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CAPRICORN RECORDS Rock Vault ALLMAN BROTHERS A THE 1%-LYNRYD SKYNYRD A PHIL WALDEN A AL KOOPER ATLANTA RHYTHM SECTION A STUDIO ONE A ALEX COOLEY A ELECTRIC BALLROOM DAVID ALLEN COE A WARREN HAYNES A MOTHER’S FINEST A UNDERGROUND ATLANTA HYDRA A DISCOVERY A FOX THEATRE A LOCAL CLUBS & BANDS A ROCK THE BIRD ANEWS VINTAGE GUITARS LEGEND | JUNE 2022 Page 1

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Cover Photo An album many consider to be the greatest double live album ever released was recorded on this and the following night in 1971 at the Fillmore East in New York City. Released in July of ‘71, the Allman Brothers Band Live At Fillmore East established the group as a must-see live band.

On this day, Bill Graham shut down The Fillmore East, and with it, an entire era of popular music.

After a final public concert, Graham closed the venue with a total party with an invite-only audience. The Allman Brothers, J. Geils Band and Albert King were advertised, but Edgar Winter’s White Trash, Mountain, Country Joe McDonald and The Beach Boys also made an appearance that night.

The Allman Brother’s set has been released, but luckily the radio broadcasts of the show on WNEWFM 102.7 and WPLJ exist (albeit, with some rather extreme edits) Check it out below:

Reference ROCK LEGEND NEWS | JUNE 2022

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KCOR DNEG L W EN S

Photo: Bass Legend PeteNEWS Way | JUNE 2022 Page 6UFOROCK LEGEND

PAGE 6 Atlanta Bands Vintage Equipment PAGE 14 Fox Theatre PAGE 18 Atlanta Vintage Guitars PAGE 20 Mother’s Finest PAGE 28 Alex Cooley’s Ballroom PAGE 36 Wet Willie PAGE 40 Lynyrd Skynyrd PAGE 70 Studio One PAGE 96 Allman Brothers PAGE 116 The Bird PAGE 120 Atlanta Rhythm Section PAGE 144 Local Club: Richard’s PAGE 146 Local Club: Funocchio’s PAGE 152 Hydra PAGE 164 Alex Cooley’s Ballroom PAGE 166 Discovery PAGE 174 Alex Cooley’s Receipts PAGE 186 Capricorn Records PAGE 198 Phil Walden PAGE 212 Local Band: Motion PAGE 214 Local Band: Glass Menagerie PAGE 216 Local Band: Mose Jones PAGE 218 Local Band: Choice PAGE 220 Local Band: Carrie Nation PAGE 222 Local Band: Fragile PAGE 224 Local Band: Motion, Hampton Grease Band PAGE 226 Local Band: Nightwyng PAGE 228 Underground Atlanta Clubs PAGE 234 Rock Legend News Merchandise PAGE 242 Rock Legend News Classifieds

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This ten-track preview EP with songs taken from his 25 song, 2-hour, and 5-minutes long Rock Opera “The Life and Times of Eddie Gage” prove equally relevant in terms of rock’s past, present, and future.

ALDO tells a story like never before about Eddie Gage, a young musical prodigy that becomes the ultimate Rockstar but then gets drawn into the sordid reality of the darker side of the music industry where he then falls, and with Faith and Hope, is reborn. This is not your average story though, since it is also based on theology, and mysticism, where names must be decoded, and lyrics read to discover the true characters hidden in the story. Eddie Gage essentially doubles as Aldo’s own avatar through all those years recording music under major label shackles to this point in his career where he releases this EP of all-new material on the 40th anniversary of the release of his multi-platinum top ten eponymous first album.

All songs were Written, Performed, Produced, Engineered, and Mixed by ALDO. Artwork: James St. Laurent

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Greg Chaisson Associated acts: Badlands, Ghost Rose, Surgical Steel, St. Michael, Steeler, Legs Diamond, Hellion, Terriff, Sircle of Silence, Blindside Blues Band, Die Happy, Pat Travers, Craig Erickson, Red Sea, Darrell Mansfield, Red Dragon Cartel, Kings of Dust, Atomic Kings Page 10 ROCK LEGEND NEWS | JUNE 2022

Atomic Kings Signs With Tone House Records Former Badlands Bassist Greg Chaisson To Release New Album

Atomic Kings to release their debut album through ToneHouse Records. Featuring Greg Chaisson formerly of Badlands and Red Dragon Cartel, Ken Ronk on Vocals, Ryan McKay on Guitar and Jimi Taft on drums to create the thunderous sound that is Atomic Kings.

Atomic Kings will be hitting the studio in May 2022 to record a full album of brand new songs that lay heavily in hard rock / blues based sounds of the 70’s and 80’s. “Atomic Kings doesn’t sound like anything, but then again it sounds like everything that we love about the hard rock of the 70s and 80s with our own special twist!” The band is currently looking towards hitting a fall 2022 release.

The record will be co-produced by Atomic Kings and Jason Constantine (Jeff Duncan’s - Wanderlust) and will be mixed and mastered by Jason Constantine.

“Why ToneHouse? Because for Atomic Kings, it was the first time we had finally heard the sound from a studio that we had been looking for. We also like their no nonsense, artist-first approach.

It’s a refreshing change from your average record company.”

Founded in 2020, Tonehouse Records was started by Jason Constantine along with Jeff Duncan (Armored Saint / DC4) as a label dedicated to getting the artists the most bang for their buck. They sign bands to single album contracts that lay heavily on making sure the artist gets the majority share of their music sales.

Contact: Jason Constantine, Co-Owner / Media Relations tonehouserecordslv@gmail.com 702-582-6895

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b 1966 Gibso

The Equipment, the Intruments and Amps of the 60’s & 70’s

Many bands s

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on Firebird from Atlanta Bands albums

shopped here in Atlanta

Gibson Flying V with Bigsby

Atlanta Bands Comments b 1955 Gibson Les Paul. What a beautiful instrument. I don’t know who owns this or the history.

Warren Butch Jackson says: The first Les Paul Custom, aka “the black beauty.”

Notice the unusual neck p’up - made only briefly.

Also, Gibson reissued this exact guitar in 1971, (Keith Richard has one) - and honestly, most you see are the reissues. The originals were made in very small numbers.

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ROCK LEGEND NEWS

ROCK VAULT

SOUTHERN ROCK Atlanta & Macon Georgia long time residents say, “We need to know who we are and appreciate that before us; where we came from, how we got here and why, to know ourselves.”

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The historic Fox Theatre in Atlanta, GA is located at the corner of Peachtree Street and Ponce De Leon at 660 Peachtree Street, NE. Take a guided tour through time, rock out to your favorite artist, or catch a Broadway play at this iconic Atlanta venue. https://www.foxtheatre.org/

Thanks and appreciation go to especially these sites:

Music In Atlanta

The Big House Museum

Music In Atlanta

Atlanta Bands

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Fox Theatre Opened 1929 A former movie palace, is a performing arts venue located at 660 Peachtree Street NE in Midtown Atlanta, Georg Theatre Historic District.

Elvis Presley played at the Fox Theatre in 1956, Bruce Springsteen played it in 1976, 1978 and 1996, Bob Marley on December 12, 1979, in support of his Survival Tour and Pearl Jam played there in 1994, Meatloaf 1978. Georg played at the Fox Theatre in 1980, Ray Charles in 1983, James Brown in 1985, R.E.M. in 1989, the B-52’s in 198 Read more a Page 16 ROCK LEGEND NEWS | JUNE 2022

gia, and is the centerpiece of the Fox

y and the Wailers performed there gia musicians the Allman Brothers 89, the Black Crowes in 1992.

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This Is The Weirdest Amp I’ve Ever Played Page 18 ROCK LEGEND NEWS | JUNE 2022

Where Guitar Lovers Shop Atlanta Vintage Guitars, also known as AVG, is one of Atlanta’s oldest and most respected guitar and equipment stores in America. New inventory – Fender, Gibson & More.

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ROCK LEGEND NEWSMarch | JUNE 2022 Page 21 Mother’s Finest at Grugahalle in Essen, Germany, 4/5, 1978

M

other’s Finest is an American rock band founded in Atlanta, Georgia, by the vocal duo of Joyce “Baby Jean” Kennedy and Glenn “Doc” Murdock in 1970 when the pair met up with guitarist Gary “Moses Mo” Moore and bassist Jerry “Wyzard” Seay.

Their music is a blend of funky rhythms, heavy rock guitars and expressive soul/R&B-style vocals.

The group charted with the singles “Fire” (No. 93 Pop Singles), “Baby Love” (No. 79 Black Singles, No. 58 Pop Singles), “Don’t Wanna Come Back” (No. 54 Black Singles), “Love Changes” (No. 26 Black Singles), and “Piece of the Rock” in the mid- to late 1970s.

Mother’s Finest was initially signed with RCA but eventually landed at Epic Records, where their third, fourth, and fifth albums were certified gold. They opened for the likes of Ted Nugent, Black Sabbath, The Who, Aerosmith, and AC/DC. The band would go on to sign with Atlantic Records On April 14, 2017, British label Rock Candy Records re-issued a re-mastered version of Mother’s Finest’s 1981 scorcher Iron Age, including a 16-page full color booklet, 4000-word essay about the making of the album, new interviews and enhanced artwork.

Read more >

MOTHER’S FINEST - Baby Love - Live At Rockpalast 1978

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YouTube Comments Jonathan Riggs 2 years ago This is STILL one of the Baddest Meanest Most Awesome Live Acts you can see Anywhere. Joyce Kennedy has STILL got it and this band has one of the Tightest Baddest Coolest Lead guitar and Bass sections anywhere.

Davo B.4?what?

8 years ago Joyce has the most awesome voice, and the whole band “in my humble opinion” in in line with Led Zepplin, Aerosmith, the Beatles and other greats. thumbsaloft 9 years ago They opened for the Who and The Rolling Stones, they both got rid of them quick, because they absolutely stole the show!!

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https://www.mothersfinest.com/ Page 26 ROCK LEGEND NEWS | JUNE 2022

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Alex Cooley’s Electric Ballroom

A music venue located in Atlanta, Georgia that existed between 1974 and 1979. The original owners were Alex Cooley and Mark Golob. It was located in the Grand Ballroom of the Georgian Terrace Hotel at 663 Peachtree Street NE. It became the Agora Ballroom before closing in 1983.

From 1974 to 1978, the grand ballroom at The Georgian Terrace was transformed into Atlanta rock promoter Alex Cooley’s Electric Ballroom concert venue where Fleetwood Mac, The Ramones, Bruce Springsteen and many others preformed. The best live venue in 70s Atlanta!

Alex Cooley’s Electric Ballroom Facebook Page.

The God Of Thunder - KISS Tour Alex Cooley’s Electric Ballroom Atlanta, Georgia

KISS ~Atlanta, Georgia...July 17, 1974 (Alex Cooley’s Electric Ballroom).

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November 29, 1981 Venue: The Agora (aka the Agora Ballroom). 665 Peachtree Street NE. Atlanta GA.

Ramones: January 30, 1979 at the Agora Ballroom in Atlanta, GA. Photo by Tom Hill

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Southern Fried Rock Artist Biography

by Bruce Eder Wet Willie were, after the Allman Brothers Band and Lynyrd Skynyrd, the hardest-rocking of the Southern bands to come to national attention in the early ‘70s.

For seven years, from 1971 until 1978, they produced an enviable array of albums awash in good-time music, rollicking high-energy blues-rock, and white Southern soul, and for their trouble they racked up just one Top Ten hit (“Keep On Smilin’”) and a lot of admirers.

In contrast to the Allman Brothers Band, whose jumping-off point was really Cream and who based their music on long jams, Wet Willie were closer in spirit to Booker T. & the MG’s and perhaps the Mar-Keys, of Stax/Volt fame, much more steeped in sweaty, goodtime R&B than the blues-rock of the Allmans or the country-rock of the Marshall Tucker Band. Think of what Lynyrd Skynyrd might have sounded like with but one lead guitar on a white chitlin circuit, if such a thing had existed.

The band, originally called Fox, got together in Mobile, AL, in 1969 behind the powerful vocals and distinctive sax of Jimmy Hall, with Jimmy’s brother Jack on bass and banjo, Ricky Hirsch on lead and slide guitars and mandolin (as well as writing a lot of the songs), Lewis Ross on the skins, and John Anthony (later succeeded by Mike Duke) playing the keyboards. They counted the Rolling Stones and the Animals among their influences, but their sound was closer in spirit to early Otis Redding or Little Richard -- which mad the town being Richard Penniman’s onetime home, as well as the headquarters of Capricorn Rec Phil Walden. Wet Willie auditioned for Capricorn that summer and were at work on their debut alb

Despite sharing the same label as the Allmans and the Marshall Tucker Band, Wet Willie wasn’t l not for stretches of more than ten or 12 minutes, and they weren’t laid-back Southerners. Rather, of white Southern soul. Indeed, they were probably the only white group that one could imagine d and not embarrassing themselves in the process; the group probably most like them in later year were much less defined regionally.

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de the move to Macon, GA, in early 1970 a natural one, cords, the company run by Redding’s onetime manager, bum by the fall of that same year.

like either of those groups. They jammed, but usually , Wet Willie played an intense, very vocal-oriented brand doing a song such as, say, “Papa Was a Rolling Stone,” rs was Southside Johnny & the Asbury Jukes, and they

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Keep On Smiling - Wet Willie (Exclusive Video)

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“The One Percent”

Lynyrd Skynyrd 1973

Still known as “The One Percent” in 1969, Van Zant sought a new name after growing tired of taunts from audiences that the band had “1% talent.” At Burns’ suggestion, the group settled on Leonard Skinnerd, which was in part a reference to a character named “Leonard Skinner” in Allan Sherman’s novelty song “Hello Muddah, Hello Fadduh” and in part a mocking tribute to P.E. teacher Leonard Skinner at Robert E. Lee High School.

