Thursday, October 02, 2008


DEREK TRUCKS, TOY CALDWELL & DEREK'S DAD
imagea courtesy of Robert Nix




Bonjour Robert,

Comment avez-vous commencé la musique ?

Hello Robert,

How did you start the music?

I just went crazy when I was a very young kid listening to Elvis, Fats Domino, Little Richard, Sam Cooke, James Brown, Ray Charles, and later Otis Redding.

Je suis juste devenu fou quand, très jeune, j'écoutais Elvis, Fats Domino, Little Richard, Sam Cooke, James Brown, Ray Charles et plus tard Otis Redding.


Quelles sont vos influences en tant que batteur ?

What are your influences as a drummer?

Joe Morrelo (Dave Brubeck Quartet), Hal Blaine, Cozy Cole, Buddy Rich, and all drummers playing Rock and R and B.

Joe Morrelo (Dave Brubeck Quartet), Hal Blaine, Cozy Cole, Buddy Rich et tous les batteurs jouant du rock et du rhythm and blues.


Quand avez-vous rejoint Roy Orbison ?

When did you join Roy Orbison?

1964

1964


Vous jouiez dans d'autres groupes ou avec d'autres artistes avant ?

Did you play before in other bands or with other artists?

Yes, I played with Jazz Cats, Black R and B Guys, Country older guys, and all kinds of young Rockers in Jacksonville, Florida growing up. It was a great place to experience all types of music.

Oui, j'ai joué avec les Jazz Cats, avec des noirs jouant du rhythm and blues, avec des types plus vieux qui faisaient de la country et tous les genres de jeunes rockers à Jacksonville en Floride. C'était un super endroit pour expérimenter tous les types de musique.


Combien de temps ça a duré avec Roy Orbison ?

How long did you play with Roy Orbison?

I played 5 or 6 years off and on.

J'ai joué cinq ou six ans.


C'est après que les Candymen se sont formé ?

Was it after that the Candymen were formed?

No. We actually formed as a back up band for Roy Orbison. Later we developed into making our own music and got a record deal with ABC Parmount Records in New York. We came very close to moving to London and signing with a company owned by Graham Nash and Ron Richards. When the Beatles were recording "Sergent Pepper's" they took a night off and let us use their equipment and engineer at Abbey Road Studios with Graham Nash producing. Our manager and Graham didn't get along so we came back to Atlanta and Bill Lowery got us the record deal.

Non. En fait, on s'est formé en tant que groupe pour accompagner Roy Orbison. Ensuite, on s'est mis à faire notre propre musique et on a eu un contrat discographique avec ABC Paramount Records à New York. On a failli venir à Londres et signer avec une compagnie que possédaient Graham Nash et Ron Richards. Quand les Beatles enregistraient "Sergent Pepper's", ils ont fait un break d'une nuit et ils nous ont laissé utiliser leur équipement et leur ingénieur aux studios Abbey Road avec Graham Nash à la production. Notre manager et Graham ne se sont pas entendus, on est donc revenu à Atlanta et Bill Lowery nous a obtenu le contrat.


Vous avez fait deux disques ?

You released two discs?

Yes.

Oui.


Quel était le style ?

What was the style?

Beatles, Dylan, and some of the southern roots we grew up on.

Les Beatles, Dylan et certaines des racines sudistes avec lesquels on avait grandi.


Quand et pourquoi le groupe a-t-il disparu ?

When and why did the band disappear?

I was the first to leave the band. I wanted to concentrate on writing, producing, and playing drums on hit records. Consequently I got my first hit record with a song I wrote with Bill Gilmore almost immediately. It was "Cherry Hill Park" by Billy Joe Royal.

J'ai été le premier à quitter le groupe. Je voulais me concentrer sur l'écriture, la production et jouer de la batterie sur des hits. J'ai eu presque immédiatement mon premier hit avec une chanson que j'ai écrite avec Bill Gilmore. C'était Cherry Hill Park" par Billy Joe Royal.


Comment s'est passée la création de l'Atlanta Rhythm Section ? Qui a choisi de réunir ces musiciens là ?

