Robert,
During the 1966 Australian tour a live in studio televised
special was made by Channel 0 in Melbourne - Stones did 7 songs, Roy and
band 4, as per attached it has just been shown in a venue situation,
although I was back I couldn't make it to the show - maybe this will be
released in future on DVD - who knows,
best Keith
PS also left my '66 show ticket there on display at a nostalgia
photography show running at moment.[THIS WAS KEITH'S TICKET STUB TO AN AUSTRALIAN BEATLES CONCERT]

courtesy of Keith Glass

THE WEBS

This is the Webs backing up somebody at the Houston County Farm Center
in
Dothan. Visible is Bobby Goldsboro, John Rainey Adkins, and Amos
Tindall. I can't
figure out who the singer is they were backing up.
Jimmy Dean

John:
http://www.simonsays.com/content/content.cfm?sid=33&pid=487708&agid=2

I haven't read Kemp's book and I'll be glad to talk down his ideas. I read his preface on the Simon & Shuster site above.

Here's an author who left the South just as soon as he could after he reached his twenties. He doesn't visit New York. He goes there to live and tries to lose his accent which he was obviously ashamed of. He's ashamed of everything around him and describes his childhood as "dreary mill town life." He says his black buddy lived across the tracks in a neighborhood "that white bigots referred to as 'The Hill.' " When in the hell has naming a neighborhood "The Hill" made someone a bigot?

Let me make a prediction. Mr. Kemp will move away from the South once more because the stuff he writes fits in perfectly with the guilt that is ubiquitous within the brains of many of the shitheads who inhabit Yankee Land.[We got a few around here and I was delighted to read about how much pain, confusion and shame they have. Brings out the sadist in me. Let 'em stay here and keep getting pain and shame cause we can dish it out]
Here are a few quotes from Mr. Knight in Shining Armor- self righteous- "I am the enlightened Southerner who has returned to my retarded homeland" Kemp:

"By age eleven, I had rejected the collective bigotry."
"hated the history that haunted the land"
"the pain of my region's history"
"southern rock...was the beginning of a healing process."

That's just in his preface and the promotion by Simon & Shuster goes on and on about the redemption of "the pain, confusion and shame of being a southerner."

Well, Mr. Kemp can take his pain, confusion and shame and stick it where the sun don't shine and go back where he came from.
Right now I'm gonna go out and get me some. Think I'll tune up some Allmans playing "The Come And Go Blues" and get high with some pussy.

That's all it's ever been about anyway.
best,
Robert Register http://robertoreg.blogspot.com
http://snakedoctor.blogspot.com
http://cottonkingdom.blogspot.com



John Ciba wrote:
I bought the book about a week ago and I can't put it down (got about 30
pages left). For all the things one could disagree with or dispute in it,
there are some really amazing things that i wouldn't have known otherwise,
like the connections of the Walden/Capricorn empire and the Carter campaign
and how it effected a young, 18 yr. old that loved the Allman Bros. It's
interesting to see that type of support for John Kerry in this election and
how it's effecting kids today. I wouldn't discount the book on that idea as
I'm sure there are people who feel that may have been the case....i think
that idea sprouts from Kemp interviewing Jimmy Johnson who said the work
dried out after King was murdered. Just like any history in music, there's
always gonna be many different stories because there were many different
experiences.....
There's this really great part in the book where the author's best friend
from childhood ,who comes out of the closet during their college years, is
talking about how music he loved growing up alienated him later in life.
Specifically, a Charlie Daniels song where he talks about beating up a
homosexual in a punk rock club. The author mentions this to Daniels (in a
respectful way) and it's interesting to read his reaction.
I think the real point of the book is the ideas of artistic growth in the
"new south" that were born out of frustration, healing, and the youth
regaining their pride as southerners (not rednecks, racists, or white
trash).
besides, you can't really go on, talking down his ideas if you haven't read
it....read the King chapter and it may make a little more sense (or maybe
not). if it's right or wrong, who cares, it's an idea. I think it's great
to see a book in most Chicago stores that deals with southern music
culture....


-----Original Message-----
From: Randy Poe [mailto:bongorandy@yahoo.com]
Sent: Friday, October 22, 2004 4:05 AM
To: MightyFieldOfVision@yahoogroups.com
Subject: [MFV] Dr. King/"Dixie Lullaby"



A while back the book "Dixie Lullaby" came up,
and I believe it was Robert Register who asked about
the premise posed in that book about Dr. King's
assassination prompting the rise of Southern rock due
to black artists turning to fellow black musicians to
play on their albums (rather than using the studio
musicians in Muscle Shoals, etc.) Pete Carr pointed
to the incident that took place with Jerry Wexler et
al at the black radio convention as being a turning
point. A couple of days ago I interviewed Alan Walden
for the Duane book and he brought up the book "Dixie
Lullaby" in our conversation. I asked him what he
thought of the book's premise. Here's his response:

"Let me say this about the whole thing  the Dr. King
assassination. I dont think that Dr. Kings
assassination played a great influence on what went on
musically. I can remember being at the black radio
disc jockey convention in Miami, Florida and having to
hide in a room for several days because the black
mafia there was trying to run everyone white out of
R&B music  and beating up several of my friends. So
many people like Jerry Wexler and myself and my
brother  a lot of the people who had been true
pioneers in black music all of a sudden said, Hey,
weve had it with this shit. We know how it should
be, and its not like that anymore. Its like you go
into a radio station, its no longer, Hey, theres
Alan and Hey, theres Jerry. Its like, Hey,
whats that white motherfucker doing in here? Some
of us got tired of it and we started looking in other
directions. And thats when Southern rock started to
emerge. When R&B lost my brother and me, they lost
two of the real pioneers of it. Black artists did not
get paid before my brother and I got in the business.
I mean, we were the leaders of that whole thing of
getting black artists to get paid."

