Saturday, February 12, 2005

The following message from Young Junior Baby Criminal and Dothan's Dusy Street's own Frank Tanton is what blogging's all about.

Take a few moments like Frank did and let me hear from ya.

"We are learning, as has every generation passing before us, that memories gain value when those who make them leave us."

From: "Frank Tanton" View Contact Details
To: "robert register"
Subject: Re: Check out "Rodney Justo" on Google
Date: Sat, 12 Feb 2005 14:45:02 -0600

Rodney probably doesn't remember me, but our paths crossed a few times...
In 1971, I started playing with “BeaverTeeth”. The original lineup included John Rainey Adkins (guitar), David Adkins (drums), and Lamar Alley (guitar/vocals). Shortly after the band's start, Lamar left, and David switched to lead guitar. I joined on as Keyboard player. Kenneth Griffith played fretless electric bass, and the late great Charlie Silva was hired to play drums and sing lead. We played mostly college frat parties, and recorded several songs at Studio One in Doraville, Ga, for Buddy Buie. We recorded there at the same time The Atlanta Rhythm Section was tracking their first album. Interestingly, their second engineer (Ronnie Hammond), who engineered our sessions, later replaced Rodney Justo as lead vocalist for ARS. That first album with Rodney was always my favorite. Rodney was the greatest… He always seemed be in a good mood, very friendly, and the quick with the jokes... Truly a pleasure to be around... We also recorded several tracks at Finley Duncan’s Studio in Valparaiso, Fl. We eventually ended up back at the Flamingo Club, in Dothan, where I had played on, and off for two or three years, in other bands... After a few months there, I decided to go back to College and left the band. I believe Kenneth Griffith left about the same time, and was eventually replaced by Jimmy Dean (Webs/James Gang). Charlie Silva died a few years later, and I think Rodney may have played some with BeaverTeeth after that...
I had been a huge fan of Rodney and the Candymen for years... David Adkins and I never missed their shows at the Rec. Center in Dothan. I think I was 15 (1965) when I hooked up with the astoundingly talented, David Adkins and his cousin Tommy Adkins. We formed a band called the Puppets with Wayne Paulk on vocals and David “Dick” Tysinger on drums. Jerry Wise eventually replaced David Tysinger on drums. We won 2nd place honors at a “battle of the bands” in Hartford, Al., and started playing regularly at Lake Geneva Dance Parties. We eventually hired Jerry Buie (Buddy’s little brother) as our booking agent. At some point we changed our name to “The Webs” (not the original). David’s brother John Rainey Adkins was touring with Roy Orbison, and arranged to leave much of the Candymen’s equipment at my house during one of their European tours. As soon as they left the country we booked the Dothan Rec. Center for a dance, and used the Candymen’s old ragged out keyboards, amps and PA. We really thought that was the greatest... We were truly in awe of those guys… Eventually I was fired from that band for threatening to kick the lead vocalist’s ass. Later that year (1967), David and I took a greyhound bus up to Memphis to find a used Gibson Les Paul... We actually found one in a pawnshop for $100, a real 54’ Gold Top… We were truly blessed... Sometimes I miss those days...
Frank Tanton

