Thursday, November 09, 2006

Buddy Buie will arrive in Tuscaloosa on Tuesday, November 14. He will stay here until Thursday morning. During that time Buddy will do radio, television, magazine and newspaper interviews to support THE DAY BEAR BRYANT DIED CD signing event at the Movie Gallery on The Strip (1130 University Blvd. down from Qdoba Mexican Grill by the Sigma Nu house) which will occur from 4 until 6 Wednesday afternoon.

Below you will find the story of how "The Lost Song" called "The Day Bear Bryant Died" came into being along with Buddy's bio.

If you have any questions about interviewing Buddy over the phone or while he's in town, feel free to call me on my cell phone 205- 239-5401, my office phone at Pake Realty 205- 759-1906 or email me.

Buddy and I will really appreciate anything you can do for us.

This is a terrific Bama story. Think about it. SWEET HOME ALABAMA by Lynyrd Skynyrd was recorded in Buddy's own studio!

Robert Register



I am a professional songwriter and record producer. Over the years I have
Written over thirty songs that became hits, but few of them have been as
heartfelt and emotional as the song Ronnie Hammond and I wrote one cold
January day in 1983. Ronnie is the lead singer for THE ATLANTA RHYTHM SECTION, a group I formed in 1970. We had rented a cabin on
Lake Lanier near Atlanta with the intention of writing another hit for ARS but the funeral procession carrying Bear Bryant’s body from Tuscaloosa to it’s final resting place in Birmingham stopped us in our tracks. We were taking a break and turned on the television as Keith Jackson’s haunting voice narrated the scene of thousands lining interstate20/59 to honor their hero. Every overpass was packed with mourning fans and onlookers as we
watched mesmerized and misty eyed. Ronnie began softly playing a hymn-like melody on his guitar. At that point we forgot about our mission to write
Another rock and roll masterpiece and spent the rest of that sad day composing THE DAY BEAR BRYANT DIED.

Twenty-three years later my friend Harrison Parrish [co-founder of Movie Gallery] was having dinner with my wife and me at our home on Lake Eufaula and I played him a dust-covered demo of our old song about the Bear. We had never exploited it and just considered it a proud
accomplishment of two Bama fans. Harrison was moved by the song and said he wanted to share it with his friends at his alma mater the University of Alabama. {Class of 1970]

This dinner conversation spawned this CD which features our “lost song” and nine other tracks dedicated to the Bama nation. I want to thank Ronnie Hammond, Atlanta Rhythm Section, Cook and Glen, and Tom Stipe for their creative contributions. Special thanks to Harrison Parrish, Robert Register, The Image Agency and Gloria Buie. My dream is for THE DAY BEAR BRYANT DIED to become an anthem for the Bama Nation. My hope is that this CD will be blasting from your speakers as you and your friends celebrate another Crimson Tide victory.

Thank you for your support.
Roll Tide !!!!!
Buddy Buie



Legendary songwriter and record producer, BUDDY BUIE, grew up in Dothan Alabama. His ticket to the big time was pop Icon Roy Orbison, who took him and a local band called the Webs (featuring Bobby Goldsboro) on tour. Orbison met them at a concert in Dothan, promoted by then nineteen-year-old Buie, and was so impressed he took them on the road and hired Buddy to be his road manager. This was a dream come true, but after traveling the world, Buddy decided he wanted to devote more of his time to his first love, writing songs. He and his friend, Paul Cochran, formed Buie-Cochran management which quickly became a
Force in southern music.

In 1965, inspired by their new relationship with Bill Lowery, they moved to Atlanta to devote their energies to the Georgia Music Scene. Bill introduced Buddy to a young group called the Classics IV, and the rest is history. The hits “Spooky”, “Stormy”, “Traces”, and “Everyday With You Girl” remain today to remind us of this successful relationship.

In the period that followed, Buddy established himself as one of the most sought-after writers and producers in the pop field, with smash hits by Billy Joe Royal and B.J. Thomas. His association with Bill Lowery, Paul Cochran and J.R. Cobb continued to flourish with the building of the legendary Studio One recording facility in Doraville. ARS, Lynyrd Skynyrd, & 38 Special were among the groups who made history there.