Skinner was notorious for strictly enforcing the school’s policy against boys having long hair. Rossington dropped out of school, tired of being hassled about his hair. The more distinctive spelling “Lynyrd Skynyrd” was being used at least as early as 1970.

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Lynyrd Skynyrd during the first album photo shoot in 1973, Jonesboro, Georgia.

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Larkin Allen Collins Jr. was one of the founding members and guitarists of Southern rock band Lynyrd Skynyrd, and co-wrote many of the band’s songs with late frontman Ronnie Van Zant.

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Concert Archives Jun 15, 1975: Lynyrd Skynyrd / Wet ROCK LEGEND NEWS | JUNE 2022

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Lynyrd Skynyrd

Allen Collins Larkin Allen Collins Jr. (July 19, 1952 – January 23,

1990) was one of the founding members and guitarists of Southern rock band Lynyrd Skynyrd, and co-wrote many of the band’s songs with late frontman Ronnie Van Zant. He was born in Jacksonville, Florida.

In the early days of Lynyrd Skynyrd, Collins used a black Gibson Flying V. This guitar got stolen, along with Gary Rossington’s white Gibson SG, when the band’s van was broken into after a gig. For most of his tenure in Skynyrd, Collins used a Gibson Firebird fitted with a chrome-covered, “dog-eared” P-90 pickup in the bridge position and a Gibson “teaspoon” nickel vibrato arm.

In 1976 he switched to a natural-finished korina 1958 Gibson Explorer that he had bought for about $3,000 and used that guitar throughout his tenure with the Allen Collins Band.

In late 1977 Collins began occasionally playing a Gibson Les Paul Special, with a double cutaway, P-90s, a sunburst finish, and modded with a Lyre Tremolo. He continued to use this guitar into the Rossington Collins Band as well. On “Gimme Back My Bullets”, “Sweet Home Alabama”, “Every Mothers Son” Collins used a Sunburst Fender Stratocaster after Ed King had left. Collins has also been filmed playing an all-black Stratocaster with a rosewood fingerboard, white pickups and white control knobs. In 2003 Gibson Guitars honored Allen with a limited edition Explorer. Like his original instrument these are made of African limba wood (korina) and feature an aged finish and a Maestro vibrola. Morea

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Lynyrd Skynyrd/Allen Collins Price realized: GBP 3,750 Estimate: GBP 7,000 – GBP 9,000 Closed: 16 Dec 2014 Source a

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Allen Collins

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Hell House is no long existance. Hell House old cabin with a tin ro ed in the woods on a Green Cove Springs.

Skynyrd did alot of w there and is where th most of their first and albums.

ger in e was an oof locata farm in . Lynyrd writing hey wrote d second

If I Leave Here Tomorrow: A Film About Lynyrd Skynyrd HELL HOUSE

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Lynyrd Skynyrd - Free Bird (Live August 21st, 1976)

Knebworth fair show in Hertfordshire England August 21st, 1976) - but nearly the original Skynyrd lineup from 19 Billy Powell). ”Free Bird” achieved the No. 8 spot on Guitar World’s 100 Greatest Guitar Solos. “Free Bird” is inclu Stone’s 500 Greatest Page 50 ROCK LEGEND NEWS |Songs JUNE 2022of All Time. In 2009, it was named the 26th best hard rock song of all time by VH1.

“Free Bird”

1976 UK issue Single by Lynyrd Skynyrd Released November 1974 Featured on the band’s debut album in 1973 Recorded April 3, 1973 Studio Studio One, Doraville, Georgia, U.S. Songwriter(s) Allen Collins Ronnie Van Zant

AAAAAh MUST WATCH!

976 with Ronnie van Zandt, Allen Collins, Gary Rossington, Leon Wilkenson, Artimus Pyle, Steve Gaines (plus uded in The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll and at number 407 in Rolling ROCK LEGEND NEWS | JUNE 2022

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1975 Page 52 ROCK LEGEND NEWS | JUNE 2022

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Ronnie Van Zant - Lynyrd Skynyrd - The story of Lynyrd Page 54 ROCK LEGEND NEWS | JUNE 2022

d Skynyrd ROCK LEGEND NEWS | JUNE 2022

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(Photo courtesy of Shari Graye) Letter from Birmingham Hyatt House You’ve heard that rock bands like to trash hotel rooms? Well, here’s a 1975 letter to Peace Concerts from the Birmingham Hyatt House, complaining about the aftermath of a stay by Lynyrd Skynyrd. Shari Graye said she won’t part with this document, which she finds amusing. “Richard said they were the nicest young men, when they weren’t drunk,” Graye said.

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(Photo courtesy of Shari Graye) Skynyrd contract signed by “Ronnie Van Zant” This 1974 contract for a concert in Savannah, Ga., bears the signature of “Ronnie Van Zant,” but was very likely signed by the band’s road manager, Shari Graye said. It’s a legitimate contract, however, and indicates the band fee for the show: $7,500 and 60 percent of the gross “over amount to be advised.”

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from

Atlanta Bands

Comment & Photographer by Bob Johnson This line up was called The 1% and signed with Bill Lowery (founder National Recording Corporation in Atlanta) in 1967.

This picture, with the same lineup, was taken circa 1970 or 1971, by Bob Johnson and they were called Lynyrd Skynyrd by then.

I am still looking for a 1% picture from 1967 or so with this line up. I have a copy of the contract they signed with Bill Lowery and each parent signed also because they were minors.

Collins, Rossington, Van Zant, Bob Burns, Larry Junstrom...replaced by Leon Wilkerson...he later played with .38 Special. This shot is one of my early LS pics. Taken down by the river in Rose Hill cemetery. Many think that this is a 1% shot. Not so. Very early LS. See signing photo in Scott Bombar’s book Southbound.

After Tom Markham and Jim Sutton signed a recording contract with a young Jacksonville band that would become Lynyrd Skynyrd, they arranged for a publicity photo at an Olan Mills Portrait Studio. From left to right are Ronnie Van Zant, Bob Burns, Larry Junstrom, Gary Rossington and Allen Collins. Before they were known as Leonard Skinner they were known as The Noble Five, One Percent, and My Backyard.

When they signed with Lowery Music the year before they were minors and their parents had to sign with them on the contract.

Alan Walden was managing them at this time.

This was before the Allman Brothers formed.

Jim Sutton, formed Shade Tree Records in the late 1960s. it was Sutton who in 1968 saw the potential in The One Percent, a Westside band led by a stocky, self-confident singer named Ronnie Van Zant. They signed them to a fiveyear contract, promoted them at grocery stores and shopping center openings, and got them in the recording studio at the Norm Vincent Studio off Beach Boulevard. They also got them airplay on local TV and the Big Ape, WAPE, the city’s powerhouse AM station.

References: https://www.facebook.com/atlantabands/photos/787336527992462/

Tom Markham still has tapes of the six Lynyrd Skynyrd songs recorded in his studio by the fledgling Jacksonville band, including the first recording of the band’s iconic “Free Bird.”

https://eu.jacksonville.com/story/entertainment/music/2020/10/23/jacksonville-iconreflects-recording-lynyrd-skynyrds-firstsongs/3713009001/ ROCK LEGEND NEWS | JUNE 2022

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One Percent – Lynyrd Skynyrd By 1969, the ONE PERCENT were appearing regularly at FOREST INN, along with BLACK BEAR ANGEL, SWEET ROOSTER, FAMILY PORTRAIT, and later, the KING JAMES VERSION. Still, the bands all managed to maintain a regular schedule of one-nighters in and around the North Florida area. It was also around this time that One Percent decided to change their name to LYNYRD SKYNYRD. Almost immediately, other things began to change for the band.

They recorded a single, “Need All My Friends,” which garnered a fair amount of airplay on local radio, and were able to parlay that into live television appearances. They began writing more songs, better songs; these to be added to an already impressive list of covers they were currently performing. Dean Kilpartick had appointed himself the band’s unofficial wardrobe coordinator, which helped provide for the band a more professional stage image. But what was most impressive of all was the band’s ability to demonstrate significant improvement with seemingly every performance.

The Night One Percent Became Leonard Skinner The Comic Book Club in Jacksonville, Florida hosted concerts, like on the bill pictured here “The One Percent.” They came to Atlanta in 1967 and signed with Bill Lowery, who kept an eye on the Florida market and had success with another Jacksonville band “The Classics IV.” In the early 70’s “The One Percent” came back to Atlanta renamed “Lynyrd Skynyrd.”

“Hey, ya’ll. We’re thinkin’ about changing the name of the group. Whatch’all think if we change it to— uhhhhhhhhh—Leonard Skinner!”

The crowd went wild.

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Apparently this was some sort of inside joke I didn’t get. I leaned over and asked this tall dude a few feet away, “Who’s Leonard Skinner?”

So change it they did. But the label execs disliked the new name even more, Markham said. He also said it was James Silverman, who managed the group for about 15 minutes, who suggested changing some letters to Y’s, and “Leonard Skinner” became “Lynyrd Skynyrd.” It was very hip and ironic in those days for a band to deliberately misspell its name.

Three years later producer Al Kooper, who signed the group to his Atlanta-based Sounds of the South label—which launched the group into the stratosphere—also tried to get the boys to change it. But the name stuck.

There is the powerhouse rock of Lynyrd Skynyrd, whom he discovered and produced.

And along the line, Al played on recordings by Jimi Hendrix, George Harrison, Paul Butterfield, BB King, Tom Petty and dozens more. In 1972, Kooper moved to Atlanta, attracted by the music he heard there. He discovered Lynyrd Skynyrd at a favorite hangout.

Forming his own label (Sounds of the South) to put out their records, he produced their first three albums, which included the massive hits “Sweet Home Alabama,” “Saturday Night Special,” and “Free Bird.”

In 1974 he sold Sounds of the South to MCA Records and moved to Los Angeles.

Lynyrd Skynyrd 1971

The One Percent /Lynyrd Skynyrd 1969

“He’s the PE coach at Lee High who hassles them about their hair.”

Kooper’s initial encounter with the no-nonsense music of Lynyrd Skynyrd in the edgy, volatile* environment of Funochio’s was a pivotal moment. He’d been on the prowl for “three-chord” bands to fill what he perceived as a void in the prog-rock-laden music environment of the early 70s. At the same time, he was well aware that Phil Walden was onto something, and that Walden, at the time, pretty much had a monopoly on the emerging genre of Southern Rock. In his autobiography, Kooper recalls: “My business plan was thus: No record company but Phil Walden’s Capricorn Records based in Macon, Georgia, understood that something was going on in the South. If Capricorn turned a band down, they were pretty much doomed, because no other label understood this phenomenon. I decided I would start my own label as an alternative to Capricorn and base it out of Atlanta.”

By the end of that week, Al Kooper was sitting in with Lynyrd Skynryd at the club. On Saturday night he offered them a recording deal which included him as producer. Without any commitments in place, he then managed to convince MCA Records in LA to distribute his yet-to-be-launched “Sounds of the South” label. Kooper settled into his new home in Sandy Springs, another suburb of Atlanta’s sprawl.

At last, Lynyrd Skynyrd’s manager contacted him.

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AL KOOPER 1971 PHOTOGRAPHER JOE SIA

Small world, their manager was none other than Alan Walden, Phil’s younger brother.

Capricorn had already passed on signing the band.

It took a couple of months, but a deal was eventually hammered out. In the meantime, Al Kooper signed his first band for Sounds of the South: Mose Jones, a popular, well-respected, extremely talented Atlanta group. (They changed their name from Stonehenge in 1972.) Kooper had a plan:

“In my mind, stylistically speaking, Mose Jones were my Beatles, and Skynyrd were my Stones.”

Read full article Al Kooper (born Alan Peter Kuperschmidt, February 5, 1944) is an American songwriter, record producer and musician, known for organizing Blood, Sweat & Tears, although he did not stay with the group long enough to share its popularity.

Throughout much of the 1960s and 1970s he was a prolific studio musician, playing organ on the Bob Dylan song “Like a Rolling Stone”, French horn and piano on the Rolling Stones song “You Can’t Always Get What You Want”, and lead guitar on Rita Coolidge’s “The Lady’s Not for Sale”, among many other appearances. Kooper also produced a number of one-off collaboration albums, such as the Super Session album that saw him work separately with guitarists Mike Bloomfield and Stephen Stills.

In the 1970s Kooper was a successful manager and producer, recording Lynyrd Skynyrd’s first three albums. He has also had a successful solo career, written music for film soundtracks, and has lectured in musical composition.

As Musician Kooper has played on hundreds of records, including ones by the Rolling Stones, B. B. King, the Who, the Jimi Hendrix Experience, Alice Cooper, and Cream. On occasion he overdubbed his own efforts, as on The Live Adventures of Mike Bloomfield and Al Kooper and other albums, under the pseudonym

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Ronnie Van Zant, Gary Rossington and Allen Collins work with producer Al Kooper on Pronounced Lynyrd Skynyrd with engineer Bob “Tub” Langford looking on at Studio I on May 6, 1973 in Doraville, Atlanta, Georgia

“Roosevelt Gook.”

