Wednesday, January 25, 2017

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a page 10 article from the April 21, 1973 issue of RECORD WORLD:
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MACON- This city is the home of Mercer College and WET WILLIE's recent appearance there was more like a long awaited reunion, rather than a performance by the band next door. Led by the driving vocals of blues man Jimmy Hall, WET WILLIE ate the place up. From blues to boogie to rock, the soulful band gradually built the capacity crowd to a foot-stomping frenzy that took two encores to satisfy.

Hall, who performs like Mick Jagger but without the theatrics, led the ultra-tight rhythm section from "Shout Bamalama" by OTIS REDDING to other rockers like "Red Hot Chicken."


Their material is earthy funk with a tasty spicing of update lyrics. Refreshingly uncomplicated, that attack with highly emotional rock that is as basic as grits. WET WILLIE has developed a live performance that beats the best. They have a charisma that envelops the audience.

Raw and honest, WET WILLIE's music delivers it straight. This is definitely an act that will develop nationally. There isn't a rock and roller around who won't dig it!
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from a page 16 article in the April 21, 1973  issue of RECORD WORLD:
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ATLANTA- Veteran writer-producer Buddy Buie has always been one of Atlanta's music pioneers. As a songwriter, Buie worked with co-writer J.R. Cobb in writing numerous hit records. Today, under the management of ATI chairman Jeff Franklin, Buie is a major force in Atlanta.

Since that time, Buie's foresight had developed a very important segment of the Atlanta music foundation. Two and one half years ago, Buie saw the need for a studio with an established rhythm section. Today, THE ATLANTA RHYTHM SECTION has created more than a unique sound for Studio One; the studio developed by Buie, Cobb, Paul Cochran and Bill Lowery. The group is now on MCA Records. They have grown from individuals adept at recording single records into a solid act that is growing in popularity and making the transition to album product.

Additionally, the studio will be equipped with Quad, DBX's, a Spectrasonic board and Automated Computerized Remix, that is already attracting top names. Lewellan-Martin of Louisville, Kentucky are equipping the studio; DEEP PURPLE, AL KOOPER, THE CLASSICS IV, JOE SOUTH, BILLY JOE ROYAL and B.J. THOMAS  have found a profitable sound at Studio 1. The new board and that solid rhythm section have increased the demand of the private studio into an active cutting house. Rodney Mills serves as chief engineer. Buie's ATLANTA RHYTHM SECTION has even found demand in major concerts across the nation.

The staff of Studio One has grown to two engineers, an accountant and a secretary. Buie is now working with Jerry Coon and Shorty Watkins and the Boogie Band. Outside clients now include Hanna-Barbera Productions. Buie is currently working on sound tracks for their Saturday morning cartoon show, "Butch Cassady and the Sundance Kid," to begin September 8, on NBC. Also, DENNIS YOST & THE CLASSICS IV's current single, "Save The Sunlight," was done at Studio 1.

Studio 1 has three independent producers in Buddy Buie, J.R. Cobb and Robert Nix. The innovative organization is one of the major forces establishing the Atlanta sound.

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from a page 8 article in the April 21, 1973 issue of RECORD WORLD:


ATLANTA- THE ATLANTA RHYTHM SECTION, whose second album has just been released by Decca Records, is a composite of six highly seasoned and talented musicians that have been around the world of rock for a number of successful years.

Along with producer Buddy Buie the group members have written over 20 chart singles as recorded by many pop music greats. They have played on untold recording dates as Atlanta's most demanded studio group.

Lead vocalist Ronnie Hammond is the newest member of THE ATLANTA RHYTHM SECTION making his debut recording performance with the group on the LP "Back Up Against The Wall," A native of Macon, Georgia. Hammond worked with a number of local and regional groups before becoming an engineer at an Atlanta recording studio where he was discovered by Buddy Buie.

Rhythm guitarist J.R. Cobb has written the hits "Most of All."Stormy" and "Traces" in collaboration with producer Buddy Buie. After his graduation from high school in Jacksonville, Florida, Cobb worked for a time as a welder before joining Dennis Yost and the Classics IV. He left the group after co-writing their first hit "Spooky."

In addition to playing on numerous recording sessions, drummer Robert Nix has co-written the hits "Mighty Clouds of Joy" and "Cherry Hill Park" among others. One of Roy Orbison's CANDYMEN, he remained with the group after they went on their own by signing with ABC Records.

