody uses for bait.

Later on, we had a black man, J. D. Sandlin, to haul the garbage.  He was a wise old sage type, and taught us many songs and other things.  He was with us in the winter still.  One night he had killed a raccoon in the dumpster, and gathered him up and headed into town.  A day or two later, Dad had to go get him out of jail, he’d had too much of a drunk good time with that ‘coon.  He was old then, I hope he had a good rest of his life.

Another helper was a tiny short man named Eddie Yeomans.  He was from up around B’ham, and I believe he had worked for Stiles up there.  Eddie also became a long-time friend, and I last saw him visiting my parents about 1981, very old and in poor health.  I think I remember my Mom saying he’d died a few months later.  A lot of the people that came and went at the OD during that summer and winter were part of our lives around Panama City for many years." ~ M.

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1956 lawsuit brought by Cliff Stiles against the tenant of the Old Dutch, H.H. Lambert of Auburn. The defendent, Lambert, claimed Stiles refused to fix the roof around the chimney after a September, 1953

Re C.F. Stiles or Betty Koehler

When I played there in the summer of '64, "Old Man" Stiles was the owner of the Old Dutch and lived in B'ham. He would come down once in a while but I never got to know him very well. Betty supervised the bartenders and barmaids and was pretty much "all business"; but, a really nice lady once you got to know her. I seem to recall that her husband was an avid scuba diver, perhaps he even did this for a living?[THE NAVY LAB WHICH HAS ALWAYS EMPLOYED DIVERS IS LOCATED JUST WEST OF HATHAWAY BRIDGE WHEN YOU COME INTO PCB: ed]

In 64, the club was actually run by a man with the last name of Trammel(sp). Trammel was okay, but had a bad habit of playing some pretty harsh practical jokes. For example, the butt of one of his jokes was a drummer from Dothan named Bruce White. I got to know Bruce through Wilbur Walton, Jr. when the two of them would come down to our gigs at the Dutch.

At that time at the Old Dutch, we were playing seven nights a week from 9 to 2, and two jam sessions on weekends. Trust me when I say that with this many hours on the stage we would welcome anyone to sit in. But, of course it was always a real treat to hear Wilbur sing, and Bruce was really an excellent drummer - very showey and had an strong, quick left hand.

Anyway, for those of you who remember Bruce, may recall that he was always after the young ladies. And, he also never seem to check I.D.'s although it may have been prudent to do so with the case of some of them?

Well, Trammel apparently had heard of this rumor during the time Wilbur and Bruce were playing the Dutch the year before us. Deviously, he arranged for a pal of his who was with state police or the sheriff's dept to show up at the band's door below the Old Dutch (Note - there was an apartment which was always provided for the bands since the pay was never that great).

The cop handed Bruce a fake warrant for his arrest, supposedly taken out by some girl's father, and put him in the backseat of the police car. Then, he actually drove Bruce from the Dutch all the way to the Hathaway bridge going into PC. There he turned around, came back to the Old Dutch, and dropped him off in the parking lot where Trammel had the whole place waiting outside and laughing. Did anyone really deserve a joke like this? Well, probably Bruce did.
But, did it teach him a lesson?
Now asking that question -- That's a real joke.

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"Ben Burford"
"robert register" 
Cliff Stiles

Cliff Stiles.
He used to own the Old Dutch, of course, and several other properties
down in P.C.
My father, Frank Burford, used to do architecture work for him, and had
done a renovation to the Old Dutch at one time, and to a buffet diner
owned (can't remember the name).
He had a big black mynah bird that stayed in the foyer of the
restaurant, and he would entertain the customers when they came in. His
famous line was "Birds can't talk."
Har har!
BENJI [alleged brother of the Brenda Burford]

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reprinted with permission from Old Tuscaloosa Magazine #31 [1997]

In the Spring of ' 65 an opportunity developed for the band that changed us and Eddie forever. There was a club down on Panama City Beach called the Old Dutch Inn. It was the college hangout. All the hot local bands and a lot of regional and national bands wound up being featured there from time-to-time. We were rehearsing one day when Eddie showed up, all excited. He said,"Aw, man, this is it! They want us to be the house band for the summer. They're going to pay us one hundred dollars each per week and give us free food and lodging! This is our break, guys! We're fixin' to bust out of here!"

Well, Chiz had just graduated and was also married and had a son. He had to do a tour in the army and was to report to Ft. Jackson as a second Lieutenant in August, having been in the ROTC. Viet Nam was also heating up. As for me, I had graduated in ' 63, gotten married, became a father, and we had just opened Curry furniture store that spring. We couldn't take the job no matter what.