After moving to Atlanta in 1972, he discovered the band Lynyrd Skynyrd, and produced and performed on their first three albums, including the singles “Sweet Home Alabama” and “Free Bird.” http://alkooper.com/

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The Man Who Produced Lynyrd Skynyrd & How They Rose to

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o Fame

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Excerpt from The Bird magazine Atlanta

“Back in July of 1972 this band Leonard Skinner was reviewed as they had played at a local club, Funochio’s. Review was in the underground newspaper Great Speckled Bird.” Great Speckled Bird v. 5 no. 30 (July 31, 1972) Page 19 Page 66 ROCK LEGEND NEWS | JUNE 2022

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Lynyrd Skynyrd’s Gary talks Funocchio’s, Al kooper and Page 68 ROCK LEGEND NEWS | JUNE 2022

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Studio One Doraville, GA

STUDIOONEDOCUMENTARY.COM This a story about a magical recording studio built by people who wanted a home to create, write, and record music. This was the home to the Atlanta Rhythm Section and the recording place for bands such as Lynyrd Skynyrd, .38 Special, and more.

And now the story really begins of the legendary Studio One. This little studio, the brainchild of Buddy Buie, grows out of his wanting to have a place to rehearse, write music, jam, and eventually record for his band, The Atlanta Rhythm Section.

But what happened was something that aligned perfectly in the early 1970’s as the popularity of Southern Rock grew with bands such as ARS, Skynyrd, .38 Special, and others that recorded there, created magic there, and loved just making music in a little place called Studio One. Studio One, legend has it, began out of a disagreement between Buddy Buie and Mastersound manager Bob Richardson over recording time for Buddy’s new band, The Atlanta Rhythm Section (reprinted from Buddy’s Blog) From 66 thru 69, I recorded exclusively at Master Sound Studio in the old Brookhaven school building, owned by my mentor Bill Lowery.

One day I called Bob Richardson, the studio co-owner- manager and asked could I come in to cut a demo. He said “no, an ad agency has It booked” and I said “that’s fine, I’ll cut at another studio but I need to come by and pick up the bass,” Master Sound had an old Fender bass that Emory Gordy played on all my sessions. Richardson said, “that bass doesn’t leave this studio.” I asked him if he was using it on

the ad-agency session and he said “no, but the bass doesn’t leave the studio.’

I couldn’t believe that after helping put his studio on the map, he’d refuse me the use of that old bass. I begged him to reconsider and he repeated, “that bass doesn’t leave this studio”. I never recorded another note in that studio. Armed with backing from Bill Lowery, Buddy enlisted the help of LeFevre Sound engineer, Rodney Mills to build a recording studio. Studio One was born, but what happened there is something that legends are made of--this is that story!

Ronnie Van Zant, Gary Rossington and Allen Collins working with producer Al Kooper on Pronunciation of Lynyrd Skynyrd with engineer Bob “Tub” Langford looking on at Studio One on May 6, 1973 in Doraville, Atlanta, Georgia.

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Scott Harmon: “From my days at Studio One as an intern and assistant engineer 85-88.

The engineer for Sweet Home Alabama, Rodney Mills attested to the fact that “Sweet Home Alabama” was recorded at Studio One, Doraville and NOT Muscle Shoals. Al Kooper took it to Los Angeles and added stuff to it and mixed in Los Angeles.” See Studio One Video

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Scott Harmon: “I graduated from the Atlanta Art Institute and had Greg Quesnel as my recording instructor. He awarded me “best mix” on our final project and invited me to intern at Studio One. While at Studio One I assisted on Johnny VanZant’s album “Van Zant” and the Swimming Pool Q’s album “Blue Tomorrow.” I learned a lot from the experience and Greg provided valuable guidance. Unfortunately due to the timing and a small market for beginning engineers I ended up pursuing a different career.”

Studio One was a recording studio located in Doraville, Georgia, a suburban hamlet northeast of Atlanta. The address was 3864 Oakcliff Industrial Court, Doraville GA 30340. It is now occupied by a non related business and used as a warehouse.

future Atlanta Rhythm Section manager Buddy Buie. Lowery and Buie, along with the latter’s songwriting partner J. R. Cobb and the Classics IV’s manager Paul Cochran, were the studio’s original owners.

The studio output included a diverse range of recordings by Journey, Lynyrd Skynyrd, Joe South, Atlanta Rhythm Section, .38 Special and Outlaws. Singer Ronnie Hammond also started his career at the studio, originally employed as an assistant audio engineer.

Atlanta Rhythm Section was formed from session musicians used at Studio One and utilized the facilities extensively for rehearsals.

Buddy Buie continued to run Studio One until 1986 when he sold it to Georgia State University.

The studio was designed and constructed in 1970 by audio engineer Rodney Mills, with the support of music publisher Bill Lowery and ROCK LEGEND NEWS | JUNE 2022

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Atlanta Bands Here is a picture of original NRC Recording Studio in Brookhaven area of Atlanta, and a later 60’s picture of it remodeled as Master Sound.

This was Bill Lowery’s studio in Brookhaven. It was one of the first recording studios in Atlanta built in what was Brookhaven Elementary School and opened in 1958 and operated by Bill Lowery until 1962.

Before this studio, all the Lowery artists recorded at WGST, located next to Alexander Memorial Coliseum at Georgia Tech. Ray Charles had recorded “I got A Woman” in 1954 there.

The original 50’s studio musicians were Joe South on guitar, Ray Stevens piano, Jimmy Estes on bass, and Nelson Rogers on drums.

The engineers were Ivan Miles and Marvin Olendorff. In 1962 the company went into bankruptcy and Bill Lowery pulled out and continued his publishing. Under new ownership NRC continued into the 60’s. A fire hit the studio soon after destroying the control room. After the fire Lowery returned and re-modeled the studio and expanded it. He then named it Master Sound, where it generated so many hits up until Studio One was opened. Thanks to the late Johnny Carter for most of this information. Johnny of Rome, GA, later bought the NRC catalog. Also Robert Register for one of the pictures and his great music posts.

The 1% (Lynyrd Skynyrd) signed with Bill Lowery (founder National Recording Corporation in Atlanta) in 1967.

NRC - National Recording Corporation was an American record company located in Atlanta, Georgia, incorporated in Atlanta in 1958. At some point after 1961, the operation was moved to Ponce De Leon Avenue in nearby Decatur, Georgia. It was founded by Bill Lowery and Boots Woodall.

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Great Speckled Bird Underground Newspaper

AL KOOPER / LYNYRD SKYNYRD ADS 1973 Al Kooper - full page ad for the Save The Bird benefit concert featuring Kooper and Lynyrd Skynyrd (name misspelled here with 2 N’s in each word!)

And Lynyrd Skynyrd listed in an ad for Richard’s nightclub along with Cactus, Fanny, Brother Bait and others.

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A

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Honors In 2004, Rolling Stone magazine ranked the group No. 95 on their list of the “100 Greatest Artists of All Time.”

On November 28, 2005, the Rock and Roll Hall of Fame announced that Lynyrd Skynyrd would be inducted alongside Black Sabbath, Blondie, Miles Davis, and the Sex Pistols. They were inducted in the Waldorf Astoria Hotel in Manhattan on March 13, 2006 during the Hall’s 21st annual induction ceremony. The inductees included Ronnie Van Zant, Allen Collins, Gary Rossington, Ed King, Steve Gaines, Billy Powell, Leon Wilkeson, Bob Burns, and Artimus Pyle.

THE AMAZING STORY OF CAPRICORN RECORDS 6 May 2020 | Capricorn Records IT’S ONE OF THE GREAT STORIES of American music: the nexus between the record label Capricorn, Rock & Roll Hall of Fame inductees Lynyrd Skynyrd and Allman Brothers Band, soul legend Otis Redding, and three visionary mavericks who did as much as anyone to break down racial barriers in the South and launch the cultural phenomenon known as “Southern Rock” brothers Phil Walden and Alan Walden and South African immigrant Frank Fenter.

Read Full Article

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Lynyrd Skynyrd at Hellfest 2019 with Rickey Medlocke

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Blackfoot - Highway Song (Volkshaus, Zurich, Switzerland 1982) Medlocke recorded shortly with the 1970s era Lynyrd Skynyrd band as a session musician, occasionally playing drums or singing lead on a few songs for them in 1971: “One More Time”, “Preacher’s Daughter”, “Lend a Helpin’ Hand”, “Wino”, “White Dove”, “Comin’ Home”, “The Seasons”, “Ain’t Too Proud to Pray”, and “You Run Around”. On occasion, Medlocke played alongside the band’s original drummer Bob Burns but came to desire the energy of a guitarist at the front of the stage. This resulted in his 1972 decision to reform Blackfoot. The band began touring and producing hit songs that included “Train, Train”, which was written by his grandfather, and “Highway Song”, written by Rickey Medlocke and Blackfoot drummer Jakson Spires, along with songs written by others. He disbanded the group Page 84 ROCK LEGEND NEWS | JUNE 2022

in the early 1990s.

For awhile in the 1990s, Medlocke thought about pursuing other careers until he received a phone call in 1996 from Gary Rossington inviting him to rejoin Lynyrd Skynyrd as a lead guitarist and primary songwriter. Rossington asked Medlocke if he remembered how to play “Free Bird”, “Tuesday’s Gone”, and “Workin’ For MCA”, among others. Medlocke rejoined Skynyrd and has been a member since. Occasionally, Medlocke will step away from Skynyrd briefly to join musicians like Blackberry Smoke and Shooter Jennings onstage.

He joined American Idol finalist Bo Bice on stage for a rendition of “Sweet Home Alabama” when the top three finalists from season four returned home. During his first stint with Lynyrd Skynyrd

Rickey Medlocke from 1971 to 1972, he played drums and sang lead on a few songs that would initially be released on 1978’s “First and Last.” Medlocke would rejoin Blackfoot in 1972 and later returned to Lynyrd Skynyrd in 1996 as a guitarist with whom he continues to tour and record today.

Being of Native American ancestry, specifically Lakota Sioux and Cherokee, Medlocke was inducted into the Native American Music Hall of Fame in 2008. More a Labels MCA Atlantic Capricorn CMC International Sanctuary Universal Roadrunner/Loud & Proud Lynyrd Skynyrd Members Gary Rossington Rickey Medlocke Johnny Van Zant Michael Cartellone Mark Matejka Peter Keys Keith Christopher Rickey Medlocke Instruments Guitar, mandolin, vocals, dobro, keyboards, drums Years active: 1969–present Associated acts: Blackfoot, Lynyrd Skynyrd

The Native American Music Awards (also known as the NAMAs or “Nammys”) are an awards program presented annually by Elbel Productions, Inc., The Native American Music Awards Inc., and The Native American Music Association, a 501(c)(3) non-profit organization incorporated in 1998, which recognizes outstanding musical achievement in styles associated with Native Americans, predominantly in the United States and Canada. While Native American performers in a variety of genres are also recognized, nominees do have to be Native American or at least one member in a group or band from a State for Federally recognized tribe. The awards were created in 1998 to offer Native American musicians greater recognition from the American music industry and to create opportunities for international exposure and recognition.

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b Bassist Guitar Magazine Back issue January 1999 featuring Ocean Colour Scene, UFO, Lynyrd Skynyrd, Dream Theater, Mavericks and regular features Equipment reviews, Letters, Workshop, Advanced Techniques.

c Lynyrd Skynyrd Concert Menu Ad August 31 September 27, 1975 Oakland, Berkeley & San Fran, CA

Lynyrd Skynyrd, Black Sabbath, George Carlin, Montrose UFO, Blue Oyster Cult, David Crosy & Graham Nash, Mahogany Rush,

Johnny Winter, Edgar Winter Group, Rick Derringer...

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Way Ahead Magazine a

No. 10 November 1977 The best in local & national rock.

Contents Rory Gallagher, Gryphon, Lynyrd Skynyrd, Local Scene, On The Deck, John Peel, Mike Harding, Judas Priest, Kevin Ayers, Mike Harding, Kiki Dee, Los Angeles Starz Edited by Dave Brett.

16 Russell Drive, Wollaton, Nottingham.

Lynyrd Skynyrd Concert Newspaper Double Handbill b

September 12 – 26, 1975 Lynyrd Skynyrd Edgar Winter Labelle Johnny Winter Outlaws Marshall Tucker Band Roger McGuinn Journey UFO

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UFO

UFO 1974 - Michael Schenker, Phil Mogg, Andy Parker, Pete Way.

Excerpt By Geoff Barton (Classic Rock) Published June 25, 2008 | Loudersound UFO’s music began to change following Bolton’s departure, becoming less out of orbit and more down to earth. “Why did we stop playing space rock? Because Phil stopped taking LSD,” Pete Way says bluntly. That big fat liar,” Mogg replies, before considering: “Well… there was a bit of that going on at the time because we were playing London’s Roundhouse. They used to have 24-hour gigs there. You’d go in and play in the evening, and you’d come out at about seven o’clock in the morning. Whether it was the following morning or not, who knew? So, yeah… Pete might have a point.”

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“We just started listening to different types of music,” Way expands. “I went and saw Led Zeppelin at the Marquee when they were The New Yardbirds and I remember thinking: ‘This is great stuff. It’s about time that we [UFO] moved on.” “We just kind of got our act together,” shrugs Mogg.

“We were listening to bands like Free and Lynyrd Skynyrd and admiring the way they combined rock and blues. We reckoned that was the sort of stuff we should be playing.

Full article a ROCK LEGEND NEWS | JUNE 2022

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215 W Main St, Swain

nsboro, GA 30401, USA

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from:

The Big House Museum Today in history, March 27,...THE BIRTH OF A BAND! 53 years ago today, in 1969, the Allman Brothers Band officially formed in Jacksonville, Florida when Gregg returned from California to round out the six-member lineup of his brother Duane’s new band.

THE ROAD GOES ON FOREVER.......

