Found Nick Talantis ned website- he illustrated his Eddie Hinton link with the picture above. He called Eddie "my one-time musical guru"
http://www.traverse.com/people/ned/default.html

[That picture of Hinton was taken by Cooper...in 1986 out behind WYKER'S HARDWARE,,,,we were shootin' some video on Eddie....he has on a Lawrence Welk T-shirt on.
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MIGHTY FIELD of VISION ]


Credits:

ned: 1973 engineers: Ovie Sparks, Bill Stewart, Paul Hornsby
executive supervision: Johnny Sandlin and Frank Fenter
--------------------------------------------------------------------------------
Nick Talantis: Vocals, Guitars
Norman Reim: Vocals
Jeff Parsons: Guitars, Vocals
Alaric Jans: Keyboards, Vocals
Doug Mazique: Bass Guitar, Vocals
Richie Morales: Drums
Paul Hornsby: Organ, Vibes
Tommy Talton: Guitars
Sammy Creason: Drums

Seven Bridges Road:
Steve Young
There are stars in the Southern sky.
Southward as you go.
There's moonlight an' moss in the trees,
Down the Seven Bridges Road.

Now, I have loved you like a baby;
Like some lonesome child.
And I have loved you in a tame way,
And I have loved you wild.

Sometimes there is a part of me,
Has to turn away and go.
Running like a child beneath warm stars,
Down the Seven Bridges Road.

Now there are stars in the Southern skies,
And if ever you decide you should go,
There is a taste of time-sweetened honey,
Down the Seven Bridges Road.

Written by Steve Young.
( © Irving Music.)
From "Seven Bridges Road", © 1972, Rounder Records

Dear Ka$H,
On Big Ben's LP the credits should have me listed as the writer of ON THE BRIGTHER SIDE of IT ALL...they have my name mis-spelled and some other folks credited.

One thang I love about this LP is that it was soaked in Patchouly oil....you could walk in a record shop and find it by the smell !

Please say HELLO to Alex at The Locker Room for me !

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MIGHTY FIELD of VISION

http://www.bigbenatkins.com/index.html


Recorded at Muscle Shoals Sound Studios


Ben Atkins: Vocals
Barry Beckett: Keyboards
Joe Correro: Drums
Donald "Duck" Dunn: Guitar (Bass)
John Gaston: Guitar (Bass)
Larry Hamby: Engineer
Roger Hawkins: Drums
David Hood: Guitar (Bass)
Al Jackson: Drums
Jimmy Johnson: Guitar
Bobby Manuel: Guitar, Producer
Wayne Perkins: Guitar
Marvell Thomas: Piano

I Love This Song (Jimmy M. Johnson, Dan Penn, Leon Renfro) - 2:26
Cross My Mind (Dennis Lambert, Brian Potter) - 4:35
Shine On (Eric Mercury, Carson Whitsett) - 2:31
Holding on to Friends (McRee, Thomas) - 3:19
Smokestack Lightin'/Brighter Side of it All (C. Burnett, C.Feldman, T.Smith, S.Smith, J.Wiker) - 4:04
Solid Ground (McRee, Thomas) - 2:52
That Brings Me Down (Jerry Puckett) - 3:32
Long Way to Go ( Bettye Crutcher, Bobby Manuel) - 4:06
Would I Be Better Gone? (W.Brown, D. Carter, Bobby Manuel) - 3:07
Good Times Are Coming (Bobby Manuel) - 3:15

Hey gang:
I guess before we build a historic marker for John Rainey, we oughta build one for Johnny Mack Brown and write Bobby Goldsboro's biography(the X-rated version), however, I remember the Adkins house on West Main Street, in fact, Big Bob Nix(Al Kooper associate, drummer for Roy Orbison's Candymen, original drummer for The Atlanta Rhythm Section and presently drumming for Alison Heafner and the Southern Rock Renegades) REMEMBERS THE EXACT ADDRESS!!!! The Adkins house was that important. They didn't watch TV at night. Their family sat around in the living room and played music.
Anyway, I love that family.
If any of ya'll can get this email to David, please do it. He and I have had this conversation before.
best,
ka$h http://robertoreg.blogspot.com
P.S. Any memories of John Rainey and David or their mother will be appreciated

Subject: [MFV] Hinton/Wyker Bass


Be-Bop,
That was my bass !
After Eddie burned down the RV Camper trailer that I bought him in about 1987 with a $1000 loan from an old high school friend.