In 1970, Buddy formed the Atlanta Rhythm Section. The members he selected were the “cream of the crop” of Atlanta session musicians. Under his guidance as producer, principle writer, and co-manager with Arnie Geller, ARS gained world acclaim as the quintessential “southern rock band”. This success story began in the small suburb of Doraville, Georgia and eventually reached to all parts of the globe with even a command performance at the White House along the way.

Buddy’s first love has always been and will continue to be song writing, and he considers one of his greatest talents as a writer to be the ability to select great co-writers. The success of Buie/Cobb, Buie/Nix/Daughtry, and Buie/Hammond are prime examples of this. Most of their work was done in Eufaula, Alabama on Thomas Mill Creek where Buddy had a small fishing trailer that doubled as a writing paradise.

In September 1984, Buddy had the honor of being inducted into the Georgia Music Hall of Fame. Receiving the “Georgy” was truly one of the highlights of his career as was his inclusion in the Alabama Music Hall of FAME.

Buie and his co-writers are well represented in the contemporary music world with recordings by Travis Tritt and Wynonna Judd. Buie/Cobb saw “Rock Bottom” by Wynonna climb to the top of the charts in April 1994. 1994 also saw Gloria Estefan record the classic Buie/Cobb tune “Traces”. Travis Tritt's "Back Up Against The Wall" from the album "The Restless Kind" (8/27/96 release date) is the second Buie/Cobb song he recorded. The first was "Homesick" on his "It's All About To Change." David Sanborn's version of "Spooky" (1996) zoomed to Number One on the jazz charts.

Buddy and J.R. Cobb recently teamed up with the great Tom Douglas and penned "Mr. Midnight" for Garth Brooks on his "Scarecrow" album. Garth also included the touching song in his 2005 boxed set.

Back In 1983 Ronnie Hammond and Buddy watched the funeral procession carrying the body of Coach Paul Bear Bryant from Tuscaloosa to Birmingham. They were so moved by the throngs mourning their hero that they wrote THE DAY BEAR BRYANT DIED. Twenty three years later the song was released and is becoming a theme for the Bama nation.

Recently J.R. Cobb and and Buddy teamed up with R & B phenom John Legend to write SAVE ROOM. The song, inspired by STORMY, is a big hit.

In 2003, Buddy and his wife of 31 years (his childhood sweetheart from Dothan, Gloria Seay), left Atlanta and retired to their new dream home on Thomas Mill Creek. They and their dog, Sadie, are enjoying life on the lake.



The songs with * by them are Top Twenty and BMI Award Winning Songs.

*SPOOKY- 4 Million Performance Award
*STORMY-3 Million Performance Award
*TRACES- 6Million Performance Award
34th Most Performed Song in BMI History
*SO INTO YOU-1 Million Performance Award
*IMAGINARY LOVER-1 Million Performance Award
*I TAKE IT BACK (Produced by Chips Moman)
*ROCK BOTTOM (Produced by Tony Brown)
SAVE ROOM by John Legend




Dey ain' no stoppin deeeeeeeeeeeeeeeeezzzze Tuskeeloosie Gals, Bro'!!!!

Wednesday, November 08, 2006

Hey y'all:

Got a terrific email today from Jim Lancaster who is restoring Playground Recording Studio in Valparaiso.
Check this out and let Jim hear from ya!


Sent :
Tuesday, November 7, 2006 8:09 PM
To :
Subject :
Playground Recording Studio


I have enjoyed your website/blog for a couple of years now. I first became aware of the Cuba, Alabama site when Wyker would copy a post and publish it on the MFV web group.

I purchased Playground Recording Studio from the estate of Finley Duncan about a year and a half ago. We have kept the name the same and are committed to keeping the legacy of Finley Duncan and the previous Playground artists alive and well. In keeping with this I have been transferring many of the old rotting masters that were left here to digital to preserve them.

In doing so, I have discovered that there were a lot of musicians and bands from the Dothan area that recorded here during Finley's reign here. Some of these include, John Rainey Adkins, Wilbur Walton Jr., The Concrete Bubble, The Truths, and many others.

I am really not sure how to post on your blog, but I am going to want to have an open house for all of ex-Playground artists before too long and would like to make an announcement on your site.

We have completely restored the studio, while keeping the retro look that Finley had we have added digital recording while keeping the analog recording. We have installed a NEVE 8232 with a Sony APR 24 analog recorder and have interfaced the console with Pro Tools and Digital performer. We have converted one of the old pinball machine warehouses into a 2 bedroom commercial office which also serves as studio B and the video editing room.