Bassist Paul Goddard, who played on his first recording date in 1964, worked with Roy Orbison and Columbia recording artist MYLON before joining THE ATLANTA RHYTHM SECTION.

Dean Daughtry, who worked with Nix in THE CANDYMEN before joining DENNIS YOST AND THE CLASSICS IV, started playing keyboards at the age of five in Coffee County, Alabama churches.

Decatur Georgia native Barry Bailey, who plays lead guitar with THE ATLANTA RHYTHM SECTION, took formal lessons at the age of 12 and studied music theor in college. He also plays sitar, bass and piano. Before joining ATLANTA, he worked with hometown friend Mylon LeFevre in THE HOLY SMOKE BAND.
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from a page 34 article in the April 21, 1973 issue of RECORD WORLD

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MACON- It was about three years ago that a shaggy-looking outfit called WET WILLIE rolled into Macon. Little did anyone know that Wet Willie (usually known locally as a wet index finger in the ear) would have a new definition: a rock and roll band. There are five in WET WILLIE and they are all from Mobile, Alabama. They have all grown up together, running through the usual high school band evolution.

WET WILLIE is : Jimmy Hall, lead vocals, harmonica and alto sax; Jack Hall (Jimmy's brother), bass guitar; Rick Hirsch, lead guitar; John Anthony, keyboards; and Lewis Ross, drums. All are in their mid-twenties and have been rocking for at least nine years.

When the band first arrived in Macon, Phil Walden and Frank Fenter arranged for an audition at the studio. Upon completion of the audition, the band signed across the board: to Phil Walden and Associates for management, Capricorn Records, and to No Exit Music for publishing. The band also signed with the Paragon Agency for bookings.

After the signing was completed, WET WILLIE set out to play the southern club circuit, just as the ALLMAN BROTHERS BAND and many others had before them. In May, 1971, Eddie Offord,who had engineered EMERSON, LAKE & PALMER, and YES, flew to Macon from London to begin producing WET WILLIE's first album. The album was recorded at Capricorn Sound and was released in August. Upon release on the album, WET WILLIE immediately went on tour with the ALLMAN BROTHERS BAND, touring throughout the east coast and the south (including a concert at New York's Carnegie Hall). They played many dates on the west coast and returned to tour extensively throughout the south. Now, next to THE ALLMAN BROTHERS BAND, WET WILLIE is one of the biggest acts in the south.

May, 1972 rolled around, and with it came Eddie Offord once again from London. This time, WET WILLIE was to record their second album at Muscle Shoals Sound in Alabama due to the re-building of the Capricorn Studio. The album, cleverly entitled "Wet Willie II," was released in late September, 1972,  and again a nationwide tour was set up.

On December 31, 1972 at the Warehouse in New Orleans, WET WILLIE was appearing in concert with THE ALLMAN BROTHERS BAND. The plan of action was to record WET WILLIE and The Brothers live, and the plan was executed brilliantly. Location Recorders came down from New York, and almost the entire Capricorn staff was there. Dick Wooley, Capricorn's national promotion director set up a network of AM and FM radio stations, 40 in all, to broadcast the event live from New Orleans. An estimated 10 million people were listening as WET WILLIE was recording their live album to be entitle "Drippin' Wet."

Currently, WET WILLIE is involved in yet another nationwide tour, this time with JEFF BECK's new group. The tour will last for eight weeks beginning on the east coast and ending on the west, where the band will join up with THE ALLMAN BROTHERS BAND and re-play the west coast.

Via the guidance of Phil Walden. and Associates, Capricorn Records and the Paragon Agency, WET WILLIE has established themselves as an important musical force within today's complex music structure. They are not an overnight sensation, but be assured, they will be makin' music in Macon for years to come.
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from a page 46 article in the April 21, 1973 issue of RECORD WORLD:


Butch Trucks played an important part in the great JACKSONVILLE JAM. He had gone the usual route of joining local teen bands, also playing tympani in a high school orchestra as well as the JACKSONVILLE SYMPHONY ORCHESTRA. When he attended FLORIDA STATE, Butch formed a three piece folk rock group that featured Scott Boyer (guitar), now with COWBOY, and David Brown (bass) who is now with Boz Scaggs. The group was called THE 31ST OF FEBRUARY , and in their three year career recorded one album which was released in 1968 on the Vanguard labels. During 1968, after the demise of the HOURGLASS, Duane and Gregg joined the 31ST OF FEBRUARY, and the album "DUANE AND GREGG" was released earlier this year is actually THE 31ST OF FEBRUARY and is composed mostly of demos the group made in Miami. Finally came the day that THE 31ST OF FEBRUARY met up with THE SECOND COMING in Jacksonville and THE ALLMAN BROTHERS BAND emerged.

