Saturday, January 01, 2005

The editor of the Allman Brothers Chronology at , Ingemar Pynenburg of Arnhem, The Netherlands, has responded to a query Randy Poe sent Johnny Wyker back in the summer. Ingemar brings up some areas of controversy and his description of Duane's work in '68 reminded me that Bill Connell is not mentioned on the Allman Brothers family tree at Allman Brothers Discography..... Whaz up wid dat, Ingemar?
Below is an excerpt from a wwwwwwwwwwwwwwwwwyker interview with Gritz Magazine where he mentions Tuscaloosa's Bill Connell.
Below this interview you will find Poe's note to wwwwwwwwyker and Ingemar's response.
Happy New Year and take a moment and drop me a line...

Didn't you say you knew them when they were the Allman Joys?
I used to hire The Allman Joys to open our shows when I had The Rubber Band - .we were big stars to Duane and Gregg....we had a hit single that was on Columbia Records called "Let Love Come Between Us"; it also hit with James and Bobby Purify and Delbert McClinton and Mavis Staples also did great cover versions - .and The Rubber Band's version went to Number One in all the major cities of the Southeast or what Billboard called Area 6. -
We did not need an opening act, but Duane and Gregg and the other Allman Joys had become good and fast friends ...and they needed the money and the exposure - .so I used to hire them to open for us - . Duane would eat his guitar and play it behind his back and get down on the floor and do flips while he played and Gregg would be behind a little Vox organ on chrome legs..and Bill Connell pounding the drums....I thought they were pretty good...but the crowds gave them a hard time and gave a few boos from time to time...

Also, did you ever know about Bill Connell, the most excellent drummer for the Allman Joys ?
I recommended him to Doowang and Gregg and they hired him the night he graduated form Tuscaloosa High School and they all took off that night to go play at Trudy Heller's Club in Greenwich Village in New York City.....I know Connell must have gotten a crash course in Rock n' Roll in the fast lane after he left his hometown to hit the road with Allman Joys ! Years later, I hired Connell to go on the road with Sailcat in the summer of '72 when we did American Bandstand and Carnegie Hall (but that's a whole 'nuther chapter). Connell also toured with Bobby Whitlock a few years later - .

"ingemar pijnenburg"
Sat, 01 Jan 2005 18:30:02 +0000

Hi Randy, Happy New Year !
This is an email from you to Johnny Wyker that Roberto Register posted
on his weblog in september which I have read some time ago.
Quote :
Randy Poe is writing a definitive biography of Duane Allman. Here's an
email he sent Johnny Wyker [Magnificent 7, Rubber Band, Sailcat] last night.
Thought you cats might like to see how well the wheels of progress are
Dear Wyker,
Okay, this one's for you. I'm working on the section of the book
where Duane's now started doing sessions at FAME . According to Rodney Hall,
the dates on the tape boxes show that Duane came to town and played on
sessions with Clarence Carter (Road of Love,Harper Valley PTA, etc.)
prior to playing on the Pickett session that included "Hey Jude." (Most people
seem to recall "Hey Jude" being the first thing Duane played on at FAME, but
the tape box dates and Rick Hall both dispute that. I'm conjecturing
that some people think that was the first thing Duane played on because that was
the session that caused Rick to call Wexler and play him Duane's guitar
solo at the end of "Hey Jude" over the phone.) I've found a quote from Duane
where he says that after the Pickett session, Rick convinced him to move up to
the Shoals. It would appear that prior to moving to Muscle Shoals, Duane was
commuting from Jacksonville (where he was living with Berry Oakley)when
he played on the Clarence Carter and Wilson Pickett sessions (and maybe
even the Arthur Conley session that took place about a week after the
Pickett session). I read in an interview you did for Gritz that at one point you and Eddie Hinton and Duane were roommates. Was that when he first moved up to Alabama in what would have been late '68 or early '69? Or was it sometime prior to
that? If it was prior to that,do you recall if he was already playing on
sessions at FAME? The earliest things I can find that he played on for Rick as a
session player at FAME were Carter,Pickett, Conley and Willie Walker,
all of which would have been in late '68. The Hour Glass demos were done at
FAME on April11, 1968, so Duane was already familiar with the studio by the time
he ended up there playing on the Clarence Carter sessions that started in
October of'68 (after the Hour Glass broke up). I'm still trying to figure out how he ended up there in October of '68.Rick says he just showed up,
looking for work afterthe demise of the Hour Glass. Unfortunately, Duane's not around to say how or why he was there, and Gregg was out of the picture at that
time since he had runback to LA to cut a bunch of pretty bad solo records to
fulfill the Hour Glass's contractual obligations to Liberty Records.
Anyway, I know Duane eventually lived in the Stokes Cottage cabin on Wilson
but I'm assuming that's after you and Eddie and he were roommates. Does that
make sense?
If you do not mind I would like to comment on some statements.
You suggest that Harper Valley PTA was recorded on the third of October
because this was the Clarence Carter recording session prior to the Wilson Pickett recording session on the 27th of November 1968.
Harper Valley PTA by Ben Colder entered the Cash Box Top 100 on the
19th of October in 1968 ( ) so it was
probably recorded by Clarence Carter inspired by this on a later date.
I believe it was the second of December in 1968. I did not check that but
I know that I'd Rather Go Blind was recorded by Clarence Carter on
December 2nd so probably more songs were recorded on that date. I think that you
have to check the dates when the masters were assigned ( the same method
that Harry Young uses - see his liner notes for the
Cher 3614 Jackson Highway
album ). Someone at Atlantic or Warner Brothers could check their
archives for those dates. The Clarence Carter recording session on the second of December 1968 was produced by Rick Hall but the second Wilson Pickett
recording session that Duane plays on on the third of December 1968 was
produced by Tom Dowd.