How occurred the creation of the Atlanta Rhythm Section? Who has chosen to put together those musicians?

We were the studio musicians in Atlanta as a rhythm section. Buddy Buie and Bill Lowery were the catalysts behind us becoming our own group, writing our own songs for ourselves. We’d had hits by a lot of different artists and it just felt right to finally do our own thing. Bill Lowery named us the Atlanta Rhythm Section

On était des musiciens de studio à Atlantat et on formait une section rythmique. Buddy Buie et Bill Lowery on était les catalyseurs derrière nous qui nous ont amené à devenir un groupe par nous même, à écrire nos propres chansons pour nous-mêmes. On a eu des hits par pas mal d'artistes différents et on a senti qu'il était temps de faire notre propre truc. Bill Lowery nous a baptisé l'Atlanta Rhythm Section.


How did you join the rhythm section?

Did you know the others players before?


Au début, vous n'étiez que des musiciens de studio. Comment et quand vous êtes vous transformé en groupe à proprement parler ?

At the beginning, you were only sessions musicians. How and when did you transformed as a true band?

We were offered a deal as a band with MCA (Decca) and so we did it.

On nous a offert un contrat en tant que groupe avec MCA (Decca) et voilà comment c'est arrivé.


À partir de quand avez-vous fait des concerts ?

From when did you play concerts?

Really started out slow just playing a few dates. Ronnie Van Zant had a major impact on us really going on the road more. He would hang out with us at Studio One. Lynyrd Skynyrd would be recording all day and then we would go in at night. He would listen to us and say “ shit man, ya’ll got to take it to the people.” A lot of our first gigs were on the road with Skynyrd.

Ça a commencé doucement, en jouant juste quelques dates. Ronnie Van Zant avait eu un impact majeur pour tourner d'avantage. Il trainait avec nous au studio One. Lynyrd Skynyrd enregistrait toute la journée et ensuite, on venait la nuit. Il venait nous écouter et disait "Merde, les gars, on va montrer ça aux gens". Pas mal de nos premiers concerts se sont fait avec Skynyrd.


Quelle était votre set-list à ce moment là ?

What was your set-list at this time?

A lot of the songs from "Back Up Against the Wall" and "Red Tape". Plus a couple of cover songs . I recall some of the Band’s songs and McCartney’s "Live and Let Die".

Pas mal de morceaux de " Back Up Against the Wall" et de "Red Tape" plus quelques reprises. Je me rappelle qu'il y avait quelques chansons du Band et "Live And Let Die" de McCartney.


En tant que musiciens de studio, qui l'Atlanta Rhythm Section a-t-elle accompagné ?

As sessions musicians, who did the Atlanta Rhythm Section backed?

Dennis Yost and the Classics IV, Billy Joe Royal, Joe South, the Tams, B.J. Thomas. Just a few I recall. I also played drums on records with Paul Davis, Ike and Tina Turner, Lynyrd Skynyrd and I played on several projects with Al Kooper.

Dennis Yost et les Classics IV, Billy Joe Royal, Joe South, the Tams, B.J. Thomas. Il s'agit justes de quelques uns dont je me rappelle. J'ai aussi joué de la batterie sur des disques de Paul Davis, Ike et Tina Turner, Lynyrd Skynyrd et j'ai joué sur plusieurs projets d'Al Kooper.


Le premier disque de l'Atlanta Rhythm Section est sorti en 1972. Avez-vous mis longtemps à le préparer ?

The first disc of the Atlanta Rhythm Section was released in 1972. Did it take time to prepare?

Not a lot. We sort of it in between our other recording/writing commitments. We were also playing on a lot of jingle/commercials. Coke, Dr. Pepper, Kentucky Fried Chicken, and sports teams like the Atlanta Braves baseball team.

Pas trop. On en a eu l'idée au milieu de nos autres engagements d'enregistrement et de composition. On jouait aussi sur pas mal de jingles et de pubs. Coca Cola, Dr. Pepper, Kentucky Fried Chicken et des équipes de sport comme l'équipe de Baseball Atlanta Braves.


Les morceaux de l'Atlanta Rhythm Section sont la plupart du temps écrits à plusieurs et on retrouve souvent votre nom. Comment se passait cette composition à plusieurs ?