I would like to hear from anyone who perhaps recorded here during the years between 1969 and 1989. I have been in touch with David Adkins and several other of the musicians who played here at some point during those years..

If you would... let me know how to post on your blog... meanwhile we have a rarely maintained website at

Thanks very much,

Jim Lancaster
Playground Recording Studio


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

Like a fool, Tanton didn't give me the names of the members of his band,LEGACY, but I'm pretty sure Tanton is the light skinned cat with the hat on


I can’t make it to Doug & David’s Jam this weekend… I’m playing with “Legacy” at Schooners in Panama City this weekend Oct 7 & 8.

Come on down and party with us after the BBQ…

Here’s some ancient history for the blog. Use whatever you will…

In 1965 my first band was called the "Spades", featuring Ed Ludlum on drums, Mike Kirkland on bass, and me on guitar. Our first gig was an enormous March of Dimes party at the Montgomery City Auditorium, where we shared the stage with the Governor’s son George Wallace Junior, and his band. The crowd numbered over a thousand and I was scared shitless.

Eventually I switched to bass guitar, dumped Ed and Mike and hired the late Jerry Wise (Clique) on drums, and the great Richard "Buddy" Burke (Clique) on guitar, and lead vocals. We played in the loft of the Club Taboo until the cops arrested the owner and ran us off. I was in the 8th grade.

I think it was 1966 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 Dick Tysinger on the skins. Jerry Wise (Clique) eventually replaced Dick 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 amps and PA. We were thrilled… We were in awe of those guys… I eventually was fired from that band for threatening to kick the lead vocalist’s ass. Later that year David and I took a greyhound bus up to Memphis to find a Les Paul. We actually found one in a pawnshop for $100, a 54’ Gold Top … That guitar is worth thousands today.

By 1967, I was playing at the Club Capri with "The Fabulous Impacts" and hangin out at the Citizen’s Club around the corner, after hours.

In 1968 I started playing keyboards and guitar with "The Chimes". That was a great band that featured Doug Morris (bass), brother David Morris (drums), and various guitarists including Bruce Wallace, John Bedsole, David Adkins, and Lamar Alley… Kenneth Griffith eventually replaced Doug Morris on bass. We played all the regional Teen Dance Halls, and quite regularly at the Little Wheels Enlisted Men’s Club at Ft Rucker.

In 1970 I put together a band called "Toe Jam". We played at the Flamingo Club, six nights a week, for most of my senior year at Dothan High School, with Amos Tindle (Webs) on bass, Lamar Alley (Capers/Chimes) on guitar, Danny Bogen on Drums, and me on keyboards. In addition to our regular sets, we would play the background music for the traveling Exotic Dancers that James Ott would bring in on the weekends… I finally graduated from DHS, and we hit the road. Amos didn’t want to travel so he dropped out, and was replaced by Tommy Wyatt (Green Cheese / James Gang /CandyMen) on Bass.

We played at the Bamboo Ranch in Sahvanna, Ga, for a good while, and several months at the Gold Nugget in Panama City, Fl…

After that I started playing keyboards and guitar for "Arnold Bean", a popular combo based in Columbus, Ga., that played all original music. Mike Guthrie (guitar/vocals), and brother Herb (drums) had lived, and played in Germany, and were greatly influenced by The Beatles… The bass player was named Gary something. His last name escapes me. Mike was a great writer, and arranger. We recorded an album, at Finley Duncan’s Studio in Valparaiso Fl.. Mike Guthrie’s band still tours in Germany. I have a picture of them playing at the Cavern Club. I was starving to death in that band so, after some time, I decided to sell my rig, and go to college at Troy State University. I was starving there too…

Eventually I started playing with "Beaver teeth". The original lineup included John Rainey Adkins (guitar). David Adkins (drums), and Lamar Alley (guitar/vocals). Shortly after Lamar left, and David switched to lead guitar. I joined on as Keyboardist. Kenneth Griffith played fretless electric bass, and the late great Charlie Silva was hired to play drums and sing lead. We played 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 (Ronny 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…

We also recorded several tracks at Finley Duncan’s Studio in Valparaiso, Fl.