Eddie was real disappointed and he said, "Well you just can't do this to me. I'm going to go down there and figure out something. I'll be back in the Fall." Fall was our "season". We played fraternity parties and clubs and we had booked a great number of jobs already for the coming season.

Well, Eddie went down to Panama City Beach and put together a band and took the job at The Old Dutch Inn. He called the group the Five Minutes. He never came back to the Spooks. Our band went through it biggest transition. David Reynolds moved to lead guitar, Mike Spiller was added as singer-keyboard player and Gene Haynes played bass. Later we added Jimmy Butts as vocalist and horn player Fred DeLoach.

FROM THE WEBSITE OF ZANE RECORDS WHICH SELLS EDDIE'S MUSIC:'The Spooks' band existed in Tuscaloosa around 1961, and according to member and fellow AU student John Curry was " A simple little group that played a few old John Hooker tunes,The Ventures, Buddy Holly and others. We went through several evolutionary changes as most bands do, but we really needed a vocalist."

'The Spooks' had got word that Eddie Hinton was pretty good, Eddie told 'The Spooks' they were all crazy, he didn't sing and they didn't need him. Somehow they persuaded Eddie that they didn't mind if he learned on the job, which the shy seventeen year old did, and eventually taking up guitar and harp to make 'The Spooks' one of the most sought after fraternity bands of the area. During the Spring of '65 Eddie informed the band that the 'The Old Dutch Inn' a club and college hang out on Panama City Beach wanted the Spooks to be the house band for the summer season. Some of the members had other commitments that summer and could not go, so Eddie went alone and joined the band the 5 Men-its, which went through several line ups, but after one member left became 'The Minutes'. Members of the 'Minutes' included Johnny Sandlin - Drums, Mabron McKinny - Base and Paul Hornsby on keyboard.

Now Pensacola's Papa Don Tells How THE 5 MEN-ITS & The Old Dutch fit into THE STORY OF HOW JAMES & BOBBY PURIFY[formerly known asTHE DOTHAN SEXTET] CAME TO RECORD wwwwwwwwwwwyker's "Let Love Come Between Us":


How did you find "Let Love Come Between Us"?

A guy named Fred Stiles played in a band called the Five MinutesThe Five Minutes, out of Muscle Shoals. They were a great little band. And I had Papa Don Surf Stomps every weekend. I had them on Friday and Saturday nights, and Sunday afternoon. I rented this big huge place, a casino, right on the Pensacola beach. And I had Papa Don Surf Stomps. I mean, everybody from the Allman Joys (later know as the Allman Brothers) to the Five Minutes, Dan Penn & the Pallbearers, they all came down and played for me. And Fred Stiles and I got to be good friendsnice guy.
Fred Stiles brought me this song. He said, Man, I found you a hit! I think a friend of his wrote it, and Al Gallico published it.
I always wanted to cut a song for Al Gallicos publishing company. I just loved him. He was a great publisher out of New York. And Gallico did his little number as a publisher, and really helped promote it too.
I was cutting a beach song. I was cutting a Papa Don Surf Stomp song. A real good beach hit. Its one of my favorite records that I cut on the Purifys.


Haven't been to PC in a while, but the Summer of '65, I just graduated Lee HS in Mungumry & woke up the next day on the beech behind the Old Dutch. I heard some music, I think it was mid-day...& I peeped in (didn't have my fake ID) & saw a one-armed guy playing bass. A year or so later, I was playing with the Gibraltars in a sunday jam & the one armed guy came in & started jamming with us. He was good. I wish I could remember his name.


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New Yorker Frank Burghduff first came to Panama City in 1935 and fell in love with the place. The next year he returned and began construction of THE OLD DUTCH TAVERN. It took two years to build out of cypress logs and handmade shingles. 113 tons of stone were used in the construction of the fireplace. The OLD DUTCH operated every tourist season until 1976.

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Photographs of the interior and exterior of THE OLD DUTCH are desired for this research project. 
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Burghduff advertised that over $10,000 dollars worth of curios were on display inside the tavern.
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 From a 1942 ad,"Don't fail to bring your friends to see the $10,000 exhibit of curios from all over the world, free of charge."
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The western portion of Panama City Beach was so isolated that planes could land on the beach.