The songs of the Atlanta Rhythm Section are most often written by several people and we often found your name. How happened this songwriting by several?

Buddy Buie, J.R. Cobb, Dean Daughtry, and I were the catalysts for most songs, but we wrote with everyone. I just liked to write with anyone, any place, any time. I feel real blessed to have shared credits with so many different ones.

Buddy Buie, J.R. Cobb, Dean Daughtry et moi étions les catalyseurs de la pupart des morceaux mais on écrivait avec tout le monde. J'aimais juste écrire avec quiconque, à n'importe quel endroit et n'importe quand. J'ai le sentiment d'être béni d'avoir partager des crédits avec tant gens si différents


Pourquoi Rodney Justo a-t-il quitté le groupe après le premier disque ?

Why did Rodney Justo leave the band after the first disc?

Rodney Justo is a great artists and I think he just really wanted to spread his wings and fly in a lot of different directions. He left and to work in New York with Steve Tyrell (B.J. Thomas' manager) and artists like Stevie Marriot and Humble Pie as a tour manager.

Rodney Justo est un grand artiste et je pense qu'il voulait vraiment déployer ses ailes et voler dans pas mal d'autres directions. Il est parti pour travailler à New York avec Steve Tyrell (le manager de B.J. Thomas) et des artistes comme Steve Marriot et Humble Pie en tant que tour manager.


"Back Up Against The Wall" parait en 1973, année où Lynyrd Skynyrd sortait "Pronounced Leh-Nerd Skin-Nerd". Vous les connaissiez alors ? Vous ont-ils influencé alors ou plus tard ?

"Back Up Against the Wall" was out in 1973, when Lynyrd Skynyrd released "Pronounced Leh-Nerd Skin-Nerd". Did you know them at that time? Have you been influenced by them then or later?

Lynyrd Skynyrd is from my hometown, Jacksonville, Florida. I remember them playing local rock clubs like the Comic Book club. They were wild-assed kids, obviously very dedicated to making it. The next time I saw them tehy were Lynyrd Skynyrd. Still wild-assed kids making records at Studio One with Al Kooper producing. We all knew then that Ronnie Van Zant and the boys would kick the world's ass!

Lynyrd Skynyrd est de ma ville natale, Jacksonville en Floride. Je me souviens d'eux jouant dans des clubs locaux de rock comme le Comic Book club. C'étaient des gars sans complexe et visiblement très décidé à faire leur truc. La fois d'après où je les ai vu, ils étaient devenu Lynyrd Skynyrd. Toujours des gamins sans complexes enregistrant au Studio One avec Al Kooper à la production. On savait tous alors que Ronnie Van Zant et ses gars allaient faire un tabac.


Avez-vous parfois partagé les mêmes scènes ? Jammé ensemble ?

Have you sometimes shared the same stages? Jammed together?

Yes. We played a lot of shows with them before we started headlining. Yes we sometimes jammed together live.

Oui, on a joué pas mal de concerts avec eux avant qu'on commence à devenir tête d'affiche. Oui, parfois, on jammait ensemble en concert.


Quels furent les rapports de l'Atlanta Rhythm Section et de Lynyrd Skynyrd pendant ces années soixante-dix ?

What were the relationships between the Atlanta Rhythm Section and Lynyrd Skynyrd during the seventies?

We loved and respected each other. Ronnie used to say "ol' ARS is the best". I played the drums on "Tuesday's Gone". Ronnie told that it was one of his favorite tracks. I was very honored that Ronnie Van Zant and Al Kooper asked me to play on the record.

On s'aimait et on se respectait réciproquement. Ronnie avait l'habitude de dire "Ce cieil ARS est le meilleur". J'ai joué de la batterie sur "Tuesday's Gone"/ Ronnie disait que c'était un de ses morceaux favoris. J'ai été très honoré que Ronnie Van Zant et Al Kooper me demandent de jouer sur ce morceau.


Why you on this song and not Bob Burns, the Skynyrd drummer?


On ne sent pas tellement de parenté entre la musique des Allman Brothers et celle de l'Atlanta Rhythm Section mais vous ont-ils malgré tout influencé ?