We eventually ended up back at the Flamingo Club, in Dothan, and 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).

In August of 1972, I dropped out of College, got married and eventually started playing piano with "Strawdawg", Lamar Alley (guitar), George Cheshire (guitar), Kenneth Griffith (bass), Little Larry Holmes (drums), and me on keys. We were the house band at the Flamingo Club for about a year, and had quite a following.

At some point in 1973, I found myself totally burned out, and sick of the local scene.
In a moment of insanity, I joined the US Navy, did some traveling, and played with some really hot musicians from all around the country.

After six years in the Navy, I moved back to Dothan and started all over again, but that’s another story for another time…
Frank Tanton

and now we finally see THE HEARTBREAK OF BRAIN FARTS!!!!

Roberto--Glad Rodney remembered that guy's name. I couldn't. So here is the actual line up in the Photo: Rodney Justo, David Adkins, John Rainey Adkins, B. J. Thomas, Jimmy Dean, Charlie Silva, and John Stroll.
Jimmy Dean

left to right: Larry Holmes, Frank Tanton, George Cheshire, Kenneth Griffith, Lamar Alley.
This was the house-band for the Flamingo Club in Dothan back in 1972.
[HEY FRANK! How 'bout shooting me that pic of the version of BEAVERTEETH with Kenneth in it. Where it went is a mystery to me. I suppose it went straight from your email to the Internet and then into oblivion. It sho' didn't end up in no file.Sorry to trouble you.]

From : Kenneth Griffith
Sent : Sunday, February 26, 2006 1:28 PM
To :
Subject : A year in the life

Hi, Robert.

I'm enjoying reading you blog and looking at the great pictures. I never have found a copy of that first Atlanta Rhythm Section album on CD. Rodney Justo probably knows where some are, but I don't know how to get in touch with him.

Some of the things you've posted recently reminded me of things in my past. If you'll indulge me for a few moments I'll tell you about it.

I was barely 19 in the fall of 1970 when my parents took me to the Greyhound bus station in downtown Dothan where I boarded a bus for Muscle Shoals. A job was waiting for me there as the staff bassist in a little second-tier studio named "Widget." The studio was not far down the street from Muscle Shoal Sounds studio. The house band at Widget was to work on projects for the studio plus cut demo tracks with the Muscle Shoals Horns, which was then comprised of Harrison Calloway, Ronnie Eades, and Harvey Thompson. In my time there I recorded a fair amount of material that never saw the light of day as far as I know, and remember recording one demo for Harrison Calloway that was later recorded by Z.Z Hill. Joe Cocker and Leon Russell were recording at MSS while I was at Widget. I didn't meet Eddie Hinton but he was there, and I heard he had recently sold his Lincoln to pay for strings to be put on his record. I met all the Swampers: Barry Beckett, Roger Hawkins, Jimmy Johnson, and Roger Hawkins. I also met Donnie Fritz, whose grand piano was used on a lot of Widget recordings. There was also buzz in MS about a band from Florida that had recently been there but had move on: Lynyrd Skynyrd. They were still a few years away from hitting it big.
[wwwwwwwwwwyker & Court Pickett also recorded at WIDGET.-ed.]

Despite being at the fringe of all these great things, Muscle Shoals was very cold for a boy who'd grown up in the milder weather of the Wiregrass, and I got homesick. When David Adkins called me in the spring and told me that he and John Rainey were putting together a new band that would also be the staff band for Playground Studio in Valparaiso, I was ready to come home. That band became the original Beaver Teeth. The lineup was David Adkins on drums and vocals, Lamar Alley on vocals and guitar, Larry Shell on vocals and guitar, John Rainey Adkins on guitar and vocals, and me playing my Hofner bass. Larry Shell was a great singer/songwriter who later went on to some success as a song publisher in Nashville. Beaver Teeth was named by John Rainey because of Larry's prominent buck teeth. That was a good band, and was to my thinking the most unique of the several Beaver Teeth incarnations, though later versions of the group may have been better. I recorded quite a few sessions at Playground Studios with Larry, David, and John Rainey. That was a great time for me, but it didn't last. Late that summer when I just turned 20, Larry and Lamar left the band. We had made a couple of trips up to Atlanta to see the new studio Buddy Buie was building in Doraville. Me being on the chubby side, several people thought it would be a good idea for me to see Dr. Rankin, whose office was in the building housing the Buie/Cochran offices and the old Mastersound studio, where the Classics IV and Candymen had recorded. Actually a lot of hits of the late 60's came out of that Mastersound Studio. (One aside about Playground Studios in Valparaiso, Findley Duncan operated that studio for years, and he had old tapes of the Allman brothers (just the brothers, not the band) when they'd recorded there.)