The only place we could park the RV was right on the asfault right behind the family hardware store that began in 1888.The plumbin' was not hooked up so I had to put a foot tub under where the sewer drained out...

Everynight I'd have to drag that foot tub over to an old late 1800's Yellow Fever Graveyard and dump the contents...damn they thangs I had to do for Hinton...

In the middle of one of the workin' days suddenly that old trailer went up in flames....it seems Hinton had set an unfiltered cigaretee on the kitchen counter top and it rolled off on to the bed and it only took a second for the trailer to become a total inferno !

The fire department came but were only able to spray water on th ashes...

MY old Fender Telecastor was in the RV ..the one I used on MOTORCYCLE MAMA and AMERICAN BANDSTAND.Carnage Hall,etc...

MY guitar was burned to a crispt....SO a few months later Eddie got a royality check for BREAKFAST IN BED and he ordered me that Black Fender Bass as a replacement for my guitar....

The bass was a brand new reproduction of a 1963 Fender "P" Bass as I recall...

I owed a cat some money down in The Shoals a few years ago...Capt.Don that be exact... and I gave him that bass in lew of the money.

Bass was my first instrument but I would have rather that Hinton had bought me a guitar instead of a bass....but then again I was playin' bass with his "Live" band EDDIE HINTON and The WICKEDS at the time....so I needed the bass....

It was years before I ever got another electic guitar...and that's the one I have now...my Airbrush Artist friend Dylan left it over here in the early 80's and it laid around for years without strings...

I put strings on it and that ole yellow Peavey has been with me every since !

Nice to know that Capt. Don got some $ out of that bass !

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MIGHTY FIELD of VISION


>
> To: JDWyker@charter.net
> Subject: Eddie Hintons Bass
>
> Wyker,
>
> I played a gig the 21st at Joe Wheeler Park. The bass player
> who played the gig with us, I work a couple of gigs a year with.
> His name is Tommy Beck.
>
> During a break between songs I said something to him about
> the nice looking Fender bass he was playing. He responded
> that the bass used to belong to Eddie. He had bought it from
> someone who swore that he bought it from Eddie.
>
> I never knew Eddie to own a bass but, evidently he did.
> Tommy said he's had it ever since he bought it. Never
> sold or anything.
>
> It's a nice looking instrument. It's a Fender. I didn't see if it
> was a Precision or a Jazz. It's black in color with a white
> pick guard.
>
> Know anything about this?
>
> I have Tommys number if you want to talk to him.
>
> Later on.
>
> Be-Bop
>
>
> Jim Evans
>

From : Witt, Robert
Sent : Tuesday, January 20, 2004 2:28 PM
To : "robert register"
Subject : RE: A Guide To The Woodland Campus of the University of Alabama




Robert, You were right about "Big Fish"

Bob Witt

ALISON LOHMAN

CBN.com – Special Notes: Burton was inspired to do this story after the death of his father while he was scouting for “Planet of the Apes” in 2000. His mother passed away last year. Burton said making this movie was therapeutic, “a way exploring that, otherwise those feelings would’ve just kept swirling around.”

http://www.montgomeryadvertiser.com/specialreports/BigFish/index.html
Everything you'd ever want to know about BIG FISH...

ALEX TAYLOR'S FRIENDS AND NEIGHBORS
Ka$H;

That's SCOTT BOYER on top,

Left to right TOMMY TALTON, JOHNNY SANDLIN, BUNKY ODEM (A booking agent for Capricorn),

JOE RUDD, guitar, BOBBY WALLACE (WORKED in management) PAUL HORNSBY,guitar & keyboards ,

BILL "Squirm" STEWART, Drums and JIM HAWKINS ,electrical wizard at CAPRICORN,picture taken in 1968 or 1969

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A Cover Songs Database

Song: Baby Ruth
By Alex Taylor
Music and lyrics by John D. Wyker

On album With Friends and Neighbors (1971)

Cover songs
Title Artist
1 Baby Ruth Iain Matthews
2 Baby Ruth John Prine
3 Baby Ruth Delbert McClinton
4 Baby Ruth Sailcat
5 Baby Ruth Dick's Hat Band
6 Baby Ruth The Wallbangers


Subject: Re: Re: [MFV] WHEN "BABY RUTH" GOT HER CHERRY POPPED!