Photo: Stephen Paley, Rose Hill Cemetery, Macon, Georgia, 1969

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The Allman Brothers Band was founded in March

The Allman Brothers Band 1972

1969 by Duane and Gregg Allman with Dickey Betts, Berry Oakley, Butch Trucks and Jai Johanny “Jaimoe” Johanson.

Just two years after forming, however, Duane Allman died in a motorcycle crash in Macon on October 29, 1971. The guitarist was not replaced, although Chuck Leavell was added as a second keyboardist in 1972 after the band performed as a five-piece. On November 11, 1972, the group lost a second member when Oakley died in a motorcycle accident similar to Allman’s. He was replaced by Lamar Williams, a childhood friend of Johanson’s. In May 1976, the group disbanded after Allman testified in the trial of road manager John “Scooter” Herring, who was accused of drug dealing, with the rest of the band publicly condemning his decision to do so.

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The Allman Brothers Band is the debut studio album by A the United States by Atco Records and Capricorn Record in 1969, the Allman Brothers Band came together followi session work, Duane Allman moved to Jacksonville, Flor had envisioned as having two guitarists and two drumme Gregg Allman, the band moved to Macon, Georgia, wher

American rock band the Allman Brothers Band. It was released in ds on November 4, 1969 and produced by Adrian Barber. Formed ing various musical pursuits by each individual member. Following rida where he led large jam sessions with his new band, one he ers. After rounding out the lineup with the addition of his brother, re they were to be one of the premiere acts on Capricorn.

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Greg Allman’s Guitar

Profiles In History Heritage Auctions

The nation’s leading dealer in authentic Hollywood Memorabilia, historical autographs, vintage signed photographs.

Inquiries: bid@ha.com or call 214-528-3500. Facebook Talk about legendary hardware... this is Gregg Allman’s circa 1970 Gibson Les Paul Custom Black Solid Body Electric Guitar. And the story gets better. Eric Clapton special ordered this Les Paul Custom from Gibson in late 1969/Early 1970 and would gift it to Gregg on or about December of 1971.

Gregg is one the star players from the long-running southern rock band. Writing some of the Allman Brothers’ bestknown tunes (like “Melissa” and “Whipping Post”), he had a long and fruitful career.

The guitar comes to us from a friend of Gregg’s and is accompanied by a signed, notarized letter.

Gregg would go on to use this guitar for his main stage guitar between 1971-1976. It can be seen in many photographs from the time as well as inside the album jacket for the Live record “The Gregg Allman Tour” recorded in 1973 and released in 1974. Name aside,

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From David Allan Coe Facebook Dickey Betts and Gregg Allman (1992)

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Courtesy of Hargrett Rare Book and Manuscript Library, University of Georgia Libraries.

The Allman Brothers Band, formed in 1969 and featuring twin guitars and twin drums, created the “southern rock” genre by brilliantly mixing blues, jazz, country, and rock and roll. From their base in Macon, the Allman Brothers opened the door for other southern bands, including the Atlanta Rhythm Section, Lynyrd Skynyrd, the Marshall Tucker Band, and Wet Willie.

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Duane and Gregg Allman in San Francisco - October 1971.

The Allman Brothers Band.

Photo - Annie Leibovitz.

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Capricorn Sound Studios and Museum Chank Middleton pictured here hanging out the driver’s side window, was shining shoes in a barbershop next to Capricorn Studios when he first met Gregg Allman. The two eventually became best friends, and Gregg wrote “Win, Lose or Draw” about him.

Released Recorded Studio

Genre Length Label Producer

August 22, 1975 February–July 1975 Capricorn Sound (Macon, Georgia) Record Plant (Los Angeles, California) Southern rock, blues rock 38:38 Capricorn Johnny Sandlin, The Allman Brothers Band ROCK LEGEND NEWS | JUNE 2022

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Atlanta International Pop Festival (1970) The event was promoted by Alex Cooley, who had helped organize the ‘69 Atlanta Festival as well as the ‘69 Texas International Pop Festival, and two years later would promote the Mar Y Sol Pop Festival in Puerto Rico from April 1–3, 1972.

Like 1969’s Woodstock festival, the event was promoted as “three days of peace, love and music.” Tickets for the festival were priced at $14.

Also like Woodstock, it became a free event when the promoters threw open the gates after large crowds outside began chanting “Free, free, free.

Music belongs to the people” and threatened to overwhelm even the biker security crew the promoters had hired. Crowd estimates for the festival varied widely at the time, and still do, ranging from 150,000 to 600,000.

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Refernc 109 Page

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David Allan Coe, Greg Allman & Warren Haynes From his start with country hell raiser David Allan Coe, to 16 years with the Allman Brothers, to the heavy and melodic improvisation of Gov’t Mule, Warren Haynes has blazed a trail that draws on the best of American music. With the voice of an old-school soul shouter and the guitar prowess of a legend, Haynes is both a formidable band leader and a blistering sideman who cares deeply about music.

Guitar didn’t escape Haynes’ attention for long, however: he would soon turn on to rock and roll. “I really liked Eric Clapton. He was the first guitar hero I had. I liked really heavy Cream stuff. I liked all the Derek And The Dominoes stuff.” Haynes’ brothers used his admiration of Clapton to expand his musical horizons to take in the blues masters. They would tell him to check out Howlin’ Wolf because Clapton played on it. Interviews with Haynes’ favorite guitarists led him to other blues players, and the scope of his guitar playing grew accordingly.

Your first big break was playing with David Allan Coe. How did that come about?

“I was in all local bands and regional bands in Asheville, North Carolina, trying to get a record deal—to no avail. When I got the call from David Allan Coe, I had no idea that at that time he had done records like Penitentiary Blues and stuff like that.

I remember saying to him on the phone, “I don’t really consider myself a country guitar player, and I’m not really interested in being in a country band.”

I was 19, or just had turned 20. I was a young, cocky kid. I think he liked the fact that I was cocky and full of myself. But, actually, I was really shy. I just knew what I wanted to do musically and that didn’t seem to fit the plan. But he said, “I want a blues rock guitar player who can add an edge to my music.”

When I joined Coe’s band, I realized how much he loved blues. Whenever his voice was tired on tour, we would go out just the two of us and open up with a bunch of Jimmy Reed songs. Then segue that into the show. One by one, the drummer would walk on and the bass player would walk on, and eventually the whole band would be onstage. He was really influenced by Jimmy Reed and Lightnin’ Hopkins. That stuff was way back in his formative years, so whenever it came out, it was very genuine.”

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Soon Haynes found himself performing at private gigs and pool parties. When he was about 14, he started hanging around a local pizza parlor that had been converted into a nightclub. About six months later, word got out that Haynes played guitar. The regulars wondered what this kid could do, so they offered to let him on stage.

It wasn’t long before Haynes was playing in a band called Ricochet that developed a good regional following.

One day, Haynes got a call from David Allan Coe, and it was a major break for the 20-year-old Haynes. He played with Coe from 1980 to 1984 (traveling all over the States and Europe) and played on nine of Coe’s albums. Haynes also met Dickey Betts and Gregg Allman through Coe, and when Coe’s band opened for The Allman Brothers at the Fox Theater in Atlanta, Betts sat in. Four years later, Haynes moved to Nashville to do session work, but the Allman connection was still there. Betts was doing some demos in Nashville and called someone to put together a group of background singers. As fate would have it, Haynes was one of them.

Later, he called Haynes and invited him down to work on some songs. Those songs turned into Betts’ solo album, Pattern Disruptive. At the same time, Allman decided to record “Just Before the Bullets Fly,” which Haynes co-wrote, as the title track to his 1988 album. It’s no wonder that when The Allman Brothers reformed for their Reunion Tour in 1989, Haynes got a call to join. That tour turned into two studio albums and two

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Grammy nominations for Best Instrumental Rock Performance (in 1990 for “True Gravity” and 1991 for “Kind of Bird,” both of which were co-written by Haynes and Betts) and then a live album in 1992, An Evening with the Allman Brothers Band. Haynes’ songwriting, singing and playing helped make Seven Turns, Shades of Two Worlds and An Evening with the Allman Brothers Band, the Brothers’ most critically acclaimed albums in years.

Many critics give Haynes credit for putting the fire back in The Allman Brothers Band.

Since the death of Jerry Garcia in 1995, Haynes has performed and toured with many of the surviving members of the Grateful Dead.

DAVID ALLAN COE (1980-1984) David Allan Coe - Guitar, Vocals Warren Haynes - Guitar, Vocals Mickey Hayes - Bass, Vocals Mike Barton - Guitar, Vocals Tommy Irwin - Steel Guitar Albert Lauro - Drums THE ALLMAN BROTHERS BAND Seven Turns (1990) Gregg Allman – Hammond B-3 organ; lead vocals on “Good Clean Fun”, “Low Down Dirty Mean”, “Shine It On”, “Gambler’s Roll”, “It Ain’t Over Yet”, backup vocals on “Seven Turns” Dickey Betts – electric guitar, acoustic guitar, National resonator guitar; lead vocals on “Let Me Ride”, “Seven Turns” Jaimoe – drums, percussion Butch Trucks – drums, timpani Warren Haynes – electric guitar; lead vocals on “Loaded Dice”, backup vocals on “Let Me Ride”, “Shine It On”, “Seven Turns”, “It Ain’t Over Yet” Johnny Neel – piano, Wurlitzer organ, synthesizer, harmonica; backup vocals on “Shine It On”, “Seven Turns”, “It Ain’t Over Yet” Allen Woody – bass guitar

WARREN HAYNES

Early in his career he was a guitarist for David Allan Coe and The Dickey Betts Band. Warren Haynes joined David Allan Coe’s touring and recording band in 1980 when he was 20 years old. He remained with Coe’s band for four years. Haynes also is known for his associations with the surviving members of the Grateful Dead, including touring with Phil Lesh and Friends and the Dead.

References: http://albumlinernotes.com/Warren_Haynes.html https://arisurdoval.wordpress.com/tag/david-allen-coe/ http://allmanbrothers.duaneallman.info/familytreewarrenhaynes.htm ROCK LEGEND NEWS | JUNE 2022

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G

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Gregg Allman Tour Fox Theater, Atlanta, GA March 19, 20, and 21,1974. Vintage photo Jack Weston collection.

Cowboy was formed in 1969 in Jacksonville, Florida.

They released four albums on the Capricorn Records label in the 1970s. Boyer had played with Duane Allman and his brother, Gregg, in the folk-rock group the 31st of February. Duane, at that point of the Allman Brothers Band, suggested them to Phil Walden, owner of Capricorn Records.

Origin: Jacksonville, Florida, U.S. Genres: Country rock, Southern rock Years active: 1969–1977 2007–2011 Labels: Capricorn Records Associated acts: The Allman Brothers Band, We The People b Allman Brothers Band in Macon April 9 1971

The band’s lineup of (left-to-right) David Brown, Scott Boyer, Bill Stewart, Randall Bramblett, and Tommy Talton ROCK LEGEND NEWS | JUNE 2022

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“There are times when it’s easy to think that the rock and roll musician is the radical change on this planet. Other times you know it’s true. The Great Sp

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e most militant, subversive, effective, whole, together, powerful force for peckled Bird, 1969.” (Daniel Schowalter)

The Allman Brothes Band Meets Atlant, acount in The Great Speckld Bird May 196

eorgia from 1968 to 1976 and 1988 through 1990. Commonly known as The Bird.

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Great Speckld Bird . v 4 no. 45 (Novembr 8, 197) Duane Allman obituary Issue of The Great Speckld Bird.

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John Gellman Photography

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Atlanta Rhythm Section The band name is sometimes abbreviated to ARS, is an American southern rock group formed in 1971 in Georgia.

This shot of Berry Bailey and Ronnie Hammond of the Atlanta Rhythm Section was taken in 1975 or 1976, probably somewhere around Atlanta.

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Dog Days - Atlanta Rhythm Section [HQ]

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The Midnight Special More 1979 - Atlanta Rhythm Sec Page 128 ROCK LEGEND NEWS | JUNE 2022

Ronnie Hammond US southern rock vocalist.

Born 10 November 1950 in Macon, Georgia.

Died 14 March 2011 in Forsyth, Georgia.

Signed by Decca Records, the band released their first album, Atlanta Rhythm Section, in January 1972. Due to the record’s limited commercial success, Justo quit the band, relocating to New York City as a session singer. He was replaced by Ronnie Hammond, assistant to Studio One’s engineer, Rodney Mills. The increased exposure paid off as the group’s next album, A Rock and Roll Alternative (December 1976), rose to #13 on the Billboard chart and was certified gold in the spring of 1977.

The debut single from the record, “So in to You,” peaked at #7 on April 30.

On September 3, 1977, ARS played their biggest show yet, the Dog Day Rockfest at Atlanta’s Grant Field on the campus of Georgia Tech. Heart and Foreigner were the opening acts and Bob Seger and the Silver Bullet Band co-headlined with ARS. Late in 1982, singer Ronnie Hammond decided to leave ARS for a solo career, joined

by Buie (who ceased managing ARS).

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Ronnie Hammond

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Atlanta Rhythm Section, sometimes abbreviated ARS, is an American southern rock band. The band unofficially formed in 1970 as former members of the Candymen and the Classics IV became the session band for the newly opened Studio One, Doraville in Doraville, Georgia. The band still tours with some of its original members, playing mostly festivals and other nostalgia-themed concerts.