photo courtesy of
The '77 version of BEAVERTEETH
L TO R: Jeff Cheshire, David Adkins, Rodney Justo, Larry Hunter, Mike Turner, John Rainey Adkins

On one trip to Atlanta, I remember cutting a couple of songs for Wilbur Walton when Studio One was new. David played drums, Paul Goddard, the great ARS bass player, played rhythm guitar, I played bass, and I think Dean Daughtry played piano. I bet Wilbur still has those tapes.

image courtesy of James Hodges
The Japanese version of 24hrs. features a psychodelic Wilbur sporting a deep tan.
He be done bleached out by now.

After Larry and Lamar left Beaver Teeth, David moved to guitar, Frank Tanton was added on keyboards, and Charlie Silva came in on drums and lead vocals. Charlie was a great drummer and singer, but his biggest talent was that he could do something called the "helicopter" with a certain part of his anatomy. This also made him quite popular with the ladies. That version of Beaver Teeth only lasted a couple of months, but we did record some sessions at Studio One, with Ronnie Hammond as the engineer. Frank and I then left the band. I was replaced by Jack Lane, who had to have been the best bass player in the world--he was phenomenal. Clark Craits took over the keyboard job. Jack Lane was the bass player for several months, and when he left Jimmie Dean, another really great bass player took over that job, keeping the bass chair for several years.

B.J. Thomas with BEAVERTEETH when they played The Bitter End in New York City
l. to r.: Rodney Justo, David Adkins, John Rainey Adkins, B.J. Thomas, Jimmy Dean, Charlie Silva, Jon Stroll

After I left Beaver Teeth, I played with almost every band in Dothan: Norman Andrews and the Concrete Bubble, Wilbur Walton, Jr. and Blackhawk (we played one summer at the Hang Out in PC), Strawdawg, MG and the Capers. In my mid-twenties I went off to school at Auburn to study agronomy and have never played professionally again, though I still play and try to keep up my chops.

This is a long letter, and somewhat self-indulgent, but my life has crossed that of a lot of the people's whose stories you've been posting here, and I think I may have filled in a few details.

Thanks for reading. I still wish I could find that ARS CD!


Sun, 26 Feb 2006 12:31:22 EST
Re: "Cuba, Alabama" Solicits Your Feedback Before Composing Tonight's Post!

It's great to hear from my ol' buddy Kenneth Griffith! He's given a good history of Beaver Teeth, reminding me of things I either have forgotten or didn't know. Kenneth doesn't do himself justice though---he was a truly fantastic bass player who we all loved to listen to. He played a fretless bass, which blew my mind. I tried playing one of those things and just couldn't handle it, so I stuck with my old Fender Jazz.

I didn't know Jack Lane and don't remember him--I took over the bass job in Beaver Teeth from Claude Bell. I stayed with the group for several years. It was during this period that the group became, thanks to Rodney Justo, B. J. Thomas' backup band. The line up was Charlie Silva, John Rainey Adkins, David Adkins, and me. Rodney would come on stage with B. J. as backup singer and guitarist.

After Charlie Silva got sick, Rodney came up from Tampa and became lead singer. At about that time, disco music was taking over, and after several months it became clear that to keep working we would have to change from our mostly Southern Rock-style to the disco format, which I intensely disliked, so I chose that time to quit music.

It's good to hear from Kenneth (who Farley Taylor once introduced on his radio show as "Little Kenny Griffin!").

Jimmy Dean

"robert register"
Re: "Cuba, Alabama" Solicits Your Feedback Before Composing Tonight's Post!
Sun, 26 Feb 2006 16:10:16 -0500

Kenneth, it's great to hear from you.(I guess it's called hearing,even though I'm reading)
I found a copy of the original ARS on CD in California recently.( I had another one that I bought on the internet but I gave it to someone) if you'll send me your address I'll burn you a copy.
By the way it's kinda' crazy that you no longer play.I have memories of you being an OUTSTANDING player.
Best Wishes......Rodney

"robert register"
Re: "Cuba, Alabama" Solicits Your Feedback Before Composing Tonight's Post!
Mon, 27 Feb 2006 00:38:28 +0000






ROBERT NIX/ALISON HEAFNER...............................................

