Saturday, September 25, 2004

Here's something most all uv ya kin sink yore teeth into.
This cat from Ashboro,N.C. has written a book where he "traces the roots of Southern rock to one of the nation's cultural and historical touchstones- the assassination of the Rev. Martin Luther King Jr."
[oh yeah, I forgot- it didn't have anything to do with Jimi Hendrix- ed.]
"Soon after King was gunned down on April 4, 1968, in Memphis, Tenn., black recording artists like Aretha Franklin and Wilson Pickett closed ranks, working almost exclusively with other black musicians, managers and producers. Left in the wake were droves of white, Southern musicians who for years had made their livings playing sessions with those black artists."[from a AP article by Doug Gross in the 9-25-04 Tuscaloosa News]

I would really like to know the day that "black recording artists" "closed ranks" after Martin Luther King got shot.

In the year after King's assassination, Wilson Pickett, Arthur Conley, Clarence Carter, King Curtis, Otis Rush and many other black artists recorded at FAME. Three important events in the history of Southern Rock occurred at about the one year anniversary of King's death. In Spring of '69 the Swampers left FAME, The Allman Brothers Band formed and Hendrix played Memorial Colisium and the Citizens Club in Tuscaloosa. Consider what came out of those three events and tell me what Martin Luther King's assassination had to do with any of that stuff.

Maybe I am jumping to conclusions, however, it is my opinion that Mark Kemp has chosen a potentially controversial thesis upon which to write a book on Southern Rock.

When ya get a chance, let me hear from you.



Sunday, Aug. 29, 2004 Charlotte Observer
special article by Pat Macenulty
WHEN DIXIE BREWED ITS OWN BRAND OF ROCK MUSIC: music gave voice and identity to a generation of Southern whites

[this is a book review of Mark Kemp's Dixie Lullaby: a story of music, race and new beginnings in a New South]
The story chronicles a fascinating era beginning with the interracial musical collaborations at Muscle Shoals studios in the 1960s that resulted in memorable hits by Wilson Pickett, Etta James and Aretha Franklin. However, this relatively comfortable relationship between black and white musicians soured after the assassination of Martin Luther King Jr. According to Kemp, the schism made room for a uniquely Southern brand of rock 'n' roll in the persons of Duane Allman and Ronnie Van Zant.
Both musicians expressed the pain and insecurity of the New South as young whites tested and rejected the prejudices of their parents and grandparents. Young white Southerners did not have the role models of leaders such as King, so, as Kemp points out, they turned to music for answers. The Allman Brothers and Van Zant's band Lynyrd Skynyrd gave voice to a generation and helped it find a new identity that kept its Southern character intact.

Wednesday, September 22, 2004

Hi Mike,

No, I took that picture of Duane and Gladarielle’s baby rattle

at Johnny Sandlins house in Macon GA.

I think everyone saw the pic here I took with Duane and the big cigar.

That was a congratulations gift I gave him for the new baby also at Sandlins GA. house.

I also took the picture of Dickey Betts shown in a post here.

That was in the Capricorn studio control room.

These photo’s came out in an issue of Gritz magazine but they forgot

to credit me as the photographer. I used a Polaroid camera.

Best Wishes

Pete Carr
Damn it !In 1969 I was just plain in love with Donna...Duane's old lady...but I could not let her or anyone else know....she had just given birth to their daughter and to me that was kind of special...she was Duane's Old lady !I guess I"ve always been a little old fashioned when it comes to someobody else's woman.....whether he cared or not...So even though Donna wouid flirt with me and give me the "come on" as far as I was concerned she was "off limits to me".I wonder where Miss Donna is there days ? Anybody know ? Is she still alive ?The night I flipped on all that acid in 1969 I was in a yellow VW with Sandlin's old lady and pretty...pretty Donna ! The night started out that way anyway...wwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwyker
Concerning Galadrielle's lawsuit to obtain her 2 per cent of LAYLAH :
I’m sure Phil Walden got the money for Duane’s 2 points
on the Layla album as Duane was under contract to him by then.
But since Capricorn has been defunct for years I think she deserves
any money made from the album. I has sure sold a lot over the years.
Bobby Whitlock (part writer on Layla and played keyboard on the album also)
is a good friend of mine who almost bought an old small school building
about 100 yards from my house here in Sheffield a few months ago.
He and his lady wanted to turn it into a home with a studio etc.
He called me and ask if I would come to the neighbor hood meeting and
put in a good word for him where the Mayor and some people who live here
in the Village were to meet about the possibility. I did come and spoke highly of him.
I think they ended up making it to much a hassle for Bobby and he ended up not doing it.
Too bad. I was really looking forward to it as much as he was.