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Atlanta Rhythm Section 1972 Former historical members: Brendan O’Brien, keyboard (1987-1992) James B. Cobb Jr., guitar, keyboard (1972-1987) Ronnie Hammond, keyboard (1975-1985) Barry Bailey, guitar (1973-1983) Buddy Buie, vocals (1975-1979) Paul Goddard , bass (1971-1988) Robert Nix, drums (1971-1983) Roy Yeager, drums (1980-1995)

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Atlanta Rhythm Section Album

Dog Days

Released Recorded Studio Label Producer

August 1975 1975, Studio One, Doraville, Georgia Polydor Buddy Buie

Personnel Barry Bailey - guitar Buddy Buie - vocals J.R. Cobb - guitar, background vocals Dean Daughtry - keyboards Paul Goddard - bass guitar Ronnie Hammond - vocals, background vocals Robert Nix - percussion, drums, background vocals Production Producer: Buddy Buie Engineer: Rodney Mills Chart (1975) Peak position US Top LPs & Tape (Billboard) 113

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ATLANTA RHYTHM SECTION 1973 at Richard’s in Monroe Dr., Atlanta, GA Opened for King Crimson.

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Atlanta Rhythm Section Dog Day Rock Fest: 09/03/77 Grant Field at Bobby Dodd - Atlanta, GA

On September 3, 1977, ARS played their biggest show yet, the Dog Day Rockfest at Atlanta’s Grant Field on the campus of Georgia Tech. Heart and Foreigner were the opening acts and Bob Seger and the Silver Bullet Band co-headlined with ARS. David “Dopp” Colvin. Dopp, was was the first sound engineer at the Agora Ballroom. Located adjacent to the Georgian Terrace Hotel, the Agora was opened by Hank LoConti, Sr. who had established the Agora name in Cleveland, Ohio, before expanding the concept to 12 other

U.S. cities. Partnering with Atlanta promoter Rich Floyd (who had been co-owner of (Richards), they opened shop in the the same spot at 663 Peachtree St., where (Alex Cooley’s Electric Ballroom) had operated from 1974 to 1979.

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Richards

Opened in 1973 and hosted many of the best music acts of the era. Bands that played Richards at the time: The Outlaws, Bob Seeger, Muddy Waters, Mother’s Finest, Bruce Springsteen, Lou Reed, BB King, Marshall Tucker Band, Ted Nugent, Peter Frampton, REO Speedwagon, Lynyrd Skynyrd, Little Feat, Robin Trower, Country Joe MacDonald, King Crimson, the Charlie Daniels Band, Bo Diddley, Wet Willie and many others.

Richard’s is an Atlanta club that was big in the 1970s. Iggy and the Stooges (forerunner to Iggy Pop) played a 1973 show at this Midtown club that people were still talking about 10 years lager; Elton John showed up in a bunny suit and the Igster stage-dove through a tabletop. Also memorable were New York Dolls sets. Last venue there was a gay country bar called Hoedowns.

Richards opened with a bang on Atlanta’s scene.

It was a sophisticated night club venue to have a rather intimate experience with a musical favorite.

Unfortunately it also closed with flare.

Rich Floyd, one of the principal partners of the operation explained to the Bird the sequence of events leading to the closing of Richards. During Christmas week the club was closed on Monday, Tuesday, and Wednesday (December 2325) to give the employees a long vacation. It was also reasoned that few people would attend any shows on those days anyway. That week the bank decided to collect payment on a note and tried to get in touch with someone at the club to inform them of the move.

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it, Georgia Power Company also decided to collect during this same week. No one answered the phones at the club, so fearing the worst (“Ye gods, they’ve absconded with all that rock ‘n’ roll money!”) the Power Company. Yes indeed, cut the power. As co-day manager Diane Fraikin put it, when she arrived for work as usual on Thursday, December 26 to find the power shut off, “It knocked the socks right off me.”

Read Complete Article a

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Funochio’s 845 Peachtree Street (at 6th), Atlanta GA Self-titled “Atlanta’s Original House of Rock” Opened: December 1971 Closed: September 1973 Source material for early days of Funochio’s is scarce. An article in the December 20, 1971 issue of The Great Speckled Bird [GSB] about the band Flood indicates that owners of Funochio’s would not purchase ad space until the newspaper had given the club significant press coverage.

The same article refers to Funochio’s as “a new place,” inferring they had only recently opened. First evidence of ad placement was in the GSB February 14, 1972 issue, text only, in the free club listings of the Calendar page. (Discovery, Inc., an agency that booked and managed much of Atlanta’s talent, frequently purchased display ads for their bands’ appearances at Funochio’s, given the club’s early unwillingness to invest in marketing.) Funochio’s first purchase of GSB display ad space was for the November 27, 1972 issue, promoting the club’s first anniversary in early December.

Upstairs at Funochios and Lynrd Skynyrd playing. They did not have the piano player then and had a different drummer.

One of the most famous rock bands in history was discovered at Peachtree and 6th; Lynyrd Skynyrd was discovered (as in being signed to a major label) in 1972 at a live music venue called Funochio’s that is now the site of the new Midtown Quick Trip located at Peachtree and 6th.

A few years after Funochio’s closed, a club called Backstreet took over the place and was around for nearly 30 years.

Atlanta Bands Comment Daniel Roberts: “When I was a member of Mudcrutch, we played at “Funochio’s” in Atlanta for a week. When we first went to find the dressing room, we found cake icing everywhere! The walls were covered in crushed velvet wallpaper, so it was everywhere! Turns out that Lynyrd Skynyrd had played there the previous week and had gotten their record deal with Al Kooper, so they had a big cake-throwin’ party!”

Funochio’s on Peachtree Street in Atlanta pictured here in 1972 is Lynyrd Skynyrd around the time Al Kooper saw them and later produced the first album.

07-26-1956 Lang’s Interiors. From 1975 until its demolition in 2004 (?) this building was called Backstreet after Funocchio’s shut down.

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In the early 70’s he played bass in the original Mudcrutch from Gainesville, Florida. They played at Funochio’s on Peachtree Street, the legendary club where many bands were discovered. Here is info on the band: Mudcrutch was formed in 1970 by Tom Petty and Tom Leadon, who had been playing together in a band called the Epics.

Mudcrutch’s lineup consisted of Tom Petty (bass and vocals), Tom Leadon (guitar and vocals), Jim Lenehan (lead vocals), Randall Marsh (drums) and Mike Campbell (guitar). Leadon and Lenehan left the band in 1972 and were replaced by bassist/guitarist/vocalist Danny Roberts.

Keyboardist Benmont Tench also joined the band.

The Strip Project Atlanta Bands

Funichios is an Atlanta club popular in the 1970s where a lot of emerging southern rock bands would play. Located on Peachtree in Midtown, this was a place where you could see Lynyrd Skynrd live when they would drive in from Jacksonville. Many of the bands would stay at the

Hotel Clermont when in Atlanta as the rent was cheap and the location easy to get to from the club.

In the book Kooper says during his stay in Atlanta he ended up hanging out with the Atlanta Rhythm Section at their studio. He had known them since they were the Candymen and backed Roy Orbison. Anyway he fell in love with the city and moved down from NY. They would jam and record and then hang out at a club on Peachtree called Funochios. There he watched the local bands play and produced and secured record contracts and started up “Sounds Of The South” label for MCA. He signed Lynyrd Skynyrd and Mose Jones.

Patrick Edmundson from the Strip Project has an interesting take on the Club and Al Kooper’s book Backstage Passes and Backstabbing Bastards.

Bands That Played Funochio’s 1971 Hydra - December Birnam Wood - December Flood - December 1972 Hydra - January 3-8, 10-15 Stonehenge - February 14-19 Hydra (with Clear, February 25) - February 21-26 Kudzu - February 29-March 4 Orpheum Circuit - March 6-11 Brother Bait - March 13-18 Lynryd Skynyrd - March 2o-25 Taxi - March 27-April 1 Hydra - April 3-8 Stonehenge - April 10-15 Eric Quincy Tate - April 17-22 Boot - April 24-29 Lynyrd Skynyrd - May 1-6 Kudzu - May 8-13 Macbeth (with Cisco, May 18) - May 19-20 Flood - May 22-27 Brother Bait - May 29-June 3 Birnam Wood - June 5-10 Papa Doc - June 15-17 The Motion - June 17 (3pm jam) Hydra - June 19-24 (Deep Purple jammed) Orpheum Circuit - June 24 (3pm jam) Stonehenge - June 26-July 1 Boot - July 3-8, 10-15 (Al Kooper jammed) Lynyrd Skynyrd - July 17-22 (first encounter with Al Kooper) Brother Bait - July 24-29 Wellington Arrangement - July 31- August 5 Stonehenge - August 7-12 Hydra - August 14-19 Lynyrd Skynyrd - August 21-26 Free Love - August 28-31 Wet Willie - September 1-2 Kudzu - September 4-9 Circus - September 11-13 Hydra (with Albatross, September 15) - September 14-16 Stonehenge - September 18-20

Eric Quincy Tate - September 21-23 Stonehenge - September 25-28 Stonehenge, Al Kooper - September 29-30 Whalefeathers - October 2-7 Buster Brown - October 9-14 Lynyrd Skynyrd - October 16-21 Buster Brown - October 23-25 Eric Quincy Tate, Buster Brown - October 26-28 Hydra - October 30-November 4 Brother Bait - November 6-11 Kudzu - November 13-18 Papa Doc - November 20-25 Eric Quincy Tate, Albatross - November 27-29 Albatross, Law - November 30-December 2 Hydra - December 4 Brother Bait - December 5 Mose Jones - December 6 Armon, Mose Jones - December 7 Armon, Eric Quincy Tate - December 8 Armon - December 9 Whalefeathers - December 11-16 Hydra, Law - December 18-20 Hydra - December 21-23 Al Kooper, Mose Jones - December 26-27 Mose Jones - December 28-30 1973 Eric Quincy Tate - January 1-6 Boot - January 8-13 Lynyrd Skynyrd, Smokestack Lightnin’ - January 15-20 Mose Jones, Sweet Rye - January 22-27 Whalefeathers, Sowbelly - January 29-February 3 Kudzu, Sowbelly - February 5-10 Law, Orpheum Circuit - February 12-14 Law, Maelstrom - February 15-17, 19-24 Eric Quincy Tate, Cotton Small - February 26-March 3 Blackfoot, Hooker - March 5-10 Lynyrd Skynyrd, Armon - March 12-17 Mose Jones, Papa Doc - March 19-24 Boot, Brown Dog - March 26-31 Caliban, Scald Cats - April 2-7

Fat Chance, Mushroom Jones - April 9-14 Sun Country, Cisco - April 16-21 Eric Quincy Tate, Cisco - April 23-28 Caliban, Slick - April 30-May 5 Lynyrd Skynyrd, Mason - May 10-12 Orpheum Circuit, Kudzu - May 14-19 Lynyrd Skynyrd, Traktor - May 21-26 Brother Bait, Albatross - May 31-June 2 Ritual, Mudcrutch* - June 4-9 Brown Dog - June 14-16 Hydra, Target - June 18-23 Roadapple - June 25-30 Eric Quincy Tate - July 2-7 Birtha, Eric Quincy Tate - July 4-5 Mose Jones - July 9-14 Birtha - July 12 Kudzu - July 12-15 Birnam Wood - July 16-21 Whiskey Train, Armon - July 26-28 Kudzu, Nation Road - July 30-August 1 Kudzu, Papa Doc - August 2-4 Micropolis, Scald Cats - August 6-11 Papa Doc, Catfish Hodge - August 13-16 Papa Doc, Cisco - August 17-18 Target, New Day Ahead - August 20-25 *Mudcrutch was Tom Petty’s Gainesville, Florida, band prior to formation of the Heartbreakers. The group included Benmont Tench and Mike Campbell, who stayed on as members of the Heartbreakers. Mudcrutch signed with Shelter Records in 1974 and released one single before breaking up in 1975. >>January 2017 update: In August 2007, Tom Petty invited original members Randall Marsh and Tom Leadon to reform Mudcrutch along with Heartbreakers Benmont Tench and Mike Campbell.

They have since recorded two studio albums, toured extensively, and released a live album as well. Their last concerts were in June 2016 as of this update.

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RICHARDS

Original Atlanta 1973-1975 Richards on Monroe Drive in Atlanta, GA. Lynyrd Skynyrd opened for If. Hydra opened for Iggy & The Stooges.

Richards opened in 1973 and hosted many of the best music acts of the era. Bands that played Richards at the time: The Outlaws, Bob Seeger, Muddy Waters, Mother’s Finest, Bruce Springsteen, Lou Reed, BB King, Marshall Tucker Band, Ted Nugent, Peter Frampton, REO Speedwagon, Lynyrd Skynyrd, Little Feat, Robin Trower, Country Joe MacDonald, King Crimson, the Charlie Daniels Band, Bo Diddley, Wet Willie and many others.

Richard’s is an Atlanta club that was big in the 1970s. Iggy and the Stooges (forerunner to Iggy Pop) played a 1973 show at this Midtown club that people were still talking about 10 years lager; Elton John showed up in a bunny suit and the Igster stage-dove through a tabletop. Also memorable were New York Dolls sets. Last venue there was a gay country bar called Hoedowns.

Lynyrd Skynyrd opened for Hydra who opened for Iggy & The Stooges.

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HYDRA

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HYDRA Hydra is an American Southern rock band founded in 1970 by Spencer Kirkpatrick (guitar), Wayne Bruce (vocals and guitar), Steve Pace (drums) and Orville Davis (bass).

In 1977, it became a three-piece band (with Wayne Bruce now on bass) and the band broke up later that year. It released three albums, Hydra (1974), Land of Money (1975) and Rock the World (1977).

In 2005, the band reunited for two shows (with Vickery on bass). A live album, Hydra: Live After All These Years was released.

