One day this Auburn grad came home from work earlier than usual and caught his wife in bed with his best friend.

Enraged, the husband grabbed a gun and shot his friend to death.

His wife said, "Ya' know, if you go on like this, you're going to lose ALL your friends."

ROLL TIDE!!!!!
RRRRRRRRRRRROOOOOOOOOOOOOOOOOOOLLLLLLLLLLLLLLLLLLLL ONE!

HOW 'BOUT DAT CRIMSON TIDE!!!!
ROBO HTTP://SNAKEDOCTOR.BLOGSPOT.COM

November 11, 1964
http://www.jlindquist.com/rockit.html
FRESH OFF THE BEATLES TOUR AND INSPIRING MY FOURTEEN YEAR OLD ASS AT THE NATIONAL PEANUT FESTIVAL IN DOTHAN. THIS IS FROM WISCONSIN BUT YOU CAN SEE THE CANDYMEN LOGO ON THE DRUM!

HEY NIX:
I FOUND THAT COLOR SLIDE OF YA'LL AT WOODS QUAD IN APRIL OF '73. I TOOK THE PICTURE STANDING RIGHT BEHIND YOU & PAUL GODDARD IS LOOKING BACK AT YOU, PUSHING HIS GLASSES UP HIS NOSE WHILE YOU SEE THE BACKS OF THE HEADS OF THE REST OF THE BAND BECAUSE THEY WERE PLAYING TO THE CROWD.
Maybe, eventually, I'll get one of those doo-dads that scans slides. Don't have it now but anybody wid knowledge of such stuff, please contact KA$H!!!!!!!!!
BEST,
ROBO HTTP://SNAKEDOCTOR.BLOGSPOT.COM


Subject: Re: Calibrate Your BULLSH** DETECTORS! "CUBA, ALABAMA" Surfed The Web For THE...
To: robertoreg2003@yahoo.com


Well, as Mark Twain had either Tom or Huck, say, "I reckon it's mostly true, though there is some stretchers in there." It's the places on the edges where most of these remembrances get sticky, and almost always get wrong, and get repeated to the point they get believed. It'd be like putting out a brushfire with a broom straw to keep it all straight, and there ain't really any future in it.

Jimmy Dean

Robert,

Man that’s some great stuff about Roy on your blog, and I’ve been reading all the accounts by all the folks. What have really been interesting are El Nixo’s stories, since I KNOW he was there. At the WBAM show I saw Roy and The Candymen, Roy was smooth as silk. Probably one of the best sounding artists and bands I ever saw there. You may not remember, but the Coliseum had the worst acoustics of any place we ever played. I was told by an old Montgomery engineer that worked there, Taze Tisdale, that when the Coliseum was re-acousticized recently, the original reverberation time was around seven to 10 seconds, which made the place sound like a cave. It was totally concrete on the inside. The secret to playing the place was to play at a low volume, which is how I remember Roy that night. Just like sitting at home and listening to him in your living room. Again, very memorable!

BOBBY DUPREE {ed. drummer for THE ROCKIN' GIBRALTARS!!!!}

THE CANDYMEN
American Bandstand - Brenton Wood / The Candymen

Episode Information

Episode Number 1803
First Aired December 2, 1967

Guest Stars: Brenton Wood (as Himself) The Candymen (as Themselves)


Synopsis

--Brenton Wood – "Gimme Little Sign" (and possibly "Baby You Got It")
--The Candymen – "Georgia Pines"


A 1990 Interview With Bill Dees http://www.geocities.com/Nashville/Stage/1840/misc/dees2.html