from a page 32 article in the April 21, 1973 issue of RECORD WORLD


Chuck Leavell began playing at about the age of six. Before moving to Macon two years ago, he lived in Tuscaloosa, Alabama, where he played with various local bands. One of his earliest bands was THE AMERICAN EAGLES, which had the distinction of being the first to record Kris Kristofferson's "Me and Bobby McGee." From there, Chuck joined SUNDOWN, another Tuscaloosa group which moved to Macon and recorded an album for EXIT/AMPEX RECORDS. After SUNDOWN's demise, he played many recording sessions for ALEX TAYLOR. In January of 1972, Chuck joined FRIENDS AND NEIGHBORS, backing up ALEX TAYLOR and DR. JOHN.

Tuesday, January 24, 2017

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page 46 of the August 8, 1970 issue of RECORD WORLD:


Some years ago, heavy set and curly-headed Buddy Buie wrote a song called "Party Doll" which became a national hit and launched Buddy on his career as a Top 40 producer and songwriter.

Buie had worked with several artists including Roy Orbison as a road manager and later as a promoter of shows. At about the time Joe South was cutting the Classics IV for Capitol, Bill Lowery, Paul Cochran and Buddy started their own publishing company- Low-Sal. The first hit title in the new pubbery was Sandy Posey's "I TAKE IT BACK" written by J.R. Cobb and Buie. Mike Sharp and Harry Middlebrooks wrote an instrumental called "SPOOKY," Buie and Cobb added lyrics and took over production on the Classics IV, launching them as a national act.

Other Buie-Cobb tunes included "TRACES," an 800,000 seller for the Classics; and "EVERY DAY WITH YOU GIRL," a half-million seller for the Classics.

"Now we've got the Classics in a ballad bag and we've established a buying market. Every album we put out sells 150,000 records.We are trying to fill the gap between Top 40 and Easy Listening. I don't care if the Classics never sell another Top 40 record. Easy Listening is a neglected market," Buie said.

Buie and Cobb, along with Bill Lowery, have built Studio One which will be used exclusively by BBC Productions. The company already has label deals for several new ventures. One of the acts that most excites Buie is his studio group, the Atlanta Rhythm Section. "This is my dream. We are taking our rhythm section that took some five years to put together and we're going into the studio and cutting whatever we feel. The group is great to work with.There are no arguments, no hassles. We may take six months cutting the master on this group and of the 50 sides that we cut, we'll probably throw away 40. I think the group is fantastic! As a matter of fact, they're so good a group of pickers that we might title their album 'Eat Your Heart Out'. "

When asked about his three favorite singers, Buie told RECORD WORLD, "In order of preference, they're Merle Haggard, Joe Cocker and Tom Jones."

This bit of closing information is probably the best indication of what Atlanta music really is.

Wednesday, December 21, 2016

 Here's another story of three Alabama boys who got to meet Jimi Hendrix: Montgomery's ROCKIN' GIBRALTARS!