Recommended: Feel A Pain 6:25 Lyrics and Music by Will Boulware, Leverage Music (ASCAP).

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Wayne Bruce Vocals, Spencer Kirckpatrick Lead guitar, slide guitar and ten string acoustic guitar, Orville Davis bass, Steve Pace drums.

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Hydra

was one of those 70’s Southern rock

bands that didn’t quite reach the commercial success they deserved. Hydra released three excellent albums between 1974 and 1977 before becoming frustrated with the growth of their success along with some management issues.

They broke up in 1977 and have since only played handful of live shows in few different occasions.

Hydra was started in Atlanta, Georgia around 1968

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(guitar) and Wayne Bruce (vocals/guitar) under the name Noah Mayflower. They briefly changed their name to Osmosis before taking the name Hydra in 1971 and added Orville Davis to bass.

After building a reputation as killer live band by supporting various major bands like Lynyrd Skynyrd, The Allman Brothers Band and ZZ Top, Phil Walden signed them to his Capricorn Record label in 1973. Hydra´s self-titled debut album came out in 1974.

The band signed a recording contract with Capricorn Records in 1973 and released a self-titled album Hydra in 1974. In 1975, Land of Money followed.

The producer, Dan Turbeville, used a horn section (without the band’s knowledge) on the first album and musicians like Chuck Leavell (Allman Brothers band, The Rolling Stones, and Eric Clapton) on piano and keyboards, and Randall Bramblett, who later founded his own Randall Bramblett Band, on the second.

Hydra’s two Capricorn LPs were briefly reissued on CD in the late 1990s in limited editions[citation needed] (which have become collector’s items,[citation needed]) while Rock the World, though remastered for CD, has not been reissued as of April 2011.

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Hydra is one of these bands, such as

ing a succession of bassists, Hydra finally emerged with the inclusion of Trip Burgess in 1970, and later Orville Davis in 1971.

Davis remained with Hydra on their first two LP’s, before leaving the group to join the hard rock outfit Rex, and then briefly Starz.

Pace and Kirkpatrick first played together in 1968 in the band Strange Brew. Wayne Bruce was playing with the band Nickelodian and accepted the offer to join Pace and Kirkpatrick in the short-lived Noah Mayflower. These three remained together in the band Osmosis until 1969 when, after enlist-

Hydra’s reputation as a solid live act in the Atlanta, Georgia area began to spread and the band expanded their territory.[citation needed] They began supporting major internationally known acts in concert.[citation needed] They have been referred to[by whom?] as the first heavy southern rock band.

Point Blank or Stillwater, who didn’t get the real success they deserve. After three albums released in the seventies, for which the collectors and the fans almost fight to get them.

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96 Rock had become the major FM station in Atlanta by 1975. Pictured he

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ere is a line up of concerts in the area. Quite a few great shows for sure!

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Discovery Begins Fifth Year Known throughout the Southeast for five years as a leader in developing and establishing commercial progressive, and hard rock talent, Discovery Inc., continues to serve it’s customers through professional courtesy and a sincere interest in developing quality entertainment at prices commiserate with level of performance. Complimenting its concern for quality control, Discovery seeks to serve you on a.

Personal basis, with a straight forward interpretation of your needs.

We have exclusive booking agreements with all groups pictured here, and will be happy to obtain other acts at your request. Discovery’s electability of groups adds an invaluable edge to your control over the many complicated facts surrounding band engagements. Also it allows for continual auditioning and screening of all exclusive groups to better insure development and quality of performance. This unique approach makes Discovery the credible alternative in a sea of volume oriented booking agents.

Discovery supports and participate in SUSGA and NEC, and is firmly tuned in to customer needs

Pictured in this brochure is the finest array of bands ever to break out of the Southeast. We at Dis

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s and problems. Understanding you and your needs is the most important part of our business.

scovery are eager to give you a taste of what they can do for you.

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from ATLANTA BANDS Atlanta Time Machine Discovery Inc., was a local booking agency and apparently THE place to go if you wanted to hire bands like The Nightshadows featuring Little Phil, the Spontaneous Generation, the Peppermint Confederacy, the Licorice Phonebooth, the Soul-jers, the Celestial Voluptuous Banana, the Hampton Grease Band, and the Coconut Confetti. Also available for your happening: a psychedelic light show and some go-go girls.

Via the Georgia State University Library’s Great Speckled Bird Collection (03/29/68).

Alphabetically listed some of the Atlanta area bands from 1968 and 1974 include: Albatross, The American Cheese, Applejack, Armon, Atlanta Vibrations, Avenue of Happiness, Axis, The Bag, Booger Band [later, just Booger], Brother Bait, Buster Brown, Caliban, The Celestial Voluptuous Banana, Choice, Clear, The Coconut Confetti, The Daze After, Dear John, Dogwood, East Side Blues Band, Fifth Order, Flint, Foxes, Gingerbread, Glass Menagerie, Hampton Grease Band, The Brick Wall, Heat, Hydra, Interprize, Kudzu, Leviathan, The Licorice Phonebooth, Lynyrd Skynyrd, Micropolis, Milkweed, The Mud Child, The New Explanation, The Night Shadows featuring Little Phil, Orpheum Circuit,

Pale Paradox, Papa Doc, The Peppermint Confederacy, Perpetual Motion [later, The Motion], Protrudamus, Radar, Resurrection, Rude-Frye, Russian Butt Broil, St George and the Dragonlite Show, Smokestack Lightnin’, The SoulJers, Soul Support, The Spontaneous Generation, Stillbrooke, Stonehenge [later, Mose Jones], Stump Brothers, Sweet Younguns [later, just Younguns], Traktor, Warm, and West End.

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Discovery, Inc. Booking agencies have always navigated the often tricky waters of coordinating artists with promoters and venues. In Atlanta’s late 1960s and early 70s, there were several operations handling such business. Discovery, Inc., founded by Steve Cole in 1968, within a few years became the busiest and largest of the local agencies, at least in the rock-and-roll marketplace.

Cole was part of the Atlanta music scene from which emerged the Southern Rock genre. He played a key role in mobilizing the legendary Piedmont Park free concerts (which propelled the Allman Brothers Band), and supplied clubs, colleges, and other settings throughout the Southeast with talent as required. Big name national tours, when in the region, often turned to the local talent pool for opening acts. Discovery provided.

Steve Cole (left) and promoter Alex Cooley at Piedmont Park, Atlanta GA, photo by Carter Tomassi, messyoptics.com

From the outset, Discovery marketed the agency’s presence, profile, and mission. They also promoted their bands’ appearances, bolstering any advertising that club and concert promoters might provide. By 1974, Discovery handled about 20 acts. The Hampton Grease Band was with them from the beginning and, in 1970, landed a recording contract with CBS/Columbia. Discovery represented Lynyrd Skynyrd early in the band’s career, also Mose Jones (formerly Stonehenge). In 1972, those two bands became label-mates for Al Kooper’s Sound of the South, the first acts Kooper signed.

Hydra likely logged the most road miles of any band in Atlanta back in the day, and signed with Phil Walden’s Capricorn Records by early 1973. A point could be reached when range and volume of requests for a band outgrew the size of the agency. As happened with those mentioned, the time came when an agency with larger reach and capability was required. It was a good problem to have, and reflected success for both artists and agency.

Acts represented by Discovery between 1968 and 1974 include: Albatross, The American Cheese, Applejack, Armon, Atlanta Vibrations [later, Vibration], Avenue of Happiness, Axis, The Bag, Booger Band [later, just Booger], Brick Wall, Brother Bait, Buster Brown, Caliban, The Celestial Voluptuous Banana, Choice, Clear, The Coconut Confetti, The Daze After, Dear John, Dogwood, East Side Blues Band, The Electric Collage Light Show, Fifth Order, Flint, Foxes, Gingerbread, Glass Menagerie, Hampton Grease

Steve Cole, Discovery, Inc., photo from Billboard, May 24, 1974

Band, Heat, Hydra, Interprize, Kudzu, Leviathan, Lynyrd Skynyrd, Micropolis, Milkweed, The Mud Child, The New Explanation, The Night Shadows featuring Little Phil, Orpheum Circuit, Pale Paradox, Papa Doc, The Peppermint Confederacy, Perpetual Motion [later, The Motion], Protrudamus, Radar, Resurrection, Rude-Frye, Russian Butt Broil, St George and the Dragonlite Show, Scald Cats, Smokestack Lightnin’, The Soul-Jers, Soul Support, The Spontaneous Generation, Stillbrooke, Stonehenge [later, Mose Jones], Stump Brothers, Sweet Fire, Sweet Younguns [later, just Younguns], Traktor, Warm, and West End. Read Complete Article at: https://sealplace.blogspot.com/2015/01/ discovery-inc.html

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Alex Cooley and Diane Knight at Windsor Castle on the Blue Jean Junket trip to London in 1976 Page 174 ROCK LEGEND NEWS | JUNE 2022

Alex Cooley’s Books Alex Cooley, known as “the unofficial mayor of Atlanta music,” is credited as the man who brought rock and roll to Atlanta. In his lifelong career as a concert promoter, Cooley put on thousands of shows, bringing to his hometown almost every major musical act in the world for millions of music fans.

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Alex Cooley’s Receipts

ALEX COOLEY

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Uncashed Check Electric Ballroom Facebook Comments Linda Lowery Going through somethings & found this check from Alex Cooley INC for 50 cents in 1976 where I over paid to see Lynyrd Skinner! Straight up dude!

I never cashed it.

David Summerlin straight up~!!..he taught me, many uses for the meaning of those words?....if .50 cent is that important, just imagine???

Roy Colby Alex Cooley’s Electric Ballroom in Atlanta, Ga. I have been there many many times. Alex was many years ahead of his time. He built the round glass structure in the early 70s. Today there is nothing that can come close to his unbelievable structure with 8-10 different levels. Bands like the Almond Brothers, Lou Reed, Eric Clapton and many more. One night we left there and went to “Richards,” another club known for famous bands showing up. I couldn’t believe who dropped in. The Rolling Stones!

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Alex Cooley’s Electric Ballroom - Atlanta Address: 663 Peachtree Street NE City: Atlanta Region: Georgia Country: USA Opened: 1974 Closed: 1979 Razed: 1987 Associated Venues: Agora Ballroom - Atlanta

TS S I L L ARTIA

P

Event Date Featured Artist(s) Other Performers KISS 06/19/1974 KISS KISS 06/20/1974 KISS KISS 06/21/1974 KISS KISS 06/22/1974 KISS KISS 07/17/1974 KISS KISS 07/18/1974 KISS REO Speedwagon 08/05/1974 REO Speedwagon Mose Jones REO Speedwagon 08/06/1974 REO Speedwagon Mose Jones KISS 09/18/1974 KISS KISS 09/19/1974 KISS KISS 09/20/1974 KISS KISS 09/21/1974 KISS Roy Buchanan 06/12/1975 Roy Buchanan Eric Mercury Roy Buchanan 06/13/1975 Roy Buchanan Eric Mercury Roy Buchanan 06/14/1975 Roy Buchanan Eric Mercury Montrose 06/16/1975 Montrose Montrose 06/17/1975 Montrose Bruce Springsteen & the E Street Band 08/21/1975 Bruce Springsteen Bruce Springsteen & the E Street Band 08/22/1975 Bruce Springsteen Bruce Springsteen & the E Street Band 08/23/1975 Bruce Springsteen Quicksilver Messenger Service 02/09/1976 Quicksilver Messenger Service Push Quicksilver Messenger Service 02/10/1976 Quicksilver Messenger Service Push Quicksilver Messenger Service 02/11/1976 Quicksilver Messenger Service Push Angel 02/12/1976 Angel Angel 02/13/1976 Angel Angel 02/14/1976 Angel Rush 04/21/1976 Rush Kokomo Rush 04/22/1976 Rush Kokomo Rush 04/23/1976 Rush Kokomo Steve Marriott 04/26/1976 Steve Marriott Steve Marriott 04/27/1976 Steve Marriott The Ramones 11/24/1976 The Ramones Gasoline The Ramones 11/25/1976 The Ramones Gasoline The Ramones 11/26/1976 The Ramones Gasoline The Ramones 11/27/1976 The Ramones Gasoline Elvin Bishop 01/25/1977 Elvin Bishop Elvin Bishop 01/26/1977 Elvin Bishop Elvin Bishop 01/27/1977 Elvin Bishop Mother’s Finest 01/28/1977 Mother’s Finest Mother’s Finest 01/29/1977 Mother’s Finest Page 178 ROCK LEGEND NEWS | JUNE 2022

Agora Ballroom - Atlanta

Address: 665 Peachtree Street NE City: Atlanta Region: Georgia Country: USA Postal Code: 30308 Capacity: 1,300 Associated Venues: Alex Cooley’s Electric Ballroom Event Date Featured Artist(s) Other Performers Talking Heads 10/07/1978 Talking Heads Para Band The Guess Who 01/06/1979 The Guess Who Overland Express Pat Travers 01/11/1979 Pat Travers The Blend Pat Travers 01/12/1979 Pat Travers The Blend Elvin Bishop 01/24/1979 Elvin Bishop Eric Quincy Tate The Ramones 01/30/1979 The Ramones The Fans Sammy Hagar 01/31/1979 Sammy Hagar Raggedy Anne The Ramones 11/22/1979 The Ramones Rick Derringer 02/16/1980 Rick Derringer Leon Russell 03/14/1980 Leon Russell New Grass Revival Humble Pie 03/15/1980 Humble Pie The Jam 03/25/1980 The Jam The Ramones 03/28/1980 The Ramones The Ramones 03/29/1980 The Ramones Deacon Little Band Gregg Allman Circa /1980 Gregg Allman John Kay & Steppenwolf 08/07/1981 Steppenwolf John Kay & Steppenwolf 08/08/1981 Steppenwolf Joan Jett & the Blackhearts 03/10/1982 Joan Jett Iron Maiden 06/01/1982 Iron Maiden Chuck Berry 06/04/1982 Chuck Berry Bobby & the Midnites 06/06/1982 Bob Weir PiL 12/11/1982 PiL Missing Persons 01/12/1983 Missing Persons Modern English 04/06/1983 Modern English The Ramones 04/07/1983 The Ramones The Ramones 04/08/1983 The Ramones R.E.M. 05/07/1983 R.E.M. Krokus 05/14/1983 Krokus X 12/02/1983 X

Alex Cooley’s Electric Ballroom was a music venue located in Atlanta, Georgia that existed between 1974 and 1979. The original owners were Alex Cooley and Mark Golob. It was located in the Grand Ballroom of the Georgian Terrace Hotel at 663 Peachtree.