The Old Dutch was the original bar on Panama City Beach. Many musicians got their start in show business playing gigs at this tavern seven days and seven nights a week. Burghduff's wife Etta died in Dothan in September of 1939. By 1942, there was a new Mrs. Burghduff.
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Burghduff was accused of being a Nazi spy during World War II. This may have been a ploy to force government confiscation of his valuable property.
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By the early Fifties, Birmingham's C.F. "Cliff" Stiles owned the Old Dutch. He built an adjoining motel and eventually owned many other properties in the Panama City area including two Holiday Inns, the Dixie-Sherman Hotel and various cottages. Stiles routinely hosted conventions of the Alabama Hotel Owners Association in Panama City.
In 1963, Stiles announced that he was building the first Holiday Inn on the beach on property just west of THE OLD DUTCH. When the Holiday Inn opened for the 1964 tourist season, it was advertised as the tallest building on the Gulf of Mexico (four stories and 100 rooms).
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PHOTO COURTESY OF BILL ELROD~ This single un-air conditioned room was the free accommodations Stiles provided for bands that included five or more members. In 1970, rooms at THE OLD DUTCH ranged from $6 to $15 a night but this was far too expensive for musicians.
Cliff Stiles died in Las Vegas in June of 1975 and in September of the same year, Hurricane Eloise hit Panama City. This spelled the end of the 40 year run of THE OLD DUTCH.

An OLD DUTCH story from THE TITANS, a rock band out of Auburn: " We once did a two-week engagement at 'The Old Dutch', a well-known rock club at Panama City Beach, Florida. After the first show we went running on the beach for an hour, and all of us woke up two days later with really bad bronchitis. It was the funniest thing, seeing bottles of Chloraseptic all around the stage, with us spraying our throats 2 or 3 times an hour just to keep going. We packed the place, though. Mondays off, but 2 shows on Saturdays and Sundays, for a total of 8 shows a week. I'm surprised we survived it."
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 "When we had the Old Dutch, of course the regular restaurant had long closed, but there was a snack/lunch counter in the front of the tavern, by the big fireplace with the Tarpon anchor on it.  The main bar was on your left as you went in, and the snack counter on the right.  The laundry/storage under the tavern had long shelves filled with the former dinnerware of the Old Dutch, and you now own two pieces.
If I remember correctly, you might get grits or some portion of your breakfast short order served in just such a cup as you have.  Definitely the saucer would have been under your coffee cup.  Occasionally, Cliff Stiles would take my mother into town to the vegetable markets so she could load up for an all-you-can-eat private home-cooking banquet, cooked at the counter, and served on big tables in the front.  Nearly everyone who had businesses on Panama City Beach was from Alabama, or at least some other rural/southern place, and the desire for real home cooking approached religious fervor.  Of course it was one of the most difficult things to come by for the permanent beach folks, so they’d beg to be invited.  Having nine children, Mom was amply qualified to pull off a large feed, and Mr. Stiles would actually cry when we’d all sit down and dig in.  Chicken, fried okra, my Mom’s more-than-famous cream peas and crispy flat corn-bread, the whole works.  Going to the market with an unlimited budget was certainly a wonderfully new experience for her, and of course she enjoyed the adoration heaped on her by the who’s-who of Panama City Beach.  This included Dick Arnold (Holiday Inns), Ira Jenkins (the café owner across the street usually engaged in cursing matches with a laughing Cliff Stiles), Ruby Folsom Austin (Big Jim’s sister and George Wallace’s future mother-in-law), and numerous others.  Both Mr. Stiles and Mama Creel were in their element.  As I believe I’ve told you, Big Ruby loved my Dad completely.
I can remember fetching these items from the laundry whenever we were going to put on a big buffet. So, when we left the Old Dutch, a number of these were in our family’s eclectic collection of dishware.  They were still in use by Mom up to her death in 2011.  I had three cups, and one saucer, and am only too happy to share with you.  I’m sure there are more of these scattered all over Bay County, but I’ll bet that not one of the current possessor’s has any idea what they have.  I usually don’t forget things like that, and am a rabid collector of nostalgia, especially my own.
I’ll be trying to get stories from my brother and his wife when I have time.  I’d really like to see Michelle (Kasandra) in NYC and write down some specific celebrity stories, but have no idea when I might ever do that.
Anyway, I hope you enjoy having these items – maybe not so rare in existence, but extremely rare in documentation.  It gave me great pleasure to send them, and I hope that you will, indeed, have a drink from the cup.
Best to you, Robert!

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"Happy to be at The Old Dutch", but do WHAT......"Teen Angel", 12 noon till 2 AM. Whew. Paying 'dem dues. I almost had to sing a song. Almost...thank GOD.
Sonny coughed all night and 'on that fateful night the car was stalled upon the railroad track..........'. The RGs were cramed in a moldy, roachy basement and they were never invited back...or something like that. HELP! I'm dying up here." Rusty Crumpton, guitarist for THE ROCKIN' GIBRALTARS

"My throat was ate up." Sonny Grier, lead vocalist for THE ROCKIN' GIBRALTARS