What about "Oh Pretty Woman" ?
I had a Spanish melody (sings the melody of "Pretty woman walk on by"), a simple thing, and we hadn't figured out how to use it. Roy's wife, Claudette, said, "Give me some money honey" and it was a very flirtatious scene as he said "What For?" and she replied, "I've got to go to the store." I said "A Pretty Woman don't need no money " and he started singing "Pretty Woman walking down the street". He sang while I was banging my hand on the table and by the time that Claudette came back, we had the song. Fred Foster at Monument said "It'd be nice if we had an ending" and we spent a day on that. From the moment the rhythm started, I could hear the heels clicking on the pavement, click, click, the pretty woman walking down the street, in a yellow skirt and red shoes. Perhaps it's a sailor singing the song. She goes by and flashes him a half-smile, as if to say "I'm above this". He looks back at his watch and when he looks back, she's looking at him. We wrote "Pretty Woman" on a Friday, the next Friday we recorded it, and the next Friday it was out. It was the fastest thing I ever saw. The Beatles were hot and Fred Foster felt that Monument had to release it quickly. Actually, the 'yeah yeah yeah' in "Oh Pretty Woman probably came from the Beatles.
The growl and the 'Mercy' are as well-known as the lyric.
People think I'm copying the record if I go 'Mercy' but I have been doing that for over 30 years and it's hard to stop. When I see a pretty woman or eat good food, I say "Mercy". There are two spots on the record where the guitars were doing their thing and Roy said "Should we do something here?" I said "Why don't you say 'Mercy' or growl?" (growls) I got Roy growling but mine is in the throat. I couldn't do it like he did it.
And were you on the session?
Yes I sang with him which was really exciting. I was singing on the No. 1 record and it was like a duet. Of course he could have tracked it. but it said 'Roy Orbison and the Candymen' on the label and I was the one that named the group, the Candymen. It would have been nice if he had given me 1% or something, but I got $80. When I asked for a gold record, Monument said I would have to pay for it! The biggest arguments that Roy and I had were over money. Roy paid me $50 a night when we toured and as we were usually working six nights a week, that's $300 a week. I felt it should be $350 as I'd be in a strange town on the 7th night but he wouldn't accept that. He said, "Nobody works seven days a week." Paul Garrison got his revenge by setting up his drums before Roy went on stage and telling Roy's jokes to the audience. Roy came out and said, "I just flew in and, boy, my arms are tired," and wondered why nobody would laugh. When he found out it was Paul, he almost fired him.

A 1990 Nick Kent Interview With Neil Young http://www.4waysite.com/articles/thisyoung.htm

I interviewed Roy Orbison just before his death and he told me you'd approached him once and told him that after seeing a gig in Winnipeg when you were a teenager you'd decided to become a Professional musician. Is that true?

"Oh absolutely yeah! This was years ago - '62 maybe. I saw him in Winnipeg, saw him all over the place that year. Got to talk to him once outside a gig. He was coming out of his motor-home with his backing band the Candymen. That had a profound effect on my life. I always loved Roy. I looked up to the way he was, admired the way he handled himself. That aloofness he had influenced me profoundly. It was the way he carried himself, y'know, with this benign dignity ... His music was always more important than the media. It wasn't a fashion statement. It wasn't about being in the right place at the right time making the right moves. That didn't matter to Roy. Just like it doesn't matter to me. "Anyway I've always put a piece of Roy Orbison on every album I've made. His influence is on so many of my songs . . . I even had his photograph on the sleeve of'Tonight's The Night' for no reason, really. Just recognizing his presence. There's a big Orbison tribute song on 'Eldorado' called Don't Cry. That's totally me under the Roy Orbison . .. spell. When I wrote it and recorded it I was thinking 'Roy Orbison meets trash metal' ( laughs). Seriously."

An Interview with Craig Weidenheimer of Monroeville, Alabama's THE SEEDS OF TIME
http://home.unet.nl/kesteloo/seedstime.html

60s: How popular locally did The Seeds of Time become?

CW: We were popular enough to play to play regularly and in some towns were the most popular band around. It was good to be known somewhere and be welcomed.

60s: How far was the band's "touring" territory?

CW: We covered central and southern Alabama, and the panhandle of Florida. We played sparingly outside of that territory too - if it paid. We played in Tuscaloosa a lot at the University of Alabama.

60s: What other local groups of the era do you especially recall?

CW: I remember The Rubber Band, The K-Otics, The Rockin' Gibralters, The Phaetons, The Candymen (Roy Orbison's band), and The Classics IV.

60s: Where was the She's Been Traveling Around The World / Gina 45 recorded?