Iain Matthews and Richard Thompson were original
members of one of the greatest bands of all time,
Fairport Convention. Wish I knew where to find Iain's
version of Baby Ruth. Anyway, a classic song no matter
who covers it.

--- JDWyker@Charter.net wrote:

>
> I believe so..... and another cat named RICHARD
> THOMPSON...and English singer/guitarist....there
> have been SO MANY cuts of BABY RUTH.....probably
> over a 100 cuts that made it to vinyl or
> CD.,,,,ain't made much money though !
>
> wwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwyker
> MIGHTY FIELD of VISION
>
> >
> > From: Greg Lovett
> > Date: 2004/08/24 Tue AM 06:28:16 GMT
> > To: MIGHTYFIELDofVISION@yahoogroups.com
> > Subject: Re: [MFV] WHEN "BABY RUTH" GOT HER CHERRY
> POPPED!
> >
> > Wyker, When did Iain Matthews cover "Baby Ruth".
> We are friends and never knew he covered that song.
> Inquiring minds need to know.

PRECIOUS MEMORIES HOW THEY LINGER....
THESE CATS DON'T REMIND ME OF MY YOUTH-
THEY ARE MY YOUTH!!!!

To: MIGHTYFIELDofVISION@yahoogroups.com
From: "mike"
Date: Sat, 21 Aug 2004 22:06:15 -0400
Subject: Re: Re: [MFV] Re: Jogging The Deep South's Memories Of The Beatles


WELL he is a rich man then........people would pay huge to own it.
I would pay to see it.

Beetle-beatle freak
----- Original Message -----
From: JDWyker@Charter.net
To: MIGHTYFIELDofVISION@yahoogroups.com
Sent: Saturday, August 21, 2004 9:54 PM
Subject: Re: Re: [MFV] Re: Jogging The Deep South's Memories Of The Beatles


Jerry Carrigan used to have some home movies he took of The Beatles when they played in Washington D.C. on their first American tour....this was long before the age of the home video camera but I"ll bet he still has that footage.

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MIGHTY FIELD of VISION

> From: bassace123@aol.com
> Date: 2004/08/21 Sat PM 05:47:20 GMT
> To: MIGHTYFIELDofVISION@yahoogroups.com
> Subject: Re: [MFV] Re: Jogging The Deep South's Memories Of The Beatles
>
> You could probably really get some info from Fellow Alabamian Jerry Carrigan
> who was playing the tour with the Bill Black Combo on the Beatles first
> American Tour. Jerry has shared stories in the past with me about the tour.
> Lancaster

Thanks to capn skyp {babbs} we have the liner notes from Bear,the Grateful Dead's soundman.

Liner notes for The Allman Brothers at the Fillmore East 11, 13 and 14 Feb 1970.

In the summer of 1969 we played at a "pop" festival in a park in Atlanta, Georgia. We had been hearing about a local band from Macon called The Allman Brothers, and someone brought members of the band over to meet us. As I recall they didn't play at that time, so we didn't hear their music until their first record came out that fall.So when we were booked into the Fillmore East on a triple bill with the Allman Bros (and a band called Love), I was very pleased, and looked forward to the shows with anticipation, as I had heard their record and liked the band. On seeing their setup, I was surprised to note that they, like the Grateful Dead had two trap sets. You can't tell what sort of a concert set-up a band has from a record, since the art of overdubbing produces all sorts of sound combinations. There is a lot of percussion in the Allman's music, like the Dead, and so the two bands were really close in many ways.I had no prior experience with mixing their music, so I hope you don't mind the rough edges in my mixes here. There was a wonderful feeling at these concerts that made the shows a lot of fun for us all. Once more (I wrote about this on Dick's Pick's 4, which is, along with Bear's Choice, most of the Dead's sets from this run), I must say that the excellent sound at this show was largely the result of the unique sound board built for the Fillmore East by John Chester. This interesting design used passive attenuators on the input and only one stage of amplification, resulting in a very clean sound, both in the hall and on the tape.My tapes were running all the time that there was anything going on on stage, a sort of "sound journal" that I was in the habit of making at every show in those days. There was no special mix for the tapedeck, it was the PA feed plus two mics which went directly into the tape deck's mic inputs. These were usually the lead guitar and the bass guitar, generally not needed in the PA system, but requiring a bit of "presence" on the tape to make better listening. As this taping was always secondary to the task of running the house system, I couldn't always give my attention to the details of the (tape) mix, but generally it sounded ok. The demands of the hall frequently led to the tape running out in the middle of songs and stuff like that, but there was little I could do, since I didn't have an assistant.I suppose that a PA tape will never have that sweet balance that a recording done in a truck out back, with its own split from the stage mics and someone laying down the tracks on a multitrack machine can achieve, but this is pretty much what the audience at the show actually heard.I had a good time working at this show, and I hope you will have a good time listening to this historic early Allman Bros Band recording.
http://www.thebear.org