It doesn't feel much kinship between the Allman Brothers music and the Atlanta Rhythm Section music but did the Allman Brothers Band nevertheless influence you?

When I was in the Candymen we would tour all over the world and come back home and play clubs all over Dixie. One group that impressed me more than any was the Allman Joys. Duane and Greg had something that you just knew would someday explode on the world. Our music (ARS and The Allmans) may have been a little different but we both had a common thread of class and style. That's undeniable! Duane Allman has influenced every gun slinger guitar player since he picked up his first bottle neck slide. Greg Allman is the blue-eyed, blond Ray Charles!

Quand j'étais dans les Candymen on tournait partout dans le monde et on revenait à la maison et on jouait dans des clubs partout dans le Sud (Dixie). Un groupe qui m'a impressionné plus que tout autre a été les Allman Joys. Duane et Greg avaient quelque chose dont vous saviez juste qu'un jour ça allait exploser à la face du monde. Nos musiques (ARS et les Allman) pouvaient être sensiblement différentes mais on avait en commun la classe et le style. C'est indéniable ! Duane Allman a influencé tous les guitaristes flingueurs depuis qu'il a enfilé son premier bottleneck. Gregg Allman est le Ray Charles blond et aux yeux bleus !


Quelles sont finalement les principales influences de l'Atlanta Rhythm Section ?

After all, what are the main influences of the Atlanta Rhythm Section?

There are really too many to name. Everthing from Jazz, Rock, R and B, even a little country and bluegrass, and some classical. It's just all over the spectrum. Me personally Bob Dylan, the Beatles, Roy Orbison, Bacarach and David, Joe South, Johnny Cash, All the old R and B soul guys. Buddy Buie and Bill Lowery also helped me shape my song writn in the beginning. God I wish these young writers today would, in the great words of Maya Angelu, "Don't spit on your history" and learn from it, the world would be so much more enlightened.

Elles sont vraiment trop nombreuses à citer. Tout du jazz, du rock, du rhythm and blues et même un peu de country et de bluegrass. Et un peu de classique. Ça couvre tout le spectre. Pour moi personnellement, ce sont Bob Dylan, les Beatles, Roy Orbison, Bacarach and David, Joe South, Johnny Cash, tout le vieux rythm and blues, les gars qui font de la soul. Buddy Buie et Bill Lowery m'ont aussi aidé au débutà façonner mon écriture des morceaux. Mon dieu, je souhaite que ces jeunes auteurs compositeurs d'aujourd'hui puissent, selon les grandes paroles de Maya Angelu "ne pas cracher sur leur histoire" et apprendre d'elle. Le monde en serait d'avantage éclairé.


Ces deux premiers disques ont-ils eu du succès ? Des passages radio ?

Have the first two discs been successful? Did you get some airplays?

Well, we got a lot of critical acclaim that seemed to set the course for everything that followed. Our first major break through radio/fanwise was the "A Rock and Roll Alternative" album. Because of the single "So Into You". Consequently the tuoring dollars radio airpaly and everything else translated into success.

Bon, on a eu pas mal de bonnes critiques qui semblaient annoncer tout ce qui a suivi. Notre première percée majeure par la radio et auprès de nos fans a été l'album "A Rock and Roll Alternative" à cause su single "So Into You". Tous les passages radios et tout le reste se traduisait en succès.


De ces deux disques, les morceaux restent me semble-t-il assez méconnu. Comment les voyez-vous avec le recul ?

Of these two discs, it seems to me that the songs remain quite unknown. How do you see it in retrospect?

The songs led us on a path of 'getting it right" on the radio. I think my last answer pretty much covers that.

Ces chansons nous ont permis de progresser dans l'art de faire les choses de la bonne manière pour la radio.


Comment et pourquoi l'Atlanta Rhythm Section est-elle alors passé chez Polydor ?

How and why went the Atlanta Rhythm Section to Polydor?

After two albums with MCA (Decca) we just felt like we weren't geting what we needed in promotion and tour support to break through. MCA/Sounds of the South had Skynyrd and although we liked Mike Maitland, the president of MCA, we felt we would be bigger fish in a littler pon at Polydor records. We also loved Jerry Shonbaum and Arnie Geller at Polydor.