CW: It was recorded in Montgomery in a studio that I think did mostly commercials. There was one engineer and of course we basically played live, but all of the instruments were mic-ed and it did go though a mixing board. I believe we had two mics to sing into, and it was recorded into a two-track recorder. It took us about three takes for each side.

Message: FROM THE ARCHIVES OF THE SPECTROPOP DISCUSSION GROUP
Date: Sun, 01 Aug 2004 22:04:31 EDT
From: Al Kooper
Subject: Re: The Candymen

Phil Milstein:
> Wasn't The Candymen the name of Roy Orbison's backing group?
> If so, was it a different Candymen than the one that turned
> into ARS? Also, why am I confusing The Candymen with the group
> that became The Allman Brothers? Maybe they had a candy-related
> name, too, such as Allman Joy or something like that.

Candymen began by backing Orbison, Then recorded by themselves
and evolved into ARS. Hourglass (wouldn't eat one of those, Phil)
became Allmans from Florida to LA. Only common ground was red clay
of Georgia later on.

Message: 14
Date: Sun, 01 Aug 2004 22:20:41 EDT
From: Al Kooper
Subject: Re: The Candymen

Shawn:
> Nix did a few Lynyrd Skynrd LPs THEN...Daughtry, Nix & Justo
> went to ARS for their 1st Decca LP. Nix & Justo were gone soon
> after...Daughtry is still with ARS today. (confused yet?)

Actually Nix only played on Tuesdays Gone from the 1st Skynyrd
album and that time period was consistent with the recording of
the Back Against The Wall ARS album. The base of operations was
Buddy Buie's Studio One studios in Doraville, GA.

Al Kooper

Message: 18
Date: Sun, 01 Aug 2004 22:29:37 EDT
From: Al Kooper
Subject: Re: The Candymen

Me:
> They evolved into the Atlanta Rhythym Section - same drummer,
> bassist and keyboardist. Rodney Justo lasted one album in that
> configuration.

Austin:
> Thanks Al. Also, I heard that you played on Sweet Home Alabam,
> is this true?

I played acoustic guitar, produced it, and right after Van Zant
sings "Well I heard Mr. Young sing about her....." you can
subliminally hear with headphones on, me imitating Neil Young
singing Southern Man.... (only for people with BIG EARS)


Message: 2
Date: Sun, 01 Aug 2004 12:37:21 -0000
From: Shawn
Subject: Re: The Candymen

Atkins, Goldsboro & others first made a 45 as "The Webs" - 02 instrumental sides which features Goldsboro doing his cricket
imitation.

Orbison picked up the group while performing in Dothan, Alabama
which is where Adkins (group founder) was from and renamed them The
Candymen after his current hit "Candy Man".

Paul Garrison, Billy Sandford, Billy Gilmore, Bob Dees & John R.
Atkins was lineup on "Pretty Woman" and "The Orbison
Way" LP - you can see this group on the Ed Sullivan footage. If you
get the tape of the Orbison Holland tour, Robert Nix is already on
drums. Goldsboro was gone before any recordings took place. Rodney
Justo of Tampa was brought in to replace Goldsboro (formerly of
Rodney & The Mystics). Sandford & Dees left, Dean Daughtry took
Dees' place on keys & this is the LP lineup of The Candymen.

They did 2 excellent LPs on ABC & 1 non-LP 45, then in 1969 Gilmore
& Daughtry went with Dennis Yost & Classics IV (Gilmore stayed on
until 1975). Adkins put out one 45 as The Candymen "Happy Tonight"
but it was him & local session players, I don't believe any of the
other previous members are on it.

Adkins & Justo then formed Beaverteeth & did 2 LPs, and 1 45
"Georgia Pines" (tough to find), then they broke up. Justo did
quite a bit of backup vocal session work including a good stint with
BJ Thomas. Nix did a few Lynyrd Skynrd LPs THEN...Daughtry, Nix &
Justo went to ARS for their 1st Decca LP. Nix & Justo were gone soon
after...Daughtry is still with ARS today. (confused yet?)

John Rainey Adkins concentrated on songwriting and had just had some
success when a heart attack took him. Gilmore collected civil war
guns, and enjoyed toying with them. A Tomahawk had gone off in his
home once before, but a second time got him in the head and he was
gone in 1978.