“We did it for the love of the music, we honestly did,” Cooley told the Atlanta Journal-Constitution in 1997 of the pop festival. “We made $6,000, and, believe it or not, we felt kind of guilty about making money on it.”

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Alex Cooley, known as “the unofficial mayor of Atlanta music,” is credited as the man who brought rock and roll to Atlanta.

Alex Cooley, pictured in 1978, owned and operated a number of the best-known rock venues in Atlanta, including Alex Cooley’s Electric Ballroom and the Tabernacle. In 1987 Cooley was inducted as a performer into the Georgia Music Hall of Fame.

Cooley brought a variety of high-profile performers, including Frank Sinatra, the Rolling Stones, and Madonna, to such Atlanta venues as the Fox Theatre, the Omni, Chastain Park, and the Lakewood Amphitheater. In 1974 he opened Alex Cooley’s Electric Ballroom, where many stars, including Bruce Springsteen, made their Atlanta debuts. He also owned the Coca-Cola Roxy, the Tabernacle (located in the same building where his mother attended church as a child), and the Cotton Club.

During these years Cooley was also instrumental in efforts to preserve and renovate the Fox Theatre.

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located in Atlanta, Georgia that existed between 1974 and 1979.[1] The original owners were Alex Cooley and Mark Golob. It was located in the Grand Ballroom of the Georgian Terrace Hotel at 663 Peachtree Street NE. It became the Agora Ballroom before closing in 1983. The structure burned down in 1987.

Alex Cooley died on December 1, 2015, at the age of 75 “He supported every band on the Capricorn label,” Leavell said of Cooley, who died on Tuesday at age 76. Leavell first met Cooley during the second iteration of the Atlanta International Pop Festival in July 1970. Leavell was playing in the backing band for Johnny Jenkins, a left-handed blues guitarist. (Jenkins wasn’t the only left-handed blues guitarist on the festival bill; the other was Jimi Hendrix.) Cooley was the lead promoter of the festival, which also featured B.B. King, the Allman Brothers Band, Bob Seger, and Procol Harum.

“Alex was, first and foremost, a fan,” Leavell recalled. “He loved live music. If he heard a band and liked them, he was going to support them. He was

Alex Cooley during the renovation of the Capri Ballroom, which opened in February 1979 with Waylon Jennings as the first performer. The Capri eventually became the Roxy, which in turn became the Buckhead Theatre.

going to have you back a second time, a third time, trying to get you to the next level. He was about the bands and the fans.”

Leavell recalled that Cooley was good to musicians in other ways. “He wanted to look after all of us. The guarantees he’d put on the table were ten percent more than what you’d get in a similar situation elsewhere. If you did well and sold a lot of tickets, there’d be other incentives. He wanted the bands to do well.”

Last year, Hampton and Cooley reconnected when they were both interviewed for a Showtime documentary about Jimi Hendrix’s legendary performance at the second Atlanta International Pop

The second Atlanta International Pop Festival was a rock festival held in a soybean field adjacent to the Middle Georgia Raceway in Byron, Georgia, from July 3–5, 1970, although it did not finish until after dawn on the 6th.

Festival. (One of Hampton’s first bands, Hampton Grease Band, also played the festival.) “Watching that whole thing come together,” Hampton recalled, “was just amazing. He put 400,000 people in a cow pasture. It’s still the biggest pop festival of all time.”

Cooley’s genius, Hampton said, was a combination of attitude, innovation, and daring. “His attitude was, ‘I bring in people I want to hear. If other people want to come, great.’ It was a very high-stakes poker game. But he had tenacity. To me, success is showing up, and he showed up for fifty years.” https://www.atlantamagazine.com/news-culture-articles/alex-cooley-atlantas-legendary-promoter-remembered/

The Texas International Pop Festival was a music festival held at Lewisville, Texas, on Labor Day weekend, August 30 to September 1, 1969. It occurred two weeks after Woodstock.

The first Atlanta International Pop Festival was a rock festival held at the Atlanta International Raceway in Hampton, Georgia, twenty miles south of Atlanta, on the July Fourth (Friday) weekend, 1969, more than a month before Woodstock.

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Promoted by Alex Cooley, whom you may remember as one of the major organizers from the Texas International Pop Festival, the 1970 festival attracted crowds that Wikipedia says ranged from 200,000 to possibly 600,000 (making it potentially as big as Watkins Glen) on the Fourth of July weekend.

Who Played: The Allman Brothers Band B.B. King Ballin’ Jack Bloodrock Bloomsbury People Cactus Cat Mother & The All Night Newsboys Chakra

The Chambers Brothers Goose Creek Symphony Grand Funk Railroad Gypsy The Memphis State University cast of “Hair” Hampton Grease Band Handle Richie Havens Hedge & Donna

Jimi Hendrix It’s a Beautiful Day Johnny Jenkins Lee Michaele Mott The Hoople Mountain Poco Procol Harum Radar Rare Earth

Terry Reid Rig Savage Grace John Sebastian Bob Seger System Spirit Ten Years After US Kids Johnny Winter

https://recordcratesunited.com/2017/07/07/the-second-atlanta-international-pop-festival/ ROCK LEGEND NEWS | JUNE 2022

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‘Birthplace of S

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Southern Rock’

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from

The Big House Museum The backbone of the band, the roadies: Joseph “Red Dog” Campbell, Kim Payne, Mike Callahan, Willie Perkins, Joe Dan Petty up front - Twiggs Lyndon “on the wall,” a Jim Marshall photo taken in Macon, Georgia, April 5/6, 1971 during the “At Fillmore East” cover photo shoot.

Just a Few of Capricorn Records Albums The Allman Brothers Band (album) Captain Beyond (album) Eat a Peach (album) Endangered Species (Lynyrd Skynyrd album) Free Fall (Dixie Dregs album) Full Circle (Dixie Dregs album) The Marshall Tucker Band (album) Night of the Living Dregs (album) Together Forever (The Marshall Tucker Band album) What If (Dixie Dregs album) The Road Goes On Forever (The Allman Brothers Band album) Page 188 ROCK LEGEND NEWS | JUNE 2022

Title: The Allman Brothers Band At Fillmore East Artist: The Allman Brothers Band Record Label: Capricorn Records, Capricorn Records, Capricorn Records Tracklist: A1: Statesboro Blues, A2: Done Somebody Wrong, A3: They Call It Stormy Monday Blues, B1: You Don’t Love Me, C1: Hot ‘Lanta, C2: In Memory Of Elizabeth Reed, D1: Whipping Post ROCK LEGEND NEWS | JUNE 2022

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the upper floors.

While the record label is defunct, the legacy of Capricorn lives on through Mercer Music at Capricorn.

On December 3, 2019, on the 50th anniversary of the original studio opening, the original studio space reopened. Grants from the Peyton Anderson Foundation and John S. and James L. Knight Foundation along with historic tax credits and donations made up the $4.3 million project’s funding.

VIDEO: Inside Phil Walden Memorial Studio B at Capricorn Sound Studios. Inside Capricorn.

Studio renovation and reopening In 2010, the Georgia Trust for Historic Preservation listed the Capricorn Recording Studio among its annual “Places in Peril.” Leading up to this announcement, the Capricorn Sound Studios sat vacant during the decades after the label declared bankruptcy, surviving a fire that destroyed neighboring buildings.[30] The studio remained untouched while the rest of the property fell into further disrepair throughout the early 2000s.Studio tours were available to fans through special reservations as featured in an episode of NPR’s All Things Considered.

In 2015, a multi-million dollar renovation project through a partnership between Mercer University, NewTown Macon, Sierra Development, and Southern Pines Plantations announced plans to fully restoring the original studio space, early plans included a large recording studio for film score and orchestral recordings, a Capricorn museum, and loft apartments on Capricorn Sound Studios in 2014.

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In addition to the loft apartments on the upper floors, the four-building remodel includes a small bar and lounge-style entrance, a museum with interactive kiosks, a music incubator space designed for musicians to collaborate creatively or store equipment, rental office space, and two recording studio spaces. Studio B is both a performance venue and large studio space designed acoustically for choirs, orchestral recording, and film scoring. Studio A, the original historic Capricorn recording studio, remains unchanged from Hidley’s 1972 studio redesign. The main control room remains mostly unchanged except for a custom 40-channel API console based on the original soundboard.

The Museum at Capricorn interprets the history and impact of Capricorn Records and Capricorn Sound Studios in the context of Macon’s rich music heritage. More than 1,200 square feet of artifacts, murals and interactive digital kiosks featuring music, video and text bring Capricorn’s story to life.

Reference

Exterior of the newly renovated Mercer Music at Capricorn in 2020.

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The view of the Capricorn Studio control room from standing inside Studio A. Little has changed in both the studio space and control room since 1972.

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CAPRICORN CREW

Sound recording engineer, Hawkins designed and built the first Capricorn Sound Studios.

Since 1979, Jim Hawkins has owned and operated Studio 1093 at 1093 Boulevard in Athens. After 39 years, he has decided to put the studio up for sale and retire.

Hawkins’ music career began as a teenager in Athens. He was in college when he met Phil Walden, Otis Redding’s manager. This eventually led to Hawkins developing a relationship with Redding—a relationship that Hawkins had no idea would change the course of his career forever. https://flagpole.com/music/music-features/2018/11/07/jim-hawkins-studio-1093-is-closing-after-39years-in-business/ Page 196 ROCK LEGEND NEWS | JUNE 2022

Frank Fenter, co-founder of Capricorn Records! Born in Johannesburg, South Africa, Frank was the managing director of Atlantic Records for Europe before he would take a leap of faith and found Capricorn Records with Phil Walden.

Jim Hawkins! A sound recording engineer, in 1968 Jim built the original studio for what would become Capricorn Records, including the sound console pictured here. He stayed with Capricorn until 1971 when he began recording sound for films. He also operated a recording studio in Athens until he retired.

Capricorn Records Studio flashback! “ Please Call Home” Gregg Allman Studio Master reel tapes from 1972/73.

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Capricorn co-founder Phil Walden actually didn’t like the term “Southern rock.” The press coined the term to describe music released on the Capricorn Records label. The way Phil saw it, rock ‘n’ roll was born in the South.

Southern rock? Might as well call it Rock Rock. No Southern needed.

facebook.com/capricornmacon

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The Capricorn logo in the window was the only way you could tell it was Capricorn Records. There was no other signage.

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December 21, 1974, the day this photo ran in Billboard magazine.

The caption read: “Capricorn Records, which headquarters in Macon, Ga., was honored with a ‘Capricorn Weekend’ recently by WRBN in nearby Warner Robins.

The FM station augmented its regular playlist with singles and LP cuts from the label and interviewed Capricorn groups and executives. WRBN program director Mike Lane coordinated the project, and here air personality Lee Rivers (left) discusses the next record to be played with Mark Pucci (right), the label’s assistant director, publicity.”

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The Allman Brothers first rehearsal for Phil Walden at Redwal Studios, which would become Capricorn Studios, M

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Macon, Georgia, early April 1969, Baron Wolman The Big House Museum

n, Georgia, September 1973 and Phil Walden at his desk.

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Capricorn Records was an independent record label founded by Phil Walden and Frank Fenter in 1969 in Macon, Georgia.

Capricorn Records is often credited by music historians as creating the southern rock genre.

Label and studio founding In the early 60s, Phil Walden and his brother Alan Walden had made a family business of managing and representing R&B performers including Otis Redding, Sam & Dave, Al Green, and Percy Sledge. As Redding’s fame grew internationally, the partners founded Redwal Music, purchased a four-building block in downtown Macon, and opened a small office space a few blocks away on Cotton Avenue.

After Otis Redding’s death in 1967, Phil Walden continued their shared dream for a recording studio, but the initial plan for an R&B driven label no longer held its original appeal without Redding.

Walden and Frank Fenter approached Vice President of Atlantic Records Jerry Wexler about funding the project. Wexler liked Walden’s idea of a studio with studio musicians but thought the studio should also include a record label. They decided to call the label and studio “Capricorn” after their shared astrological sign.

With a monetary investment from Wexler and a distribution deal with Atlantic Records, Capricorn Records was close to completion in 1969 with a production deal with Atlantic Records. Walden began looking for talent, both musicians and engineers.

When it came time to start recruiting talent, Walden tracked down Duane All-

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man, a guitarist who he heard on a FAME Studios recording of Wilson Pickett’s cover of “Hey Jude,” ultimately purchasing Allman’s contract. Allman would go on to help Walden build what would become the Allman Brothers Band. Though the Allman Brothers’ 1969 self-titled first release wasn’t a best-seller, critics praised the effort for its mixing of country, jazz, blues, and rock genres. Music historians cite the group’s third release, At Fillmore East, as the impetus of the rise of southern rock as a popular music genre. At Fillmore East was the first gold album for both the band and label. The partnership would garner more top-charting releases with Eat a Peach, Brothers and Sisters, and Win, Lose or Draw.