Monday, November 06, 2006

Hey y'all:

This is going out to anyone I feel can help us
Auburn Week In T-town '06,
Monday,November 13 until Saturday,November 16.

Buddy will appreciate any and all media exposure during this week and that includes SOUTHERN LIVING!!!!,13676,583492,00.html


Monday morning, November 13,
Buddy will be of Channel 6 Fox's TV GOOD DAY ALABAMA


Matt Coulter on JOX

Buddy will then head toward Huntsville to appear on Thom Abraham's show on Tuesday afternoon.

On Wednesday, November 15, we plan to cover Tuscaloosa starting with Wally & Dave on WTBC
, then Catfish Country
and Tiger Jack

Kip Tyner's show is scheduled at noon on Wednesday.

In the afternoon we want to do something at the Movie Gallery on THE STRIP.

if it feels right,
help us out!


Sunday, November 05, 2006


We talkin' 'bout
Paul Hornsby
Bill Stewart
Scott Boyer
Johnny Sandlin
Tommy Talton

Paul Hornsby, Bill Stewart, Scott Boyer, Johnny Sandlin & Tommy Talton

Scott Boyer & Tommy Talton of THE CAPRICORN RHYTHM SECTION with "guests" Gregg Allman & Leroy Parnell


Hey y'all:

Well the big news this week was the information I received about the Forbes Purchase, Jerry Henry's interview with Greg Haynes in The Planet Weekly and the "Only The Lonely: the Life & Music of Roy Orbison" events in Cleveland

As many of you know, my first love in the field of American History is the fifty year formative period on the Gulf Coast between 1770 and 1820. Last week marked a milestone when I received invaluable information concerning The Forbes Purchase which has been called
This is a story which begins in 1792 when men under the leadership of William Augustus Bowles raided the Panton, Leslie & Company store located near where U.S. 98 now crosses the Wakulla between Crawfordville and St. Marks. The negotiations pertaining to the Forbes Purchase were an attempt by the company to cancel Indian debt in exchange for the Indians extinguishing their title to all the land between St. Marks and Destin.

Jim Tiger put together the table of Forbes Purchase maps and Joe Knetsch of the Florida State Lands office added details about original maps stored in Tallahassee. Jim Tiger reminded me that Joe Knetsch recently published a book on the Seminole Wars.

Read more about Joe Knetsch's FLORIDA'S SEMINOLE WARS, 1817-1858

To read more about the Forbes Purchase from "Cuba, Alabama" click on:

There was a big thunderstorm coming in Thursday afternoon as I cruised 4th Street looking for the latest copy of The Planet Weekly. Ironically, the new issue wasn't in the stand by Roly Poly but Jerry Henry was taking photos next door at Rhythm and Brews
so we sat down and rapped for about an hour as we avoided a true gully washer of a rainstorm. During our conversation, Jerry told me about his interview with Greg Haynes which will appear in the latest issue. Greg, who was raised in Waycross, is the Atlanta realtor who wrote THE HEEEY BABY DAYS OF BEACH MUSIC

Here's Jerry' interview with Greg which will appear in the November issue of The Planet Weekly

Epic; extending beyond the usual or ordinary, especially in size or scope.

That’s what Greg has written, an epic of 1960’s Southern rock and roll party music. It is big in size with 552 pages, has 800 photos, when open it covers almost 36 inches, and it weighs 10 pounds. It also contains two CDs of 60’s music and a CD-ROM of the bands covered and their members.

Tuscaloosa is represented well indeed. Right now, it has to be ordered on line at
I interviewed Greg by phone on a Sunday afternoon. I was his third interview of the day. The book is hot.
Greg is a very busy man.

Greg, I’m going to tell my readers that this is more than a book, it’s an epic.

(laughter) It didn’t start off that way. I never dreamed it would be that large. It just got out of control because so many people wanted to contribute. This is a subject that is very special to a lot of folks. It got started and went on and on.

Johnny Wyker told me about you writing this book two or three years ago. I kept wondering why it was taking so long. Once I received my copy I instantly knew why it took so long.