Best Wishes
Pete Carr

I don't have a scan of the picture, but I have the album, and I can
tell you who they are.

From the left, Eddie Hinton, Jimmy Johnson, David Hood, Arif Mardin,
Sonny Bono, Roger Hawkins, Jerry Wexler, Barry Beckett, Jeannie
Greene, Donna Thatcher and Tom Dowd.

Dowd, Wexler and Mardin were co-producers, and Dowd was the engineer.

From Harry Young's liner notes for "3614 Jackson Highway"

So Atlantic Executive Vice President Jerry Wexler, Atlantic Vice President In Charge of Engineering Tom Dowd and Atlantic A&R director Arif Mardin produced Cher’s ‘3614 Jackson Highway’ album. Not coincidentally, the same team had recently produced Dusty Springfield’s ‘Dusty In Memphis’ (Atlantic album SD 8214, released 17 January 1969, Cash Box review 1 February 1969, entered Billboard 15 March 1969, #99). According to ‘Rhythm and the Blues: A Life in American Music’ by Jerry Wexler and David Ritz, all vocals on ‘Dusty In Memphis’ were cut in New York.
Regarding Cher’s ‘3614 Jackson Highway’ sessions, Wexler wrote, “I picked up pneumonia and went to the hospital before the actual singing started, so Dowd and Mardin took over. I never made it to the control room.” Jerry Wexler did select the songs for Cher’s album, including three controversial tunes from Bob Dylan’s just-released ‘Nashville Skyline’ album (Cash Box review 19 April 1969).
The '3614 Jackson Highway' sessions day by day:
Monday, 21 April 1969: Eddie Hinton’s “Save The Children” (strings, French horn, no backing vocals) and Dylan’s “I Threw It All Away” (Soul horns, gospel backing vocals).
Tuesday, 22 April 1969: Dylan’s “Tonight I’ll Be Staying Here With You” (Soul horns, no backing vocals).
Wednesday, 23 April 1969: “Do Right Woman, Do Right Man” (assertive, at times indignant lead vocal, Soul horns, no backing vocals), “For What It’s Worth” (male and female backing vocals), “(Just Enough To Keep Me) Hangin’ On” (strings, gospel backing vocals) and the unreleased now lost Laura Nyro cut “Wedding Bell Blues” (Master 17005).
Thursday, 24 April 1969: “(Sitting On) The Dock Of The Bay” (Soul horns, no backing vocals or whistling at end!) and “I Walk On Guilded Splinters” (Soul horns, backing vocals, sizzling organ).
Friday, 25 April 1969: the unreleased and now lost Eddie Hinton-Dan Penn-Wayne Jackson cut “Always David” (Master 17007). Marlin Greene soon produced a hit version of “Always David” by Ruby Winters (Diamond single 265, Billboard review 30 August 1969, Billboard R&B #23). In February 1969 The Sweet Inspirations had recorded "Always David" (Master 16453, 'Sweets For My Sweet,' Atlantic album SD 8225 released 20 June 1969) at FAME with Mardin, Dowd, Johnson, Hinton, Beckett, Hood and Hawkins. The Sweet Inspirations' excellent version of "Always David" (3:26) can now be heard on the Stereo 'Sweets For My Sweets' reissue CD (Spy 46004-2, released 19 November 2002).
Saturday, 26 April to Tuesday, 29 April 1969: Sonny & Cher in California to visit seven-week-old daughter Chastity.
Wednesday, 30 April 1969: “Cry Like A Baby” (Soul horns, restrained backing vocals) and “Please Don’t Tell Me” (strings, no horns or backing vocals). This date also included the unreleased and sadly, now lost Sonny & Cher track “Honey Lamb” (Master 16887).
Sonny & Cher then flew to London to appear on ABC-TV’s ‘This Is Tom Jones’ Friday, 2 May 1969. The duo performed “Yours Until Tomorrow” and “Just A Little”, the unreleased Gold Star version of which had been recorded 26 March 1969 (Master 28664). Interviewed by New Musical Express (“Sonny & Cher Kill Old Image”, 10 May 1969), Sonny focused on the ‘Chastity’ film with no mention of Alabama. The couple next traveled to New York for a spot on ABC-TV’s ‘Joey Bishop Show’ Friday, 9 May 1969.
Sonny & Cher returned to Muscle Shoals by Wednesday 14 May 1969 to cut Cher’s “Lay Baby Lay” (“A Whiter Shade Of Pale” organ, no strings, horns or backing vocals).
‘3614 Jackson Highway’ was previewed for Atlantic Records’ promotion and sales departments at the Hilton Plaza Hotel in Miami 23-25 May 1969 and officially presented at summer sales confabs in Chicago, New York and Hollywood 20 June 1969.