Between the years of 1969 and 1979, Capricorn produced nine platinum albums, seventeen gold albums, and five gold singles. Other Capricorn-signed artists had chart-topping songs and albums, but the studio also held sessions for other artists including Razzy Bailey, Martin Mull, the Charlie Daniels Band, and Livingston Taylor just to name a few.

Other notable Capricorn artists during this era included: Bonnie Bramlett The Cooper Brothers Cowboy Delbert McClinton Dixie Dregs Grinderswitch Hydra Kitty Wells The Marshall Tucker Band Percy Sledge

Sea Level Stillwater Wet Willie White Witch Read More a

Capricorn Records The Birthplace of Southern Rock and Roll.

“Capricorn was a place on the ground where the lightning struck” - Paul Hornsby...a legendary part of the history of Southern Rock, beginning with his tenure in the band Hourglass, with Duane and Gregg Allman, in 1967-1968.

Capricorn Studios was founded in 1969 and fifty years later, it’s getting a face lift as Mercer works to keep Macon’s vibrant music scene alive.

In the summer of 1979, with creditors closing in on all sides, Capricorn finally melted in the heat. It was done in by a combination of mismanagement and its reliance on a steady diet of Southern rock when the public taste had switched to disco. On October 21st, the label filed for bankruptcy. Walden would eventually emerge with a net worth of $7 million, but

Saving Capricorn: Mercer revives legendary Macon music studio

manager, label owner and music publisher, and the low royalty rates he paid them.

Jerry Wexler, then working for Atlantic Records, and Walden had both been impressed by Allman’s slide playing on Wilson Pickett’s version of “Hey Jude” recorded at Muscle Shoals, and they hatched a plan to build a group around the guitarist. Walden bankrolled the venture and spent $18,000 buying Duane Allman out of a contract with Liberty. He helped the guitarist, his brother Greg Allman (keyboards, vocals), Dickey Betts (guitar, vocals), Berry Oakley (bass), Butch Trucks (drums) and Jaimoe Johanson (drums) set up base in Macon. He became the band’s manager, securing 25 per cent of their income for himself, and giving them a 5 per cent royalty rate to sign to his own Capricorn Records, with Atlantic distribution.

the Allmans’ royalties were lost forever.

Walden had become the object of lawsuits by members of the Allman Brothers Band claiming they had suffered financially because of his conflicting roles as

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Interview With Capricorn Records Founder Phil Walden

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Capricorn Studios in Macon Georgia was ground zero for Southern rock. It recently reopened with an all-star concert.

Courtesy of Mercer University

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Jessica Walden, whose father Alan Walden and uncle Phil Walden were inv Group, give a tour of the historic building in Macon.

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volved with the Capricorn studio, and Jim Daws, with Sierra Development

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Members of Motion were in this band such as Bill Bramlett, Mark Denning, Bobby Clarke.

Motion turned into Mandala, Perpetual Motion evolved to Mandala and then back to Motion with Mark Denning vocals, Bobby Clarke, guitar.

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1973 at The Great Southeast Music Hall in Atlanta’s Broadview Plaza Shopping Center on Piedmont.

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Billy George better known as Zero on the far left. Stan Argo next to Zero( Papa Doc) and Mark Denning (Motion and Terry Lee and the GT’s) to name a few, one of the greatest keyboardist in the city of Atlanta.

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M OS E JO N ES

Mose Jones With Al Kooper

L-R: Steve McRay, Jimmy O’Neill, Randy Lewis, and Bryan Cole Page 216 ROCK LEGEND NEWS | JUNE 2022

In 1972 Mose Jones was the first band signed by Al Kooper for his startup Atlanta label “Sounds of the South” on MCA Records. Al’s “Blues Project” was chosen, and a band named “Elijah”. The other band signed to the new label was a little band from Jacksonville that had been playing in Atlanta - that band’s name was “Lynyrd Skynyrd.”

Producer - Performer Al Kooper...had been visiting Atlanta since he played the first Atlanta Pop Festival in 1969. The southern rock scene was exploding, and Kooper had noticed the abundance of talent in and about Atlanta. With the backing of MCA Records, he launched the “Sounds Of The South” label with the initial deal calling for four new artists - three of which turned out to be: the Atlanta band “Mose Jones”, Los Angeles funk horn band “Elijah”, and Kooper’s own reformed “Blues Project”. It was on Mose Jones’ recommendation that the final spot was filled by “Lynyrd Skynyrd”.

Kooper jammed with the group at Funochios, and after some initial hesitancy from the band, Lynyrd Skynyrd signed their very first record deal with Sounds of the South/MCA Records with Al Kooper producer. Website a

Mose Jones at the Whisky in L.A.

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The Daytona Beach Ocean Pier was rocking in the 60’s to early 70’s. Here’s two Atlanta bands playing in1972.

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from

The original Choice lineup from the early 1970’s, featured John McCorvey, Mark

A very collectible 1980 album by Choice a very popular Atlanta band thru the 70’s.

Featured these songs and players.I published an earlier picture and great info on the band.

Sutherland, Lee Bicknel, Bruce Dreher, and John Starnes. Brian Bartlett replaced John McCorvey in 1973. Dave Miller replaced Lee later that year. John Starnes left around 1975, and was replaced by Joel Cherry, and Mark Sutherland left a year later to be replaced by Steve Fecker.

Atlanta Bands

01 - Rock & Roll Rocket 02 - Some People 03 - The Letter 04 - Annie D 05 - I’ve Got My Mind On Ruby 06 - Your Eyes 07 - Take Me Down 08 - Pretty Thing 09 - For You Personnel Paul Roethlinger: Lead Vocals, Guitar Brian Bartlett: Lead & Acoustic Guitars, Vocals Dave Miller: Bass, Backing Vocals Bruce Dreher: Lead Vocals and Hammond B3 Mark Paxson: Lead Vocals and Keyboards Steve Fecker: Drums & Percussion Recorded at: Studio One in Doraville, GA Recorded at Studio One in Doraville, GA and Produced by Bruce Blackman.

Shortly after that Joel Cherry left for law school and was replaced by Mark Paxson.

That version of the band plus Paul Rothlinger from Wilmington NC was signed by Polydor records in 1980 with one national release “Choice Cuts.” Bruce was the loan member from the original lineup to sign with Polydor.

John Starnes has had a very successful career in Christian music. Dave Miller went on to another aspiring recording act “Alter Ego” in the early ‘80’s with Randy Heath and David Midkeff. Brian Bartlett stills plays with “OneTree Hill” and others. Mark Sutherland has owned several successful businesses.

Lee Bicknell now owns True AV, Dave Miller owns Choice Audio Video Technologies, Bruce is a electrical engineer in Norcross, GA.

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Whipping Post p

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The War -

poster 1975 - left to right: Billy Smart, Charlie Williams, Hugh Pitts, Marty Bone, Doc Halstead, Ken Ladenburger

- Carrie Nation - Performed live at Alex Cooley’s ElectricROCKBallroom - 1975 LEGEND NEWS | JUNE 2022 Page 221

FRAGILE - live, 1978 Here are some never-before seen clips from the only known video of a vintage performance by FRAGILE from 1979 with Doug Bristol, Ron Burns, Ric Clark, Brent Daniel and Matt Shook.

Fragile Snapshots, 1975-1980

Fragile rocked the Southeastern United States from 1976-1980.

Reunited in 2008, the band continues to play annual summer reunion concerts in Atlanta.

This photo was actually taken post-Fragile, when Brent was in the band ‘Choice,’ probably in 1980-81.

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Clippings

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Bill Bramlett 2nd from the right. Mark Denning (r) vocals. Motion performed at C.W. Shaws frequently.

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NIGHTWYNG Atlanta from 1973 - 1978 was home base for cover band Nightwyng played Underground Atlanta, the Southern east coast circuit from Atlanta, Lagrange, South Carolina, Alabama, Florida to Louisiana. John Adams (Atlanta) was their booking agent.

The band was popular especially in Florida where they housed the band in a hotel with access to the bar where in the afternoon would hang out with Greg Allman at the bar, have lunch, drink, tell stories.

Band Members: Joe Ottinger, Doug Marks, Michael Lingefelt, Andy Rich, Randy Cordell.

Vocalist’s John Suveizdis & Joe Ottinger.

Crew: Perry Jones (sound engineer), Roadies Cherokee, Coke, Harold, David Hooks. Costume, makeup and image director: Londa R. Marks.

Guitarist Doug Marks and Londa Marks went on to develop rock band Hawk in Los Angeles, CA. Hawk consisted of Scott Travis (Judas Priest), Lonnie Vencent (Bullet Boys), Charles Morrill, Doug Marks (Metal Method Productions). Costume, makeup and creative director: Londa R, Marks.

Photo (L) circa1974 Photos (R) circa1975

NIGHTWYNG Having lunch and a drink with Greg Allman in Daytona Beach

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Underground Atlanta was a hot-spot for bands on into the 70’s. Hydra advert for the Mad Hatter.

The upstairs entrance to get downstairs..You had to walk that damned spiral staircase.

Flaming Hurricanes and penny beers.

The Mad Hatter was located in old Underground Atlanta, although it actually was not in Underground per se. It was located in the top of one of the old warehouses at the corner of MLK and Central Avenue. For about five years, it was THE place to be on Wednesday, Friday and Saturday nights.

The carpet in the Hatter was red shag. I don’t know if they ever had a carpet cleaning company come in and clean it, but it certainly didn’t appear as such. If so, they probably would have needed hazmat suits. From night after night of drinks and Lord knows whatever else being spilled, it became so sticky that your platform shoes stuck to them as you tried to walk.

Local newspapers were packed with stories of Gregg Allman, Cher, the Rolling Stones, the cast of The Waltons, and other celebrities hanging out at Underground. It was Atlanta’s Bourbon Street, Rush Street, or Times Square. In the early 1970s, it was the place to be.

Read Complete Article

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1970

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Underground Atlanta Night life January 31, 1972

The Apothecary Lounge , 577-7664. Popular jazz.

The Bank Note , 522-4011. New Orleans jazz.

Belle Watling’s Music Hall, 524-3842. Entertainment from the lady of fame from “Gone With the Wind.“ The Burning of Atlanta Bar, 524-3842. Intimate room re-creates the burning of Atlanta.

Dante’s Dow n the Hatch, 577-5150. Fondue, wines and cheeses featured aboard an old pirate ship tied to a pier.

P.J. Kenney’s Saloon, 577-3355. Re-creation of the area’s most memorable saloon.

Ruby Red’s Warehouse, 577-2748.

Roaring Twenties complete with banjo band.

Scarlet O’Hara’s, 524-8011. Las Vegas type entertainment. Sgt. Pepper’s, 523-8862. Rock music and dancing.

The Palace across the street from Burning Of Atlanta Bar.

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“KISMET WAY OF THE SWORD” A Rock And Roll Divine Comedy TAROCCHI KIT

Created By Londa R. Marks Inspired By Bass Legend & Songwriter Pete Way & Florence, Italy’s Dante Alighieri’s Divine Comedy

Complete Tarot Kit Includes 80 Tarot Cards & 5 Booklets Available at worldoftarot.com Facebook.com/groups/petewaygroup Page 234 ROCK LEGEND NEWS | JUNE 2022

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A Great Gift To Give Or Receive

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ROCK LEGEND NEWS MERCHANDISE

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Rock Legend News Classifieds First time advertisers receive one month FREE!

The Edge to Success

1/2 PAGE AD

Two Options: Vertical or Horizontal

1/3 PAGE AD

Two Options: Vertical or Horizontal

FULL PAGE AD

1/2 PAGE AD

1/3 PAGE AD

Rock Legend News Classifieds

Rock Legend News Classifieds

Rock Legend News Classifieds

Starting at $229 per 1-issue.

Bulk Discounts.

Starting at $112 per 1-issue.

Bulk Discounts.

Starting at $79 per 1-issue.

Bulk Discounts.

Full Page Ad

1/2 Page Ad

1/3 Page Ad

Ad size: 8.5” x 11”

Ad size: 4.25” x 11” or 11” x 4.25”

Ad size: 2.8” x 11” or 11” x 2.8”

Can contain video, text & graphics.

Provide URL to videos, images or text.

Submit your advertising information, png, jpg, gif at checkout.

Can contain video, text & graphics.

Provide URL to videos, images or text.

Submit your advertising information, png, jpg, gif at checkout.

Can contain video, text & graphics.

Provide URL to videos, images or text. Submit your advertising information, png, jpg, gif at checkout.

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Rock Legend News Classifieds

Double Page Spread Ad Starting at $439 per 1-issue.

Bulk Discounts.

Ad size: 17” x 22”

DOUBLE PAGE SPREAD

Can contain video, text & graphics.

Provide URL to videos, images or text.

Submit your advertising information, png, jpg, gif at checkout.

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Need help? classifieds@rocklegendnews.com

TEXT AD

HIGHLIGHTED TEXT AD

Rock Legend News Classifieds

Rock Legend News Classifieds

Starting at $19 per 1-issue.

Bulk Discounts.

Starting at $22 per 1-issue.

Bulk Discounts.

Text Ad

Ad size: 2.5” x 2.5” Can contain: 90 text characters including bold title. Yellow highlighted box, linked URL or button.

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Highlighted Text Ad Ad size: 2.5” x 2.5” Can contain: 90 text characters including bold title. Yellow highlighted box, linked URL or button.

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