You have to realize I am not a professional writer. That’s what made it a whole lot more difficult than it should have been. Not having any back ground in this, I had to rely on a lot of other people. I had to get a lot of help.

Greg, virtually everyone I have interviewed for this page was mentioned in your book. It amazed me.

One of the things about Alabama that intrigued me was the amount of talent. Beach music is usually associated with the Carolinas. Beach music in the south is soul and R&B. Those genres come from Alabama, from Muscle Shoals.

I have been in touch with Paul Hornsby and have asked him to do a follow up interview to this one. He has roots in Alabama music also.

Right, all the way back before Hour Glass with the Allman Brothers. That Hour Glass album was great. It had “I’ve Been Tryin” and “Out of the Night.” Paul said “Out of the Night” was more or less a throw away song. But in the Carolinas it was considered a classic. Those guys were southern soul genius. Paul was at the Georgia Music Hall of Fame when we did the book debut in October. Wilbur Walton (The James Gang) was also there. Paul idolized Wilbur. They used to do a lot of the music that Wilbur had done. He was a legend to Paul. He really had a lot of admiration for him.

You tell a great deal about a junior high school band from Tuscaloosa called The Misfitz.

Tiger Jack had them on TV there. That got them a lot of notoriety. When we would ask about bands in Alabama, The Misfitz would always be named. They must have played a whole lot around there.
They played the national guard armory and the YMCA because back then that was about the only place to play around here.
It was the same everywhere. Bands had to play in national guard armories all over the south. Man, if those armories could talk. I remember seeing The Romans and The Bushmen in high school auditoriums and national guard armories.

Your book devotes a lot of space to The Swingin’ Medallions.

The Tams and The Swingin’ Medallions were always the money makers. They could always bring the people in. They made for a party atmosphere. It was a good feeling just to be in the same building with those guys. I was with The Tams last Friday night and when you hear those songs you still get that same feeling. They still create that party atmosphere in 2006. They are part of the never-going-to-give-
it-up club. Music is in their blood.

Did you play a musical instrument?

No I never played. If you notice the photo of me holding the guitar in the book, I’m holding the
guitar upside down. (laughter)

Did you have a full time job the whole time you were putting this book together?

Yeah, I’m in the real estate business. I’m a industrial real estate broker with C.B. Richard Alice in Atlanta. I’ve been with them for 27 years. I’ve had a very successful real estate career and that’s the only way I was able to do this book. There wasn’t a publisher out there that would have touched this book. I basically had to finance it. I don’t look at it as an investment. I got caught up in it. I started off wanting to tell about those days when I was a promoter. I was still in high school. But I was more of a fan than a promoter. I had to do this as I could. I kept telling everybody it was almost through. Then I would have to eat my words because there was always another story, always another band to cover. I felt obligated to get involved as much as I could. I still feel that I have missed some bands that should be included. But all you can do is do the best that you can do.

Everyone that I have talked to that has seen the book thinks it’s great. Just like me, they want to tell everybody.

That’s what I am counting on, word of mouth. It’s very hard for a guy without a publisher or a public relations firm to get any publicity at all much less any distribution. Barnes and Noble has contacted me. Those three pages of acknowledgments should show the scope of this project. They have all been so very supportive. Like Chuck Leavell, as successful as he is, he has been so accessible. I had gotten a photo from Tiger Jack of The Misfitz but it was lo-res and I needed a better photo. I emailed Chuck and he sent me a great photo and a story to go along with it. Randall Bramblett was a little harder but once he found out about what we were doing he loved talking about his days as lead singer for King David and the Slaves. People remember these bands. They remember those parties at the fraternity house.

If you had to tell somebody about your book and they had never heard of it, what would say?

I would tell them that this is a book about a musical happening in the 60’s. There were a lot of great black R&B artists that young white college bands were emulating. These young white college bands tried to sound like them. There was a very collaborative effort between blacks and whites during this time and it was called soul music, or in the Carolinas, beach music. It was party music. It didn’t matter if it was in a place that sold alcohol or a place that didn’t. The music was very intoxicating whether with alcohol or a Coke. People were Shagging, Bopping, Jitterbugging, or the Monkey. It was a time when live music was king. This was music made in the south, most of it in Muscle Shoals, Stax in Memphis, Master Sound in Atlanta, or Arthur Smith in Charlotte. That time was very special to me. I never really made much money promoting bands and shows. It was just a wonderful personal experience. Getting to know some of these musicians. The chemistry between the band and the audience. Johnny Wyker said it best. He said “it was a time when real musicians played real instruments to live audiences.” Johnny was just like us: we were there, we lived it.