So yes, The Candymen Orbison band & "Georgia Pines" group are one
and the same. The "Twist" LP on eBay is NOT this group though. I
suggest checking out The Candymen's 1st ABC LP, tracks such as
"Movies In My Mind" and "Lonely Eyes" kick butt.

If you can decifer the above, you'll see that The Candymen are
responsible for the early "Atlanta Sound" (Lowery Studios)...evident
on Classics IV, ARS & Beaverteeth LPs.

I've spoken with all surviving members of The Candymen, they shared
the stage & partied with Mama Cass, and a infamous gig with Pink
Floyd at the Cheetah. Some interesting & wild stories!

Here's a great page about Rodney & what he's up to today:
http://www.teddwebb.com/showcase/where_are_they_now/rodney_justo.html

I have started a photo/info page of The Candymen in fact and will
post the url address here when I get it done if anyone is still
interested!

Shawn
www.superoldies.com

Message: 3
Date: Sun, 01 Aug 2004 15:15:44 +0200
From: Eddy
Subject: Re: The Candymen

According to http://www.geocities.com/orbisonarchive/musicianslive.html
(and as reported previously) these are the people who were at one point
or another in the Candy Men backing Orbison: Dewey Martin - drums,
Robert Nix - drums, Bobby Goldsboro - guitar, Barry Booth - piano, band
director, Paul Garrison - drums, Billy Sandford - lead guitar, Billy
Gilmore - bass and John R. Atkins - guitar.

However, according to http://www.georgiaencyclopedia.org/ the Atlanta
Rhythm Section was the "brainchild of songwriter-producer Buddy Buie-a
former member of Roy Orbison's Candymen and the pop band Classics IV".
Yet no mention of Buie in above listing. Or did he assume another name
here?

Then, according to http://tinyurl.com/4ujrx Rodney Justo says "When
Bobby (Goldsboro) scored a hit of his own called 'See the Funny Little
Clown', Roy asked if I would take his place. The thought of making less
money than I was already making appealed to me immediately, so off I
went to see the world." Again, no mention of Justo in above listing, yet
he apparently went on the road as a Candy Man. Then the site says: "The
Candymen managed to sneak in a top 40 hit with a song called 'Georgia
Pines' which naturally meant Roy wasn't long for this world and needed
to start looking for another back-up band.".

http://www.alamhof.org/buiebud.htm goes back to the origins of the
band: "Buddy Buie's career started in his hometown of Dothan with boyhood
friend Bobby Goldsboro who had formed a band known as the Webs. The band
learned that Roy Orbison would be coming to Dothan, they learned his songs
so well that Roy asked them to become his touring band. Thus, the Candymen
were born and Buie became Orbison's tour manager as well. Buie had been
writing songs for the Webs and this continued with the Candymen and Roy
Orbison."

Are these people just assuming that the Candy Men and the Candymen are the
same band? If they are indeed the same band, how come one of the leading
Orbison sites on the Net is apparently not aware of these people as members
of the Candy Men, in spite of the fact that their names are all over the
Web? Questions, questions, questions, floating in the mind of the concerned
young citizen of today...

Eddy



Message: 17
Date: Sun, 01 Aug 2004 17:05:51 -0400
From: Joe Nelson
Subject: Re: The Candymen / Roy Orbison

Phil X Milstein:
> Wasn't The Candymen the name of Roy Orbison's backing group?
> If so, was it a different Candymen than the one that turned
> into Atlanta Rhythm Section? Also, why am I confusing The
> Candymen with the group that became The Allman Brothers? Maybe
> they had a candy-related name, too, such as Allman Joy or
> something like that.

Eddy:
> Totally different band backing Orbison! Here's a list of the people
> that at one point or another were members of Orbison's Candy Men:
> Dewey Martin - drums, Robert Nix - drums, Bobby Goldsboro - guitar,
> Barry Booth - piano, band director, Paul Garrison - drums, Billy
> Sandford - lead guitar, Billy Gilmore - bass and John R. Atkins -
> guitar.... Although as far as I can see it is not the same band,
> apparently two members actually toured with Orbison as well. So this
> may need a little more investigation.