I haven't read "Dixie Lullaby" because, in all
honesty, I don't want it to have any affect -
consciously or subconsciously - on the book I'm
writing. So, I don't really know precisely what the
author's premise is. I only know what I've read about
the book here and in reviews of it in various
newspapers. If the guy is saying King's assassination
caused the black artists to stop using white
musicians, thus prompting the rise of Southern rock,
I'm now thinking he's not particularly accurate. When
I pointed out to Alan that Aretha started using Donny
Hathaway, Jerry Jemmott, and Bernard Purdie, he
countered with, "I think in a lot of ways [Dr. King's]
assassination brought a lot of us even stronger
together to make the dream work. The man had a hell
of a vision. He did something like Duane Allman and
Otis Redding and all other true leaders of our time
period did. He had the right idea. But I dont think
his assassination affected the music. Look at Wilson
Pickett. He came to Muscle Shoals after that."

So, there you have it from one of the guys who
was in the middle of both the soul music world and the
Southern rock world. I suspect he knows of what he
speaks.

-- Randy

JAMES BROWN LIVE AT THE APOLLO, 1963
Introduction by Fats Gonder/Opening Fanfare (1:48)


2
I'll Go Crazy (2:04)


3
Try Me (2:13)


4
Instrumental Bridge (:12)


5
Think (1:45)


6
Instrumental Bridge (:12)


7
Lost Someone (2:27)


8
Instrumental Bridge (:11)


9
Lost Someone (10:42)


10
Medley: Please Please Please/You've Got the Power/I Found Someone (AKA (6:26)


11
Night Train {Closing} (3:26)


Album Review
top
In 1963, James Brown had earned a handful of hits on the R&B charts and had won a reputation as one of the most dynamic performers in the nation, but he hadn't yet made a record that reflected the full range of his musical personality or his magnetic stage presence. Live At The Apollo killed these two birds with one smoking hot platter; while this performance predates the brittle but powerful funk grooves which would later make Brown the most sampled man in show business and focuses on his earlier and (relatively) more conventional hits, the building blocks of his pioneering sound are all here in high-octane live versions of "I'll Go Crazy", "Think" and especially the frantic closing performance of "Night Train", while the ten-minute-plus rendition of "Lost Someone" captures the sound of Brown baring his soul with an almost unbearable intensity, which drives the audience into a manic chorus of shouts and screams. Brown's band (which at this time included Bobby Byrd and St. Clair Pinckney) is in stellar form, tight as a fist (especially the horn section) and supporting their leader with both strength and subtlety, but Brown is truly the star of this show, and by the end of these thirty-two minutes, no one will doubt that James really was the hardest working man in show business (and this without even seeing him dance!), and his communication with his audience is nothing short of astounding. While James Brown would later make more amazing music in the studio, Live At The Apollo left no doubt in anyone's mind that he was a live performer without peer, and that his talent could communicate just as strongly on tape as in person; a watershed album, both for James Brown and for the burgeoning soul music movement. ~ Mark Deming, All Music Guide

WALKING THE DOG
Rufus Thomas
Baby's back, dressd in black,
silver buttons all down her back.
High, low, tipsy toe,
she broke a needle and she can't sew.
Walkin' the dog,
just a-walkin' her dog.
If you don't know how to do it,
I'll show you how the walk the dog.
Asked the fellow for fifteen cents,
see the fellow he jumped the fence.
Jumped so high he touched the sky,
never got back till the fourth of July.
Walkin' the dog,
just a-walkin' her dog.
If you don't know how to do it,
I'll show you how the walk the dog.

Mean Woman BluesArtist: Roy Orbison (peak Billboard position # 5 in 1963)
Words and Music by Claude Demetrius
Mmm, well I got a woman mean as she can be
Well I got a woman mean as she can be
Some-a-times I think she's almost mean as me
She gotta ruby lips, she got shapely hips,
yeahBoy she makes ole Roy-oy flip
I got a woman mean as she can be
Some-a-times I think she's almost mean as me
Well I ain't braggin', it's understood
Everything I do, well I sure do it good
Yeah I got a woman mean as she can be
Some-a-times I think she's almost mean as me,
well,She gotta ruby lips, she got shapely hips,
yeah Boy she makes ole Roy-oy flip
I got a woman mean as she can be
Some-a-times I think she's almost mean as me,
easy now