Buddy Buie and Rodney Justo traveled up to Cleveland this weekend to participate in the events surrounding "Only the Lonely: The Life & Music of Roy Orbison" sponsored by Case Western Reserve University and The Rock & Roll Hall of Fame.

Here's the stuff that Buie and Rockin' Rodney did yesterday:

Saturday, November 4:

Daylong Conference at Case Western Reserve University’s Ford Auditorium, 9:00 a.m. – 5:00 p.m.

Participants will include Billy Pat Ellis of the Teen Kings (one of Orbison’s first groups), Virgil Johnson of the Velvets, a vocal group discovered by Orbison, Grammy-winning author Colin Escott, former Sun Records engineer Cowboy Jack Clement, Sun Records guitar slinger Roland Janes, Fred Foster, former members of Orbison’s road bands, including Buddy Buie, Rodney Justo, Terry Widlake, and Bucky Barrett, author Chet Flippo, and author Peter Lehman. Tickets are $30 will be available to Museum members starting Friday, September 21 through Ticketmaster and the Museum box office. Tickets for the general public will go on sale Wednesday, September 27 also through Ticketmaster and the Museum box office.

Saturday, November 4, 8:00 p.m. at Playhouse Square’s State Theater: A tribute concert, in honor of the great Roy Orbison. The concert will feature Glen Campbell, Raul Malo (formerly of the Mavericks), Ricky Skaggs, the Velvets, Patty Griffin, the Crickets (with Sonny Curtis), Tift Merritt, Mandy Barnett, Cowboy Jack Clement and Billy Burnette, who will serve as the bandleader for the night. More surprise artists will be announced over the coming weeks. Tickets are $30, $40 and $50. Museum members can purchase tickets for the tribute concert at 216.515.8427 starting Thursday, September 21. Tickets go on sale to the general public on Wednesday, September 27 through and at Playhouse Square.

Exhibit Open at Rock and Roll Hall of Fame and Museum:

An exhibit, entitled “Haunting & Yearning: the Life and Music of Roy Orbison,” opened to the public on April 19, 2006 in the Museum’s Circular Gallery. The exhibit includes handwritten lyrics and set lists, production notes, handbills, clothing, rare records, instruments, pieces from Orbison’s model plane collection and other personal artifacts. It will remain open through December 31, 2006.

The exhibit coincides with the release of Legacy Records Roy Orbison Reissue Project. The first Legacy releases are Black & White Night, the 1987 star-studded concert originally aired as an HBO-Cinemax special, and the long-awaited The Essential Roy Orbison, the first-ever “best of” collection spanning Orbison’s entire career. Black & White Night and The Essential Roy Orbison are currently in stores.

During his remarkable career, Roy Orbison received multiple Grammy awards including the prestigious Lifetime Achievement award and is also a member of the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 1990, two years after his death, Roy received a Grammy for best male vocalist for his performance of “Oh! Pretty Woman” from Black & White Night. The love and respect for the writer and singer, Roy Orbison, didn't end the day he died in December of 1988, and it is still ongoing.

The singer was enjoying a successful comeback, on his own and with the Traveling Wilburys, when he died of a heart attack on December 6, 1988.

I can't wait to hear details of Buddy and Rodney's trip to Cleveland. I know it was Buddy's first opportunity to visit THE HALL OF FAME. Don't know about Justo but I'm sure they'll bring back some terrific memories. They both shared the stage at Ford Auditorium at Case Western Reserve University yesterday afternoon with Terry Widlake and Buck Barrett for an interdisciplinary session called the ROY ON THE ROAD Panel.

I'd love to get down to Dothan of Friday, November 17 to hear DEEP SOUTH
at Cowboys (a.k.a. The Dirty Bird) but dat's Auburn week in T-town.

Well, dat's 'bout it fo' now my ninjas.
Enjoyed hearing from some old souls from the past last week.

Take a little time to let us hear from ya'
and keep those cards and letters coming!