Friday, February 11, 2005
Then, I have a group I am playing with in Nashville Tennessee. It's called the Renegades. And Jimmie Hall, from Wet Willie, and I have been in kind of secret rehearsals for about the last five months.
Now, do you want me to leave this out of the interview? If it has been a secret project, I don't want to let the cat out of the bag.
Sure, you can say this. I tell you what though Bruce, this will definitely be an exclusive. If you put this on your web site it will definitely be an exclusive. This is the Band,, it's Jimmie Hall is our lead singer/vocals from Wet Willie, George McCorkle from the Marshall Tucker Band on Rhythm Guitar, Dean Daughtry and Robert Nix from the original Atlanta Rhythm Section. Who used to be in the Dennis Yost and the Classics Four. Dean and Robert go all the way back to Roy Orbison. Robert Nix is one of the greatest song writers, he just got a Grammy for writing "So into you", for that movie Lost in Translation, with Bill Murray. So, Robert and I are on drums, we share the drum responsibilities, we play double drums. Then on guitar, as I said, is George McCorkle on Rhythm, Ed King is gonna participate whenever his heart allows him too. Then we have Jeff Carlisi from .38 Special . And we have two members from Memphis Tennessee, that are the core group of the band, one is the bass player his name is Jeff and a guitar player Hal. They are the cream of the crop guys from Memphis Tennessee. Both of 'em are state of the art pickers, both of 'em sing like birds. They have beautiful, strong, very professional voices. Man, you ought to hear Jimmie Hall sing Simple Man. And so this Band, we are gonna record an album, with a record deal distributed through Sony. We are recording a Live DVD of all of us old boys at the Nassau Coliseum. That's in the works for the future. Our first show is October the ninth, in Nashville for a private function. It is not open to the public, it's what I guess you would call a showcase. And from there we start booking our shows. I mean we do everything from Spooky from Dennis Yost and the Classics Four all the way to Freebird and every certified Gold and Platinum Song in between from Lynyrd Skynyrd, Marshall Tucker, .38 Special, Atlanta Rhythm Section, Wet Willie. I mean it is just amazing.
Boy, that sounds like a true Southern Rock All Star line up..
And Bruce, it is done right buddy. Everyone has gotten together and done this properly.
Well, you have original members from all these groups doing the songs. I mean, you can't ask for more than that.
Yeah, it is not the second or third or fourth, guy in the band that joined in the 80's or 90's. I mean it is all the original guys and except for me, most everybody in the band are songwriters. Plus, we are backed by a tremendous songwriting team. We are going to pull all this together and cut an album of new material. And it is gonna be under the name The Renegades. And, of course, the full name is The Southern Rock Renegades. But, I told 'em please no skulls, and no confederate flags. I said, Man I'm over it, you know it's been done. I said let's get a really strong logo. You know, something like an Eagle. You know, this is the first time I have discussed this with anybody.
Well, I am really honored and excited you would give me this exclusive opportunity to publish this information.
Well, I think it is great for the fans. Cause, people who love Southern Rock Music, they can come and hear one band play all their favorite songs, by just about every southern rock band. They will see great production. It is True Southern Rock Brotherhood. I mean I am honored to be in a band with these guys. I mean, Jimmie Hall, not only can that cat sing, but he is a good human being. He's a righteous person and I am honored and proud to be in a band with Jimmie Hall. And to me that is the key, to have the right Lead Singer. To me Jimmie Hall is it. And he is so into the project. Everyone is tremendously into the project. Ed King is tremendously into the project, although his heart prevents him from playing every show.
But perhaps it is the music that Coppola chooses to accompany the actions of her main characters and not the songs that are actively performed by them that reveal the most about their inner feelings. As Bob and Charlotte sit at the bar on their final night together, Coppola chooses a fairly non-intrusive song as the ambient music. However, by listening to the lyrics of this seemingly unimposing song, the viewer is able to get a sense of the emotion that the two characters are having difficulty conveying through their own awkward and minimal conversation. As the two stare silently at one another, the lyrics of the song echo in the background: "I'm so into you ... I was captured by your style but I could not catch your eyes." Again, the lyrics of a song verbalize what the characters cannot. This idea of music as a means of communication, managing to say what the characters only wish they could, is in keeping with the melodrama.

Sunday, February 06, 2005

I would appreciate any comments and please feel free to forward this to anyone.
Robert Register

MADISON SQUARE GARDEN has placed tribute plaques to famous rockers who performed there


a maze of cellar walls and passageways....

"I believe that we followed THE DOORS.
Meaning that we appeared there the week after them.
We were paid $700 for ten days.I remember that it cost $10.00 a day to park our car and trailer
The Doors got $700 for a week and their record was #1 in the country at the time
Steve Paul liked us so much that he brought us back for $750 and I think that we once got $1,000 for a week.
I tried to get more money out of him one time since we were going to be in or near New York and we really wanted to play there and he told me that $1,000 was the most he would ever pay and that there were only two groups that he would pay that much for .
The Candymen and The Jeff Beck Group which incidentally had a young singer by the name of Rod Stewart."

Need all information concerning the Beatles' mansion at #3 Seville Row, Abbey Road Studios, The Apple Boutique at 94 Baker Street and Magic Alex's Apple Electronics Workshop.

By 1964 Jim had to expand again and the first proper Marshall factory opened in Hayes with 6000 sq. ft. and 16 people making 20 amplifiers a week.

Marshalls were only available to customers at first from his own shop in Hanwell then, as word spread, Jim offered them to other retailers in the South of England while his friend Johnny Jones of "Jones and Crossland" in Birmingham Distributed them in the north of England from late '63. This arrangement continued for about 18 months until 1965 when Jim signed an exclusive Worldwide distribution agreement with Rose-Morris that was to last for about 15 years. Consequently, Johnny lost the rights to distribute Marshall so Jim introduced the "Park" line of amplifiers for Johnny to distribute as a favour.

It was now 1965. Britain was revelling in the hysteria of the "Beat Boom", America was succumbing to the "British Invasion"....... and Pete Townshend needed a bigger amp. Jim put Ken to work on the prototype 100 watt head.

"Jimi said that he wanted to use Marshall gear and that he was also going to be one of the top people in the world at this type of music. I thought he was just another one trying to get something for nothing, but in the next breath he said that he wanted to pay for everything he got. I thought he was a great character, I got on very well with him and he was our greatest ambassador. I saw him play about three times, and I saw him at the first sort of major concert which was at Olympia with Jimi Hendrix, The Move and Pink Floyd. I was very impressed by him as a musician; it was something new to me. I also went out with Ken and saw bands like The Who and Cream".