The Candymen are credited on the "Oh! Pretty Woman" single, although
I'm not sure they actually played on it. Either way, maybe someone can
answer a question about that recording:

The song's biggest "hook" was obviously all those guitars banging out
that eight-note E7 riff in unison - e,e,g#,b,d,f#,e,d. Listening to
the recoird closely, it sounds like the bass player tried to muscle up
the song by changing the last three notes. At the F# he drops an
octave, back to the fourth string instead of the second where the rest
of the group was. This puts the D note below the range of his axe, so
he substitutes a G#. Am I the only one who hears this? I'm not sure
anyone who ever toured with Orbison ever played this.

Joe Nelson


PLUS DIS STUFF:
Tim Boykin wrote:


>>I believe that a couple of these guys were from north Alabama, and legend has it

>>that they were Roy Orbison's backing band (the name "Candymen" taken

from Roy's awesome incredible single "Candy man"). Many musicians in my area of the

60s generation are prone to get big-eyed and opine about the Candymen's prowess as a

live band - "nobody could touch 'em..." Enough people have told me the same story now

that I believe it. They were apparently a truly dangerous live band.


I've got some of their stuff... I haven't had a chance to really delve deeply into it

yet, but what I've heard so far is pretty interesting. There's definitely a sort of

off-kilter psychedelic jug band vibe on some of this stuff, a bit of Loving Spoonful

and Beatles but also with some Scott Walker baritone weirdness. I would say

definitely worthy of checking out for any 60s pop fanatics.<<


Timmeh:


This is what the late Lillian Roxon had to say about the Candymen--John Adkins/guitar,

Rodney Justo/lead vocals, Dean Daughtry/keyboards, Billy Gilmore/bass, and Bob

Nix/drums--in her classic _Rock Encyclopedia_ (1969, Grosset & Dunlap):


"The Candymen are a southern white group who specialize in extraordinary live

reproduction of complex Beatle and Beach Boy material. Their ability to duplicate *in

person* the recordings of such tributes to modern engineering as 'Good Vibrations'...

and 'Day In The Life'... gave them quite a following when they first appeared in New

York in the summer of 1967. (Before that they had spent several years touring around

the world as Roy Orbison's backup group.) In spite of their good honest country-rock

sound, well larded with Alabama soul, they have yet to come up with a substantial hit.

Unfortunately, the group's *original* material was not quite up to those uncanny

duplications of other people's electronic wizardries."


Apparently, these guys were really something remarkable, as long as they stuck to live

performances of material by Orbison, Brian Wilson, and/or Lennon & McCartney. On

record, playing their own stuff, not so much.


Chuck Limmer

n.p. "God Only Knows," Jonatha Brooke, BACK IN THE CIRCUS (Speaking of great Brian

Wilson covers... )

From: "Al Kooper"
Subject: Re: hoping this gets to ya Mack Daddy Kool !
Date: Tue, 31 May 2005 08:33:18 -0400
To: "robert register"



On May 30, 2005, at 10:36 PM, robert register wrote:

They know you knew how to INVENT a GUITAR ARMY!!!!


Uhhhhh.....I didnt invent it...I just came upon it in a club in
Atlanta.
AL KOOPER

Al:
Below you will find Robert Nix's comment that caused me to use the term "invent". Robert didn't say "invent". He wrote that your great talent as a guitarist was a reason for SKYNYRD's huge success.
quote:
"AL KOOPER RELATED TO THEM AS A GUITAR ARMY TYPE OF BAND."

The SKYNYRD Gang may have invented their own sound, however, you were a big part of bringing that sound to the public's attention.