Reflecting Atlantic’s high expectations, the vinyl album was unleashed in a Stereo commercial version, an alternate Stereo Promotional version and a CSG (Compatible Stereo Generator) Monaural Sample version. ‘3614 Jackson Highway’ also saw release on cassette, 8-track and reel-to-reel tape. In addition, Atco delivered a seven inch Promotional EP: “(Sittin’ On) The Dock Of The Bay” / “(Just Enough To Keep Me) Hangin’ On” / “For What It’s Worth” / “Please Don’t Tell Me” (Atco EP 4537, Stereo and Mono editions).
The commercial fortunes of Cher’s ‘3614 Jackson Highway’ may have been adversely affected by the album’s packaging. For example, the only colour photo of Cher was hidden in the interior of the flimsy UNIPAK gatefold sleeve. And the all-important song titles were not even listed on the exterior of the album cover.
And the entire album concept centered on the address of a brand new, completely unknown studio. Cher’s 21 April 1969 “Save The Children” date was the first session ever held at Muscle Shoals Sound. The studio did not generate a hit until the Ahmet Ertegun-produced “Take A Letter Maria” by R. B. Greaves (Master 17634 recorded 19 August 1969, Atco single 45-6714, Cash Box review 27 September 1969, entered Billboard’s Bubbling Under 11 October 1969, #2).
Fred Bevis originally converted 3614 Jackson Highway into a four-track recording studio. Various sources claim the location was formerly a funeral home, casket warehouse or casket factory.
In early 1969 Jimmy Johnson (guitar), Barry Beckett (piano, electric piano, organ), David Hood (bass) and Roger Hawkins (drums) purchased the building for $14,000 and upgraded to eight-track. The musicians previously served as the house band at Rick Hall’s nearby FAME (Florence Alabama Music Enterprises) studio in Muscle Shoals.
"A lot of the artists we worked with, especially at first, thought we were black", Hood told the Times Daily. "I was flattered by that, because most of the artists we liked were black. We loved that music, and we felt we had earned the right to play it”.
Before founding Muscle Shoals Sound, varying combinations of Johnson, Beckett, Hood and Hawkins had played on major hits like “When A Man Loves A Woman” and “Take Time To Know Her” by Percy Sledge, “I’m Your Puppet” by James and Bobby Purify, “I Never Loved A Man (The Way I Love You)” by Aretha Franklin, “Sweet Soul Music” by Arthur Conley and “Slip Away” and “Making Love (At The Dark End Of The Street)” by Clarence Carter. So in terms of session credits, Johnson, Beckett, Hood and Hawkins were highly respected.
But the black and white ‘3614 Jackson Highway’ cover photo buried Cher in a hazy sea of unidentified and mostly unfamiliar faces.
Front row, left to right: guitarist Eddie Hinton, bassist David Hood, Sonny Bono, CHER, producer Jerry Wexler, background vocalist Jeannie Greene, background vocalist Donna Thatcher and producer Tom Dowd. Back row, left to right: lead guitarist Jimmy Johnson, producer Arif Mardin, drummer Roger Hawkins and keyboardist Barry Beckett. Missing: background vocalists Mary Holiday and Sue Pilkington.
Sonny Bono and Arif Mardin wear t-shirts depicting legendary University of Alabama Crimson Tide coach Paul ‘Bear’ Bryant walking on water underscored by the slogan “I Believe
Many musicians were not shown on the ‘3614 Jackson Highway’ album cover or mentioned in the credits. Cher’s horn section(s) probably involved Andrew Love, Charles Chalmers or Joe Arnold on tenor sax, Floyd Newman or James Mitchell on baritone sax, Wayne Jackson, Gene ‘Bowlegs’ Miller or Ben Cauley on trumpet and Joseph DeAngelis or Earl Chapin on French horn. Cher’s string section would have been directed by Arif Mardin and probably led by Gene Orloff on viola.
On 6 December 1968, just prior to the founding of Muscle Shoals Sound, Wexler, Dowd, Johnson, Beckett, Hood, and Hawkins worked with guitarist Duane Allman at FAME on Arthur Conley’s “Ob-La-Di, Ob-La-Da” session (Masters 15812-15817, Atco single 45-6640, Cash Box review 21 December 1968, ‘More Sweet Soul’, Atco album SD 33-276, Cash Box review 15 February 1969).
Since Duane Allman played on ‘Boz Scaggs’ (Atlantic album SD 8239, recorded at Muscle Shoals Sound 5-10 May 1969, Variety review 10 September 1969) and Lulu’s ‘New Routes’ (Atco album SD 33-310, recorded at Muscle Shoals Sound 10 September and 2 October 1969, released 16 January 1970, Billboard review 7 February 1970, #88), one might also suspect Allman contributions on Cher’s ‘3614 Jackson Highway’, especially “For What It’s Worth”, “(Sitting On) The Dock Of The Bay”, “Tonight I’ll Be Staying Here With You” and “Cry Like A Baby”.