Après deux albums avec MCA (Decca), on sentait qu'on n'obtenait pas ce dont on avait besoin en terme de promotion et de support pour les tournées pour nous permettre de percer. MCA/Sounds Of The South avait Skynyrd et bien que nous aimions Mike Maitland, le président de MCA, on avait le sentiment qu'on serait un plus gros poisson dans un plus petit aquarium chez Polydor records. On aimait aussi Jerry Shonbaum et Arnie Geller chez Polydor.


À partir de "Third Annual Pipe Dream" (1974), vous êtes crédité comme producteur associé. Vous aviez alors un rôle plus important dans ce domaine ? En quoi cela consistait-il ?

From "Third Annual Pipe Dream" (1974), you are credited as associate producer. Did you have then a more important role in this field? What was it?

Actually I played a major role from the inception of ARS. Buddy Buie and I were 'joined at the hip' about all things to do with ARS. We wrote the major hits. We dreamed the album concepts together. Even the art work. We planned out every session together over many cups of black coffee and various other 'sundries'. We even called Phil Walden and Alex Hodges at Paragon late one night to see if they would book the band. They said "yes" and the rest is history. I regret that Buddy Buie and I did not continue to write/produce/ and just dream about what could be and make it happen.

En fait, je jouais une rôle majeur depuis le début de l'ARS. Buddie Buy et moi-même étions "soudés par la hanche" concernant toutes les choses à faire concernant ARS. On a écris les succès majeurs. On rêvait ensemble aux concepts des albums. Même les pochettes. On planifiait ensemble chaque session au dessus de bien de tasses de café noir et de différents autres "articles". On a même appelé Phil Walden et Alex Hodges à Paragon tad une nuit pour savoir s'ils pouvaient prendre le groupe. Ils ont dis "Oui" et le reste, c'est de l'histoire. Je regrette que Buddy Buie et moi ne continuions pas à écrire, produire et juste rêver sur ce qu'on pourrait faire et faire que ça se réalise.


About the artworks, most of the ARS LPs have incredible covers, some of the best in the rock history. These artworks, it was your ideas or i twas Mike McCarty's ideas, the man who made the pictures?


On parle souvent de Barry Bailey comme étant le guitariste lead et de JR Cobb comme le guitariste rythmique. Je suppose que JR Cobb prenait quand même certains soli. Dans quelle proportion environ ?

Often, Barry Bailey is regarded as the lead guitarist and JR Cobb as the rhythm guitarist. Nevertheless, I guess JR Cobb took some solo. What was approximately the proportion?

Barry Bailey and J.R. Cobb are twoo of the greatest guitarists in the world. Barry ss like a strativarious player and J.r. is like B.B King, Steve Cropper, Chet Atkins, or anybody he wants to be. Both have one thing in common, they were born to play the guitar and play it with heart and soul.

Barry Bailey et J.R. Cobb sont deux des plus grands guitaristes du monde. Barry est comme un joueur de stradivarius er JR. Cobb est dans la lignée de B.B. King, Steve Cropper, Chet Atkins et de n'importe qui qu'il voudrait être. Les deux ont une chose en commun, ils sont nés pour jouer de la guitare et pour la jouer avec le coeur et l'âme.


Au dos de "Dog Days" (1975), on voit le groupe en concert. Vous faisiez combien de dates par an ?

On the back sleeve of "Dog Days" (1975), we see the band in concert. How many dates a year did you play?

One year, I believe it was '78, we played 262 dates on the road, wrote the songs to "Campagne Jam" and recorded the album. I personally did not see my family but two of three times in the year.

Une année, je crois que c'était en 1978, on a joué 262 dates, on a écrit les morceaux de "Champagne Jam" et on a enregistré l'album. Personnellement, je b'ai pas vu ma famille si ce n'est deux ou trois fois dans l'année;


Vous faisiez encore des enregistrements en studio pour d'autres artistes comme au début ?

Were you still recording sessions for other artists as in the beginnings?

No !