Thank you for responding to my email. It is always a thrill to get messages from you.
best,
Robert Register http://snakedoctor.blogspot.com



ROBERT, I COULD TELL YOU A MILLION STORIES ABOUT MAYNARD. HE PLAYED IN THE HOUSE BAND AT C.W. SHAW'S IN ATLANTA IN THE HEYDAY OF STUDIO ONE. SKYNYRD, A.R.S., MOSE JONES, .38 SPECIAL, AND ALL OF US HEATHERNS HUNG OUT AND JAMMED EVERY NITE WITH THE SHORTY AND PAM WATKINS BAND TIL' DAYLITE OR WE PASSED OUT. OUR GREAT HOST WAS A GUY NAMED CHUCK RENALDO WHO SHOWED UP EVERY WHERE WE PLAYED IN THE WORLD, INCLUDING KNEBWORTH, ENGLAND IN FRONT OF 205,000 ROCKIN' ASS LIMEYS! THEY WERE THE GREATEST FANS ON THE PLANET!! MUCH MORE LATER!!! RENEGADE ROBERT NIX!!!..... P.S. MAYNARD AND THE SHORTY WATKINS BAND WAS PROBABLY THE BEST UNKNOWN BAND I EVER HAD THE PLEASURE TO KNOW!!!!!!.........................................
ROBERT NIX



HEY YA'LL!!!!
Click on the address below to get the details on Kooper's latest work.
best,
robo

http://www.alkooper.com/index.html#latestupdate

ROBERT,
YOU KNOW THAT AL KOOPER IS ONE OF MY MENTORS( BESIDES
ROY ORBISON) AND IDOLS!

DID YOU KNOW THAT HE IS ONE OF THE BEST GUITAR PLAYERS IN ROCK HISTORY?!!!!

EVERYONE THINKS OF KOOPER AS A B-3 GUY ( BOB DYLAN'S 'LIKE A ROLLING STONE), BUT HE REALLY PLAYS THE SHIT OUT OF GUITAR!! HE EVEN PLAYED SESSION SOLOS ON RECORDS LIKE CONNIE FRANCIS' 'STUPID CUPID', WHICH SOUNDS A LOT LIKE JAMES BURTON AND JOHN RAINEY ADKINS!!(BEFORE EITHER ONE OF THEM).

I BELIEVE WITH ALL MY HEART, THAT THIS IS WHY LYNYRD SKYNYRD IS SO BIG TO THIS DAY! AL KOOPER RELATED TO THEM AS A GUITAR ARMY TYPE OF BAND!! YOU CAN ASK ED 'GUITAR' KING, AND I THINK HE WOULD AGREE THAT RONNIE VAN ZANT AND AL KOOPER WERE BOTH VERY MUCH THE REASON FOR SKYNYRD'S HUGE SUCCESS!!

I WAS VERY LUCKY TO HAVE BEEN ASKED TO PLAY DRUMS ON SUCH A GREAT SONG AS 'TUESDAY'S GONE' BY BOTH OF THESE INCREDIBLY TALENTED PEOPLE!!!!

KEEP THE BABY FAITH!!!
GOOD EVENING!
RENEGADE ROBERT NIX!!!!......... om


Photo courtesy of http://alkooper.com

http://www.alkooper.com/images.html


"Al Kooper, by rights, should be regarded as one of the giants of '60s rock, not far behind the likes of Bob Dylan and Paul Simon in importance. "
Bruce Eder, All Music Guide http://www.mp3.com/Al-Kooper/artists/4018/biography.html

JOE BILLY Singing his 1969 hit CHERRY HILL PARK at Bull Shoals Theatre in August '04 courtesy of http://bullshoalstheater.com/billy-joe-royal/
Click here to see more of Billy Joe Royal and listen to "Down In The Boondocks", "Cherry Hill Park" and others http://bullshoalstheater.com/billy-joe-royal/
"Joe Billy is one of the best guys around.
You've never known a person so unencumbered with celebrity.
Loves a good joke, or story, and is the type of guy that wishes well of everyone,and was an inspiration to me.Not just for how he could sing but for how he treated people."
Rockin' Rodney Justo


EMORY GORDY
Read Emory's bio at http://tonysheridan.com/html/tcb.html

"Emory Gordy was a really good musician. Known as a bassist ( note I didn't say bass player) he was the guy that The Candymen would hire to play piano whenever Dean Daughtry was required to go away for 2 weeks active duty because he was in the National Guard.
He could really pick up stuff quick and then all he had to do was follow the stop,pause, soft, loud,or start, hand signals.
He used to tell me that we paid more than any group he'd worked with. Of course that ended when he went to work with Neil Diamond.
When Nix refers to him as ARS first bass player I think that he's referring to the fact that Paul got mad during the recording of the first album and kinda' quit, so we had to use Emory on Another man's woman and maybe another song.
I think that he's the only one that got paid anything."
RODNEY JUSTO