OUR OLD BUDDY, capn skyp,(a.k.a. Ken Babbs) really warmed the cockles of my heart today by featuring our work on his website.
SUNDAY, AUGUST 22, 2004

Skypilot Robert Register has been accumulating vast lore on the bands of the south and putting the results on his website. Here's what he has to say:

http://skypilotclub.com

http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=6650&pt=Curtis%20

Curtis "King" Ousley
Birth: Feb. 7, 1934
Death: Aug. 13, 1971
New York
New York, USA

R & B Musician. A saxophonist, he was one of the most popular session musicians of the 1950s and 1960s, playing with many Rock and Roll Hall of Famers including Aretha Franklin, Sam Cooke, The Coasters, Stevie Wonder, Otis Redding, Wilson Pickett, and Duane Allman. He wass known as the "King of R&B Saxophone". He played the famous sax solos on The Coasters "Yakety-Yak" and Aretha Franklin's "Respect". He had hits under his own name also, "Soul Twist" (1961), "Soul Serenade" (1964), and "Memphis Soul Stew" (1967). He was 37 years old, career in full swing, when he was senselessly stabbed to death on the steps of his home in New York City on August 13, 1971.

http://www.audiencemag.com/ARTICLES/confederacy.html

Good morning, tribe:
Found a terrific article on the problems surrounding making a movie out uv A Confederacy of Dunces.
According to the above article, it does seem that the Hollywood crowd has made a little bit of progress since John Belushi was set to play Ignatius back in the early Eighties.
Pretty sure the soundtrack will include a lot uv Ernie K-Doe!
The story of the publication of this novel and the 25 years it has taken to get it to the Big Screen says a whole lot about the world we live in.
best,
roberto

Hi Robert,
I have a question for Robert Nix, or anyone else who might be able to answer it. One of my favorite Candymen songs is "Deep In The Night". I've always wondered about the man across the seas who "held a book in his hand". Who was the man they were referring to? I need to know!

The Sandpipers article has just come out on the Spectropop site. Here is the address:


http://www.spectropop.com/Sandpipers/index.htm

"I saw a man and he held a book in his hand.
People listened close as they sat down in the sand.
They all seemed to understand,
Thanked him for his helping hand.
No one was crying, in sickness or dying,
The world was a portrait of love.

Deep in the night, I had a dream.
Deep in the night, life was supreme.
Deep in the night, I saw the light."

Pulled out my Alex Taylor With Friends and Neighbors Album yesstiddy and tried tuh git dat back pitcher wid all the cats in the studio on duh Web. I'm still a green pea at this computer stuff so I will have to wait until my mentor returns to the offices of Eyesore Realty, Bullethole Repair and Title Pawn tomorrow.

At that time, I will put it on the Web and ask ya'll to identify the nine suspicious characters crowded into the booth behind Alex.
best,
roberto http://robertoreg.blogspot.com
P.S. Glad to hear that the wheels of progress are turning over in Gawguh.

Congratulations, Greg Haynes! Your work will live on for The Ages!

I got this vibe Friday night while partying over at the Carson House that the Live at Monterrey album with Hendrix on one side and Otis on the other is the perfect metaphor for the transition from the "Let's Raise Hell & Git Nekkid At The Beach" Era to the " All I'm Studying Is How To Git High Wid Sum Pussy" Era. Ain't hysterical research grand!

Roberto,
Thanks for the acknowledgement but if it weren't for the 100 + musicians, deejays, and promoters from the '60s like John Wyker providing narratives, stories, and interviews, the book would not be a reality. robertoreg.blogspot.com has been tremendously helpful in accessing items and gaining permissions for use that are necessary for properly chronicling the eraof R&B/Soul/Beach Music in the South.
So far thanks to your site, we are including a photo of The Men-its, a photo of the Old Dutch Inn, photos of Magnificent Seven, and others. We are getting close to finalization,as the typos and dangling participles and slowly but surely disappearing.
Regards,
Greg