SURFIN’ USA LYRICS SWEET LITTLE SIXTEEN LYRICS
Spring of '58
Spring of '63

If everybody had an ocean They're really rockin' in Boston
Across the u.s.a. In Pittsburgh, PA
Then everybody’d be surfin’ Deep In The Heart of Texas
Like californi-a And 'round the Frisco Bay
You’d seem ’em wearing their baggies All over St. Louis
Huarachi sandals too Way down in New Orleans
A bushy bushy blonde hairdo All the cats wanna dance with
Surfin’ u.s.a. Sweet Little Sixteen
You’d catch ’em surfin’ at del mar
Ventura county line
Santa cruz and trestle
Australia’s narabine
All over manhattan
And down doheny way
Everybody’s gone surfin’
Surfin’ u.s.a.
We’ll all be planning that route
We’re gonna take real soon
We’re waxing down our surfboards
We can’t wait for june
We’ll all be gone for the summer
We’re on surfari to stay
Tell the teacher we’re surfin’
Surfin’ u.s.a.
Haggerties and swamies
Pacific palisades
San ano free and sunset
Redondo beach l.a.
All over la jolla
At waimia bay
Everybody’s gone surfin’
Surfin’ u.s.a.
Everybody’s gone surfin’
Surfin’ u.s.a.
Everybody’s gone surfin’
Surfin’ u.s.a.

RADIO 1360 WSAI-AM
HITS OF THE WEEK
Cincinnati's only Authentic Survey
WEEK ENDING: July18, 1964
TW LW TITLE-Artist
1 12 **HARD DAY'S NIGHT / I SHOULD HAVE KNOWN BETTER- The Beatles
2 2 **RAG DOLL- Four Seasons
3 5 CAN'T YOU SEE THAT SHE'S MINE- The Dave Clark 5
4 24 *WISHIN' AND HOPIN'- Dusty Springfield
5 1 THAT LITTLE OLD LADY (From Pasadena)- Jan & Dean
6 13 A QUIET PLACE- Garnett Mimms
7 26 KICK YOUR LITTLE FOOT SALLY ANN- Round Robin
8 6 ROCK ME BABY- B.B. King
9 3 **I GET AROUND / DON'T WORRY BABY- Beach Boys
10 4 DANG ME- Roger Miller
11 11 **A WORLD WITHOUT LOVE- Peter & Gordon
12 18 **FARMER JOHN- The Premiers
13 21 THAT'S THE WAY- The Casinos
14 8 DON'T THROW YOUR LOVE AWAY- The Searchers
15 7 NO PARTICULAR PLACE TO GO- Chuck Berry

DECIDED THAT MY AUTOBIOGRAPHY WILL BE ENTITLED NO PARTICULAR PLACE TO GO
No Particular Place To Go

Riding along in my automobile
My baby beside me at the wheel
I stole a kiss at the turn of a mile
my curiosity running wild
crusin' and playin' the radio
with no particular place to go

Riding along in my automobile
I's anxious to tell her the way I feel
So I told her softly and sincere
and she leaned and whispered in my ear
cuddlin' more and drivin' slow
with no particular place to go

No particular place to go
So we parked way out on ko-ko-mo
The night was young and the moon was gold
So we both decided to take a stroll
Can you image the way I felt
I couldn't unfasten her safety belt

Riding along in my calaboose
Still trying to get her belt a-loose
all the way home I held a grudge
for the safety belt that wouldn't budge
Crusin' and playing the radio
with no particular place to go

Singer and Drummer Bob Nix,formerly with Roy Orbison's Candymen and The Atlanta Rhythm Section and composer of "So Into You", "Imaginary Lover" and "Cherry Hill Park".Bob also plays with Alison Heafner http://alisonheafner.biz

ALISON HEAFNER [pronounced like "Hugh Hefner"]

Bob is now playing drums with The Southern Rock Renegades along with ARS keyboardist and Former Candymen andCLASSICS IV KEYBOARDIST DEAN DAUGHTRY

Bruce Hopper, member of The Omen and Their Luv and longtime Tuscaloosa musician and promoter has helped with the local scene.

JIMMY DEAN,GUITARIST FOR WILBUR WALTON JR. & THE JAMES GANG ('64 TO '67) has helped me a lot with the history of Dothan Rock 'n Roll


THE WEBS: The Roots of Dothan Rock 'N Roll
THANK YOU JIMMY DEAN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
LEFT TO RIGHT: DAVE ROBINSON, AMOS TINDALL, BOBBY GOLDSBORO, JOHN RAINEY ADKINS, GERALD HALL

Check out what happened to Rodney on legendary Tampa star of stage, screen and radio, TEDD WEBB'S website http://www.teddwebb.com/showcase/where_are_they_now/rodney_justo.html


Kim Venable former drummer for The K-Otics and The Classics IV

The "K-Otics" from the Sixties
L to R: Glen Griffin[A SR. '66 DOTHAN HIGH TIGER!!!!] on his Vox organ, Tommy "Swamp Man" Mann, Kim Venable
Marvin Taylor (seated) and Ray Goss
http://www.fivefeathers.com/MarvinTaylor.htm