Atlanta Studio Pioneer Richardson Dies http://www.prosoundnews.com/stories/2003/april/0430.2.shtml
Stuart, FL (April 30, 2003)--Legendary Atlanta studio pioneer, Bob Richardson, died in Stuart, FL on April 15, 2003. Prior to his retirement in 1992, Richardson's career had embraced the whole of modern recording history.
As an aspiring engineer in the 1950s, Richardson taped regional bands in his North Carolina basement. In 1966, he recorded the Swingin' Medallions' fraternity anthem, "Double Shot (of My Baby's Love)." Beginning in 1972, Richardson's Atlanta studio, Mastersound, became one of the first American studios to have full console automation, multiple 24-track synchronization, and Quadraphonic mixing capability, making it a haven for such R&B titans as Issac Hayes.
Born in Charlotte, NC in 1927, Richardson was a professional musician by age 14, playing upright bass around his hometown during the World War II years. He worked briefly for National Shirt Shops, and Richardson always credited his youthful background in retail for the business skills he would require to survive in the music industry. As district sales manager for Columbia Records, Richardson's frequent visits to Nashville recording facilities compelled him to build his own studio in his Charlotte home in 1958. Using an Ampex 300 tape deck, he scored a modest success with the Delacardos' "On the Beach" in 1962.
As a regional rep for Mercury Records in the early '60s, Richardson visited an Atlanta photo session for Ray "Ahab the Arab" Stevens, where he first met music publisher Bill Lowery. Sensing a solid opportunity, Richardson relocated to Atlanta and became partners with Lowery in the early Mastersound studio, located in an old suburban schoolhouse. Richardson was soon engineering hits for the performers associated with the Lowery publishing and production company. In 1965, he tracked Billy Joe Royal's classic, "Down in the Boondocks," and, later, the Classics IV 1967 chart-toppers, "Spooky" and "Stormy."
These were the days before the mass manufacture of recording consoles; Mastersound used a custom board designed by the inventor, Jeep Harned, who would presently establish an international reputation as the sole owner of MCI, builders of modern studio gear. Richardson and Harned formed a lifelong association that would only end with Harned's recent death on March 13, one month in advance of Richardson's passing.
In the early 1970s, Richardson built the new Mastersound studio in midtown Atlanta, which he managed with his wife, Babs. Lou Bradley, the renowned Nashville engineer/producer, comments, "Bob had a dream to build and own a recording studio, and he did. He was a bulldog."
Richardson's sharp entrepreneurial instincts provided a motivation that kept him well in advance of technological developments. The Mastersound facility was designed by Tom Hidley and George Augspurger, known for their innovative blueprint at Westlake Studio in Los Angeles. Harned installed one of the early automated consoles on the East Coast. Later, when Mastersound became one of the first (and few) Quadrophonic studios in America, Harned retrofitted his deck with special panning and bussing capabilities.
Richardson always saw the need to provide his clients with state-of-the-art gear and quality sound engineers, like Lou Bradley and Joe Neil, whose experimentation he approved. Neil, who joined Mastersound in 1974, successfully modified a video synchronizer in a trailblazing attempt to lock together two 24-track tape machines. Mastersound also became the first Atlanta studio to offer post-production technology for film, even installing a projector booth that doubled as a vocal chamber.
Under Richardson's direction, Mastersound continued to stay on the cutting edge of the era's technology, installing one of the first Solid State Logic (SSL) consoles in America. Mastersound was the first Atlanta studio to purchase a digital multitrack recorder. At the time of his award in 1987, Richardson was the only studio owner and engineer to be inducted into the Georgia Music Hall of Fame.