After arriving in LA, our manager Bob Hinkle took us to Warner Brothers to meet Mo Osten, Executive Vice President of Warner/Reprise Records, and the staff members who would be involved with our recordings and promotions. Warner's and Mo Osten had assigned Russ Shaw as our promotion agent and we met Russ that first day. Russ was obviously a talented promotion man, because Warner's had also assigned to him Jimi Hendrix. Of course by that time in June of 1968 Jimi was a huge star, and had already released his first two albums Are You Experienced? and Axis: Bold As Love. That summer of 1968, Russ called us and told us to get dressed, that we were going up to meet Jimi Hendrix. Russ was gearing us up to be the opening act for Jimi's new tour. We drove up to a palatial home in Benedict Canyon above Hollywood, and after getting cleared at the gate, went inside. We stood there in the living room looking around and on the wall was a group promo picture signed by the Beatles. It was the very recognizable picture with them in the gray collarless jackets, Paul with a cigarette in his hand. We found out that the house belonged to the guy that owned Cadillac Steel, and that he leased the house to many of the stars when they were in town. Pretty soon Jimi came out, dressed in a red bathrobe and looking pretty sleepy. Jimi was a very calm, laid back guy, very normal considering his stardom. I felt really calm around him, although the earlier anticipation of meeting him had initially made me a little nervous. After all of the introductions and shaking hands, he asked "Where you guys from?" Then, very quickly, he said "No, let me guess. Just talk a little." So we chatted a bit and he said "You're from Alabama." Well, we couldn't believe he knew, and all anxiously answered, "Yeah, how'd you know?" He said, "Just keep on talking." So we chatted some more and he said, "You're from Montgomery, right?" Well that was almost spooky, and someone said "How did you know that?" He started telling us that he'd been stationed at Ft. Benning, Georgia when he was in the Army and used to come up to Montgomery and jam with B.B. King at the Lakos and Elks Clubs, two very popular black clubs in Montgomery. He went on to say that South Alabamians had a completely different accent than North Alabamians. We didn't even know that! So we sat there talking and he reached over and grabbed an acoustic guitar. He said "I bet you've never seen this." He turned the guitar over and showed us where he'd broken the guitar body right behind the neck, so that when he put the guitar in his lap, like playing a dobro, he could push down on the top of the body and the whole neck would de-tune. He asked if anyone had a lighter, and I had this old Zippo, so I gave it to him. He started playing some slide blues that had the most incredible sound, nothing like I'd ever heard. There was the slide sound, but then he would push down the body and the whole thing would de-tune, producing a very dark, bluesy sound that is beyond description.
Rusty remembers, "Also, I think a few days before, I heard a few songs on the radio from his new album, Electric Ladyland. I think he was there for his west coast tour to promote the new album. The only conversation I took part in & remember was about All Along the Watchtower (a B. Dylan song). I told him it was a masterpiece, so many different guitar styles in one song...he said, "Thanks man, it wasn't easy." It is still one of my most favorite guitar songs of all time."
We just hung around for a while, and met some of his roadies. They were all English cats, and they were consuming mass quantities of tallboys, cans of beer. We had a beer and then left.
On the 18th and 19th of October, 1968, Cream played at the Forum in LA in what was billed as the Wheels of Fire Tour, but also was known as their Farewell Tour. Keith and I were sitting at the house in Studio City and Russ Shaw showed up at the door. He asked where the other guys were, and we told him that Rusty and Ed had dates, and Townsend was shacked up in his room with his girlfriend Lisa. He said to get dressed quick; we were going to a party. We hurried up and jumped in his car and took off toward the canyons. We arrived at Jimi's house, and after being cleared at the gate we went in. Jimi was throwing a party for Cream's Farewell Concert, and we were lucky to have been invited. We went in and there were lots of folks, some eating the finger food, some with drinks. As I stood there I saw Ginger Baker and Jack Bruce. Jack was playing this M or L model Hammond organ, and Ginger was nervously knocking things off the tables. Keith remembers, "Ginger still had a couple of teeth in his head and he looked a little unstable, but I think that was his normal appearance." Keith and I just mingled as much as we could, but didn't really fit in that crowd. There was a room off the living room downstairs that had a pool table, so we wandered down there. Keith started playing pool with this skinny guy and I sat down on the fireplace hearth, my elbows on my knees. I was looking down and saw two legs walk up, wearing high top black Converse All-stars and tuxedo pants. I looked up and it was George Harrison. I just about went into shock! As he walked by, I got up and watched him go outside and climb up on a large rock waterfall that connected to the swimming pool. He sat up there and just gazed at the stars.