Tuesday, September 21, 2004

Dickie in Macon: courtesy of Capn Dean


Allman's Child Sues His Record Co.: Duane Allman's only child Galadrielle[named after a J.R.R. Tolkien character for Lord of the Rings] of Berkeley, Calif. has sued his record company for at least $1 million, charging that her late father's estate is owed royalties for his work on the "Layla" recordings. Guitarist Allman played in 1970 with the group Derek and the Dominoes, featuring Eric Clapton, during sessions that produced an album entitled Layla and Other Assorted Love Songs. After Allman died in a motorcycle accident in, Atlantic Records Co., which distributed the album on PolyGram's behalf, continued to pay royalties to his estate. Ms. Allman says a contract between her father and record producers called for him to get 2 percent of retail sales of any recordings that came out of the sessions. Apparently, PolyGram was supposed to continue payments after 1981 but did not.
NY Supreme Court Index No. 99 601283
Galadrielle Allman, individually and as sole heir of the estate of Duane Allman v.Universal Music Group, as the successor in interest to PolyGram International, Ltd.

Subject: RE: [MFV] The Night Duane Tore Up His Costume And Left Los Angeles.

I don’t know that story myself but

that shit we wore was a big part of our downfall.

We looked plain stupid. Who would by a record

with these silly looking dudes on the cover??

I guess we didn’t know any better.

God I hate to look back at that album cover!

Best Wishes

Pete Carr

PETE CARR IN MACON: courtesy of Capn Dean
Subject: [MFV] Historical Guitar


Below is (and attached) is a pic of me playing in Capricorn Studios about 1969.

The guitar which I bought from Sylvan Wells when I was younger and still living in Port Orange

(right south adjoining Daytona) has some great stories that go with it. I just did a session with Paul Hornsby and

he reminded me that when Duane first started playing Slide Guitar that he used my

Tele (shown Below) to use for slide playing for a while in our live gigs.

At first Paul thought his slide playing sounded terrible and it was but he was just learning.

So, this is the guitar that Duane learned to play slide on or one of the main ones anyway in the very

beginning of his departure into the slide guitar realm.

Also when we were doing a gig in Jacksonville FL. one night Duane got into

a “Who” mood and threw the guitar down on the floor and broke the neck

right at the head stock. I took it back to Port Orange and my Dad glued it

back together. He did a fine job. You can still see a hairline crack

where the break was from Duane throwing it down on the floor.

This guitar might be worth some good money to some hard core big Duane Allman fan for historical value.

I also have a picture of Duane’s daughter, Gladrielle (That is a hard name for me to remember the spelling of)

holding the guitar somewhere that I will post when I find it. I wouldn’t let of it go cheap though.

What do you think.