Duane's guitar sound on December 3rd 1968 differs
from his guitar sound on November 27th. The guitar sound on Born To Be Wild
and Hey Jude are alike but different from the guitar sound on Toe Hold and
My Own Style Of Loving. The time between the two recording sessions was
probably used by Duane to relocate from Jacksonville, FL. to Muscle
Shoals, AL
. On A Man And A half the guitar players are Jimmy Johnson and Bobby Womack and this was recorded on September the 19th of 1968. This
recording session was also produced by Rick Hall. Another song recorded during
this September 1968 session was Save Me but I believe that Bobby Womack's
guitar part was transferred from the right channel to the left channel ( the
same channel on which Jimmy Johnson's rhythm guitar appears ) on the third
of December of 1968
by Tom Dowd and by doing so giving Duane room to play
on the right channel. Hence an overdub. The heavily fuzzed slide guitar
solo by Duane on The Road Of Love was also an overdub. The Road Of Love was
recorded on July the 26th of 1967. Duane did not play on this one which was
released as a 45 on FAME ( #1016 ) and was also included on the Soul Deep album
( Edsel, 1984 ) to which Scott Freeman refers on page 326 of his book
Midnight Riders.
He states that Duane's solo was edited out but he is wrong.
Duane's solo was overdubbed on the 45 version master tape ( probably on the 2nd
of December of 1968
) and this new version was released on The Dynamic
Clarence Carter album
in April of 1969.
After the Wilson Pickett December 3rd 1968 recording session Tom Dowd continued recording in the FAME studios. His next project was the
Arthur Conley recording session of which the masters were assigned on the 6th
of December of 1968
according to Harry Young.
You mention April 11 of 1968 as the recording date of the Hour Glass
demos but Johnny Sandlin mentioned April 22 of 1968 as the recording date
according to the Duane Allman An Anthology booklet.

Obviously you believe and so does Stuart Winkles ( Goldmine magazine,
April 11th of 1986 )
Duane Allman played as a session player during
recording sessions at
FAME before the Wilson Pickett recording session of November 1968.