After a couple of hours Russ brought us back to the house. Keith remembers, "Right before we left the party, some guy came downstairs where me and this guy were playing pool and said, 'Hey Jeff, let's go. We're all going somewhere to jam.' It was only then that I realized I'd been shooting pool with Jeff Beck."
A day or so after this night, we were rehearsing a new song, and Townsend, in his condescending manner, started harassing Rusty about the part he was playing. Rusty said,"I'm gonna go up stairs and work on this for a while." Townsend said, "You're such a mama's boy, why don't you just go back home and work on it." Now, Rusty Crumpton is probably the most easy going, emotionally steady, laid back guys I've ever known. In all the years I'd known Rusty, traveling on the roads in the South and playing all those gigs, and even enduring some pretty harrowing situations rumbling with the local rednecks, I had never known Rusty to loose it. But that night he did! Rusty wasn't a very big guy when the band started, and after being out in LA where we were practically starving to death, Rusty was even smaller. When Townsend made that "Mama's boy" crack, Rusty totally lost it. He went in the kitchen, which was close to our practice room and got a steak knife, and came back into where we were practicing, and lunged at Townsend. Lucky for Townsend that Kim Payne, our road manager, was close by and grabbed Rusty before he inserted that knife in a vital part of Johnny's body. Kim said, "Rooster you can't kill him," and Rusty, struggling, said, "I'm not gonna kill him, I'm just gonna cut him a little." Man what a scene! The ironic thing is that Townsend had said that sort of passive/aggressive thing to everyone in the band, condescending snipes and insults that were sort of jabs below the belt, and we all had probably thought of doing the same thing to him that Rusty had just been stopped from doing. Shortly after this night Rusty went back home to Alabama. Rusty had been accepted to attend college at the University of Alabama and he figured that since we were starving, not playing much-at least not enough to validate staying out there, weren't recording as much as signed artists of Warner Brothers should be, and playing music that was so far from what our roots in music had led us to be playing, he'd just go on back to Alabama. As Keith tells it, "We had a great band, when Sonny played in it, and we played nothing but R&B and Soul music. Now, Townsend was writing all that crap he thought was gospel music, like 'The Train' and 'Someone Somewhere' (two of Johnny's originals that were what I call milk toast music). We'd lost our basic sound and the heart of our music was gone."
Johnny had been planning to replace Rusty for some time as evidenced by a phone conversation overheard by Keith and Rusty where Johnny was talking Tippy Armstrong into coming out and playing with us, and after Rusty left, Tippy did come out to be our guitar player. Russ Shaw booked us to open up for Jimi at the Bakersfield Civic Center. We played our set and got off stage so Jimi could come on and do his show. I went up to the dressing room to change, and then went back down and stood at the side of the stage. Jimi played a couple of songs, and then started his rendition of "The Stars Spangled Banner". Not many people know this, but Jimi was very patriotic, he even supported the war in Viet Nam. He was also Airborne certified.
But back to the story.
The manager of the Bakersfield Civic Center was an old WWII veteran, and of course he was very patriotic too. When he heard Jimi playing "The Stars Spangled Banner" the way only Jimi could play it, the guy got so pissed off, that he went back behind the stage and cut off the power. All that was heard was Mitch Mitchell's drums ringing through the auditorium. Well, Jimi went back behind the curtains and said, "Who turned off the power?" The WWII vet said "I did." Jimi went over to him and slugged this guy in the face, knocking him off the stage. Of course, all HELL broke loose, and cops and Warner Brothers executives were everywhere. The cops were going to arrest Jimi but after some negotiations, and a $5000.00 check Russ Shaw made out to the guy, the concert was stopped, and Jimi got in his stretch limo with his two white girlfriends and went back to LA.
This is the true EXPERIENCE we had with Jimi Hendrix. We never saw him or played with him again.
Bobby Dupree with Rusty Crumpton and Keith Brewer

Monday, June 27, 2016

"Joey[ Laycock] was one the most influential guitarists out of Tuscaloosa.One band of his that sticks out in my head is MOJO TRIO...a good rock and roll band. He taught me so much as far as strengthening my fingers,how to do harmonics,noodling. He was also manager of Tuscaloosa Music Center. He inspired many local musicians but unfortunately we lost him suddenly to a heart attack."

Friday, October 23, 2015


"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!


Monday, September 14, 2015

Music producer Mark Harrelson mentions a lot of ROCK PILGRIMAGE musicians in his comments on this link. They include: EDDIE HINTON, DR. JIM COLEMAN, FRED STYLES, TIPPY ARMSTRONG, JOE RUDD, MIKE DUKE, BILL CONNELL and PAUL HORNSBY. Please check out the six superb recordings included on this link.

Monday, July 27, 2015

A wonderful comment from the bass player for the Webs, Amos Tindall :"It all started in 1961. Buddy borrowed $500 and promoted 4 shows with us, (The Webs) and Roy Orbison. He said that we need something besides the Louisiana Hay Ride coming thru here (the South). And the rest is history."