[MFV] Duane Clothes

I remeber ridin' in my6 my red Corvette....with Duane along the back roads of The Shoals,,,,and listenin' to the radio and puttin' the antenna up and down while goin' 120 miles...Duane started bitchin' about how much trouble it was to have have the long hair and funny lookin' clothes....and how he'd have to almost fight his way into and out of every place her went....I did too....but it was really6 botherin' Duane that day...And this was about the same time that The Johnny Cash television show came on....and Eric Clapton and Bob Dylan and others had modified their looks.....they had gone a little Western lookin'....cut their hair and bought some Levis and cowboy boots....and they were fittin' in nicely...And I told Duane that if his appearance bothered him that much maybe he should consider gettin' a new Clapton and Dylan....And Duane sat there and rode a few more miles deep in thought....and then he said "HELL NO I"M NOT CUTTIN' MY DAMNED HAIR OR CHANGIN' MY CLOTHES..FUCKEM ALL !And that was the end of that !wwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwykerMIGHTY FIELD of VISION

Anybody got a scan of this album cover which could be used to ID the people in the picture?

I don't have a scan of the picture, but I have the album, and I can
tell you who they are.

From the left, Eddie Hinton, Jimmy Johnson, David Hood, Arif Mardin,
Sonny Bono, Roger Hawkins, Jerry Wexler, Barry Beckett, Jeannie
Greene, Donna Thatcher and Tom Dowd.

Dowd, Wexler and Mardin were co-producers, and Dowd was the engineer.


Sunday, September 19, 2004

Subject: RE: Re: [MFV] An Enlightening Allman Brothers Site From The Netherlands

Thanks Pete. That photo with the "1966" on it is from
the back of a bootleg of the Allman Joys live. The
recording took place in 1966, but I guess the
bootlegger wasn't too concerned about getting the
right photo.


Subject: RE: Re: [MFV] An Enlightening Allman Brothers Site From The Netherlands


The photo with the big white lettering saying

“THE ALLMAN JOYS 1966” I think is dated wrong.

It looks like someone took a photo on put the heading on there.

By 1966 Maynard was gone. By 1966 I already had became friends with them etc.

Plus Duane and Gregg’s hair was much, much longer in 1966.

They looked more like the dance show poster at the Tuscaloosa armory.

I have all of these photos on my computer but I don’t

have one that has the big 1966 lettering.

Best Wishes

Pete Carr

Subject: Re: [MFV] An Enlightening Allman Brothers Site From The Netherlands


Paul Ballinger is an accountant in Birmingham...I'll try and find his
phone number when I get home.

He should be listed in the Birmingham telephone directory.


Subject: Re: Re: [MFV] An Enlightening Allman Brothers Site From The Netherlands

Here are the Allman Joys in a photo identified as
March 1966, backing up the Sandpipers. According to
one of the gals in the Sandpipers, that's Mike
Alexander playing bass.
So, there were at least three different bass
players in the Allman Joys (Van Harrison, Mike
Alexander, and Bob Keller) and at least two different
drummers (Maynard Portwood and Bill Connell).
To add to the confusion, on the Allman Joys album
(from the August 1966 sessions) that was released in
1973, the bass player is listed as Ralph Ballinger and
the drummer as Tommy Amato. There was a guy named
Paul Ballinger who played keyboards at one time in the
5 Minutes. Don't know if Ralph was related or not -
or if he was one of a couple of studio musicians that
got dropped into the mix - or if the credits on the
album are wrong.
Any thoughts from any of the enlightened?


Subject: Re: Re: [MFV] An Enlightening Allman Brothers Site From The Netherlands

I'm sitting here thinking the Allman Joys must
have spent most of their gig money on promo photos
since their line-up changed so frequently.
The top photo (which comes out very blury on my
computer, but blows up pretty big when clicked on) is
the one with the 1964 date on it.
The second one is obviously from the same session,
but by then they have a booking agent's logo printed
at the bottom.
The third one is the one that Wyker identified the
bass player as being Mike Alexander.
The fourth one is from a poster when they played
the Armory in Tuscaloosa. (I'm pretty sure that's
Connell and Keller with Duane and Gregg.)
The fifth one also has Connell and Keller in it
(unless somebody signed their name next to a former
band member's head).

That first photo is the one that's giving me
fits. It sure looks to me like the names and date
were preprinted on there. Otherwise, somebody would
have had to scan it and type in the names and the
(wrong) year after Maynard Portwood signed it. On the
other hand, why would a band put a year on a promo
photo? I've never heard of anybody doing that.
Robert, do you have Lee Hazen's e-mail address?
Maybe I can jar his memory a little bit.