"Poor Bob Richardson.
We worked him so hard once, that he was kinda punchy, and he was so scared that he was going to accidentally erase,or screw something up, he just refused to work any more.
We didn't quite get how someone could just say" I'm tired and can't go any more" but we softened up, when he explained that he had too much respect for us and our work to not be at his best
As far as Lou Bradley goes, he was always a very positive and steady force.
He went on to a VERY responsible position in Nashville.I wish that we would have stayed in touch
I think that I saw him there when I was putting the strings on a Beaverteeth album........OK Nix when's his birthday ?
When you guys see Joe Billy tell him Hi for me.
RODNEY JUSTO


FREDDY WELLER
Read Freddy's bio at http://www.gatalent.com/Acts/Freddy_Weller/freddy_weller.html



<The Movers on 123Records. They are:Birmingham/Leave Me LooseHello L.A. (Bye Bye Birmingham)/Hey You Hey Me>>THE MOVERS were indeed a real band, from New Port Richey, Florida. Theywere originally known as the Intruders, but changed their name due to the Intruders soul group. The Movers can be seen backing Billy Joe Royal in the movie "Mondo Daytona", later reissued with the title "Weekend Rebellion"(with a totally unrelated, comes-out-of-nowhere clip of Grand Funk Railroaddoing "Paranoid"!).And just to drive Gary crazy... let me mention that NOONEY RICKETT (himagain!) also recorded a version of "Birmingham".JEFF
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Left to right: Pete Best,Lennon,Delbert,Bruce,Paul and George
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Subject :
BRUCE AND LARRY

ROBERTO,
BRUCE AND I HAVE KNOWN EACH OTHER FOR MANY YEARS. DELBERT McCLINTON PLAYED HARMONICA ON ' HEY BABY' AND TAUGHT JOHN LENNON HOW TO PLAY IT ON 'LOVE ME DO' BY THE BEATLES! LARRY HENLEY AND ME GO BACK TO THE TOURING DAYS WITH ORBISON. WE, THE CANDYMEN, BACKED UP THE NEWBEATS AND BILLY JOE ROYAL AND THEN CLOSED THE SHOWS BACKING ROY. WE ALL TRAVELED ON A TOUR BUS TOGETHER AND HAD SOME INCREDIBLY GREAT TIMES PLAYING POKER AND VARIOUS OTHER ROCK 'N' ROLL GAMES I'D BETTER NOT MENTION RIGHT NOW!!! I'VE HAD A FEW COCKTAILS WITH BRUCE AT THE SUNSET GRILL IN NASHVILLE THE PAST FEW YEARS AND HE CAN TELL SOME GREAT JOKES AND ROCK WAR STORIES!!! I WAS THE BABY OF THE BAND IN THE CANDYMEN DAYS AND LARRY HENLEY LIKES TO SAY HE HELPED TO RAISE 'BIG BOB'! (THAT'S WHAT ROY ORBISON CALLED ME!!!) HE REALLY HELPED ME TO RAISE A LOT OF HELL!!! GIVE BRUCE AND LARRY MY PHONE AND EMAIL IF YOU HEAR FROM THEM!!!
THANKS,
RENEGADE ROBERT NIX!!!
GROWINNOTES@COMCAST.NET
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http://www.thevideobeat.com/1960s_rock_roll_movies.htm
MONDO DAYTONA - Daytona Beach "travelogue" hosted by Billy Joe Royal and featured The Swinging Medallions, Tams, and Florida garage band The Movers backing Royal doing Down In The Boondocks. Also known as WEEKEND REBELLION, the film was redited in the early '70's and retitled GET DOWN GRAND FUNK - for reasons best left unexplained.

Weekend Rebellion
Grand Funk Railroad, The Tams, The Swinging Medallions
1970 - Color - 85 min
"It’s 100,000 swingers making the scene on inner-spring sand," said a citizen of Daytona Beach, and now it’s here for all to see! Welcome to that special mix of maniacal footage featuring the infamous "spring break" from the 1968 docu-film "Mondo Daytona" laced with Grand Funk Railroad, the Tams, and the Swinging Medallions. Hear the Tams mellow out with "What Kind of Fool Do You Think I Am?" along with the Swinging Medallions doing their all-time hit, "Double Shot of My Baby’s Love," and wind up with the Grand Funk creating psychadelic riffs that split the screen so that every pixel lights up with fire!