On all the songs mentioned by Stuart Winkles which are recorded
before the Wilson Pickett recording session of November of 1968 I think that the guitar parts do not sound like Duane's !
To me even the guitar parts on Harper Valley PTA and especially I'd Rather Go Blind do not sound like Duane's !
Could it be possible to retrieve the original telegram from Rick Hall
to Duane from the Western Union archives ?
Yours truly,
Ingemar Pynenburg,
Arnhem, The Netherlands
editor of

Wednesday, December 29, 2004
Dear Joe:
I am looking forward to seeing you again at WorkPlay in B'ham next month.

I was wondering if there was any chance you remember me in Tuscaloosa back in '72. You had fallen off the stage at a gig earlier in the week and you were a little busted up. Seems like you had some cracked ribs.
Anyway, I drove you,Felix "Flaco" Falcon and a conga drum in my ' 62 Chevy Impala from the Stafford Hotel out to the Tuscaloosa Airport the day after your band played the Memorial Coliseum at the University of Alabama.
I bought a six pack and shared it with you and Felix as we drove over the river bridge to Northport. I remember you asking questions about Memphis, Muscle Shoals and the Alabama liquor laws and I remember this gorgeous babe who hugged you as you got on your plane at Dixie Air. I also remember Chris Stainton walking into a plate glass window at the Stafford as he read a copy of Winnie the Pooh.
Sorry to hear that Felix passed away in ' 81.
Anyway I look forward to seeing you next month and I will begin to post stuff about your amazing career on my weblog "Cuba, Alabama".
Best wishes,
Robert Register

Tuesday, December 28, 2004

Act Like Nothing's Wrong (1996, originally released 1976)
Al Kooper
Vocals: Al Kooper, Ron Ferguson, Ron Hicklin Singers, Hilda Harris Singers, Wendy Waldman; Guitars: Little Beaver, Reggie Young, Steve Gibson, J.R. Cobb, Joe Walsh; Bass: George "Chocolate" Perry, Mike Leech, Ron Bogdon, Paul Goddard; Drums/Congas/Percussion: Tubby Zeigler, Gary Coleman, Larry "Fat Snare" Londin, Robert Ferguson, Robert Nix; Electric Piano/Organ : Bobby Wood; Horns: Tower of Power, Marvin Stamm; Noissucrep: Nomis Nhoj; Strings: Harry Lokofsky; Al Kooper: Clavinet, Guitars, Acoustic Piano, Sandpaper, Synthesizer, Mellotron, Sitar, Pipe Organ, Orchestra Bells. Produced/arranged by: John Simon & Al

THE WEBS BEFORE BIG O - [not otis]

If anybody needs to get a REAL "hell,yeah" fo' 2004, it's Greg Haynes.
What that cat has done is a credit to his race!

Sunday, December 26, 2004

From: "James & Valentyna Hodges"
Subject: Wilbur Walton, Jr
Date: Tue, 21 Dec 2004 13:32:32 -0700


This is one of my favorites from my collection and think it should be

It is a Japanese issue of the Bill Lowery's 1-2-3 Records'
#1703: "For the Love of a Woman / 24 Hours of Loneliness" by
Wilbur Walton, Jr. The
was released in Japan as Capitol CR-2318 in partnership with Toshiba Musical
and distributed by Toshiba Records.

The pressing was also in Japan. It is difficult to see on the scanned image,
but the record is pressed on red translucent vinyl. Japanese vinyl
pressings are usually of a much higher quality than American vinyl.

Also of interest are the liner illustration and notes included with the
record. I think the illustrator took a bit of artistic license in
Wilbur's image. Maybe the Japanse thought that no southern soul singers could
be white.

The song lyrics to both songs are also included. Joe South wrote
"For the Love of a Woman" and Buddy Buie, J.R. Cobb, and
John Rainey Adkins wrote "24 Hours."

Some of the liner notes appear to be a catalog of some of Bill Lowery's
1-2-3 records
released in Japan on Capitol. It includes 1-2-3 # 1712
"Delicate Woman / Bed of Roses"
by Wilbur Walton and the James Gang.
anybody out there read Japanese?

Take care and Merry Christmas.

J. Hodges

Click here to hear Wilbur sing "24 Hours of Loneliness"

Wilbur Walton Jr. & The James Gang performing at Ft. Brandon Armory in courtesy of WTBC