Yeah that's a "Cordovox" or "Chordovox" . I believe the former is correct.

>The organ Gregg is playing in the photo was made by was
>Chrome and Red.

Subject: Re: Re: [MFV] An Enlightening Allman Brothers Site From The Netherlands

Thanks for correcting my error. I have a photo
from that same era with Bob Keller's autograph next to
the head that looks remarkably like the one in the
photo Robert sent. Guess their strikingly similar
Beatles haircuts threw me.


--- wrote:

> The second from the left person next to Gregg in The
> ALLman Joys photo is bassist Mike Alexander....he
> later shot himself to keep from goin' back to
> prision..
> I played in a band in Military School with
> Alexander.

Subject: Re: [MFV] An Enlightening Allman Brothers Site From The Netherlands

Yeah, it's a pretty incredible site. They also
update it constantly, and they're very good about
fixing the few things they've previously gotten
incorrect. They even went back and discovered that
Duane didn't play on the two King Curtis tracks on the
Atlantic Soul Christmas album, even though Dean
Reynolds' ABB discography and the Rhino reissue both
say he does.
I listened to the two King Curtis cuts and
thought, "Wow, that doesn't sound like Duane Allman."
Then I did the math and realized that he hadn't even
been heard by Wexler or Tom Dowd prior to November of
'68. The King Curtis sessions took place in NYC prior
to 11/68 because the Atlantic Soul Christmas album was
already released by that date. Duane didn't go to NYC
to play on any Atlantic dates until several months
later. (You wouldn't believe how much incorrect
information there's been written about D.A. At least
the guys at this website are trying to get it right.)

By the way, the Allman Joys line-up in that photo
L-R is: Gregg Allman (does anybody know what kind of
keyboard he's playing?), Bob Keller (the Allman Joy
who would later be bassist for the Hour Glass between
albums one and two. He's the guy who disappeared just
before a gig, catapulting Pete Carr into the position
of official bassist for the band), Duane Allman, and
Bill Connell. Bill took Maynard Portwood's place on
drums. Bill also was previously the occasional
drummer for the 5 Minutes (a/k/a the Men-its).
Hornsby told me that Sandlin and Connell went back and
forth -- one or the other of them quitting every few
weeks, and that the Allman Joys finally solved the
problem by "stealing him" for their band.

-- Randy

I had an old (well, not that old in retrospect now) black d.j. talk for 30 minutes about the chit'lin circuit through Huntsville. I learned names of venues, artists, told where houses were that did r&b for them. Unfortunately, it was all told over a few beers and I neither retained it not wrote it down. The reason I mention this is because there may be a treasure trove of black radio stations that still employ or keep contact with these unwritten historians.

If time allowed I would do some checking. Unfortunately, all i can do right now is toss out the suggestion to talk to some of them.

Happy history hunting.

Carole Record
"By the way, did you know famed musician, Cab Calloway was the first Exalted Ruler of the organization from 1906-1908!! The current Exalted Ruler of the Elks is Ken Patterson, a West High School graduate and retired Rochester Police officer. Ken is very happy that the Corn Hill neighborhood Association is interested in all of its neighbors and their ideas. He feels that it makes everyone feel a part of the community, therefore promoting harmony and a sense of pride. Ken states, 'We welcome the entire Corn Hill community to come socialize with us and enjoy our famous Friday Night Fish Fry.'"
From the history of the Corn Hill neighborhood of Rochester,New York

The Chicken
The Chicken Shack and the black club called Pine Villa were in triany .The Ebony was over past Southern Sash across the tracks painted white set on the right going toward Muscle Shoals ..The building is still their and have been trying to get into for several years at one time they had a shipping crate full of old lobby cards for that club and the old armory
and right on on the dress and the big acts plus if any black act played close by they would show up and jam ..behind the stage they had the harp from a old upright and at one time I had a pic of the stage will look for it
I worked on his old juke Wurlizer 1100
Do you remember Webster and Long Redspot paint store across from the old Ritz theater? It was over a old speakseasy run by Mr McGee sometimes they would have a black jazz band ..the double doors are still in place going down the steps and of course the Grant Hotel and cat house had a mix of working girls ..If they didn't have one of the color you wanted Grant Asable would have you one painted........