Non


"Red Tape" (1976) est l'album le plus rock, le plus hard de l'Atlanta Rhythm Section. C'était une volonté délibérée de faire un disque plus rock ?

"Red Tape" (1976) is the most rock album, the Atlanta Rhythm Section hardest. Was it a deliberate attempt to make a more hard rock album?

It was for me personally. Buddy comes from more of a softer side of rock then me. Every time I could influence things my way I would. We actually got in a fight one time because I called him Pat Boone and told him I was more like Elvis Presley. But I think we were great together when we got it right. I was in total disagreement with the direction we went in after "Champagne Jam". A lot of things happened after that record that caused Buddy, the band and me to disagree. I was pretty much over the edge with a lot of creative depression. Drinking and drugging really entered the picture and I know I was hard to live with

C'était à cause de moi. Buddy est issu d'un courant du rock plus doux que le mien. Chaque fois que je pouvais influencer les choses dans mon sens, je le faisais. En fait, on a eu une dispute une fois parce que je l'appelais Pat Boone et que je lui disais que je ressemblais d'avantage à Elvis Presley. Mais je pense qu'on faisait de grandes choses quand on s'accordait. J'étais en total désaccord avec la direction qu'on prenait après "Champagne Jam". Pas mal de choses se sont produites après ce disque qui ont fait que Buddy, le groupe et moi n'avons plus été d'accord. J'étais plus ou moins sur la touche avec une dépression créative. L'alcool et la drogue se sont ajoutés à ce tableau et je sais que c'était difficile de vivre avec ça.


Pourquoi avoir repris "Another Man's Woman" déjà enregistré sur le premier LP ?

Why to have included "Another Man's Woman" already recorded on the first LP?

We just felt "Another Man's Woman" was a live vehicle and we developed it into a great bass solo for one of the greatest bass players on earth, Paul Goddard.

On avait le sentiment que "Another Man's Woman" était fait pour le live et on l'a développé avec un grand solo de basse pour un des plus grands bassistes de la terre, Paul Goddard.


Oh yes, what an incredible bass player! Could you tell us about his personality, about his importance in the Atlanta Rhythm Section?


En 1976, vous sortez un second disque, "A Rock And Roll Alternative" avec toujours de superbes morceaux. Entre les concerts, la composition et l'enregistrement, le rythme de vie devait être dément ?

In 1976, you've released a second disc, "A Rock And Roll Alternative" always with great songs. Among concerts, songwriting and recording, the life pace should have been insane?

Yes, pretty muc crazy. Plus touring with Skynyrd, Marshall Tucker, Charlie Daniels, ZZ Top, Wet Willie, 38 Special, and everyone else, it was awesome. We really thought we were all supermen

Oui, c'était assez fou. En plus, on tournait avec Skynyrd, Marshall Tucker, Charlie Daniels, ZZ Top, Wet Willie, 38 Special et d'autres. C'était terrifiant. On pensait vraiment qu'on était tous des supermans.


"So Into You" aura été votre plus grand succès ?

Has been "So Into You" your greatest success?

"So Into You" broke us out of an opening act/regional/cult following band. Due to the major radio performances to this day, it's one of our biggest performing songs at BMI.

"So Into You" nous a fait passer du statut de groupe régional de première partie à celui de groupe culte. Du fait des nombreuses diffusions radio jusqu'à aujourd'hui, c'est une des nos chansons les plus performantes chez BMI.


Avez-vous pressenti un tel succès ?

Did you feel that you'll get of a success like that with that song?

Le morceau "Champagne Jam" sur l'album du même titre (1978) est un peu dans la même veine. Vous avez essayé de créer un autre "So Into You" ?

The "Champagne Jam" song on the album of the same title (1978) is a little in the same vein. Did you try to create another "So Into You"?

Not really. "Champagne Jam" is just a kind of concept song about rockers having fun being classy instead of rotgut. "Imaginary Lover", which was a major hit, I would frame more in the vein of "So Into You". A radio friendly pop/rock hit. It's also next in line with radio airplay performances at BMI.

Pas vraiment. "Champagne Jam" est juste un genre de chanson sur les rockers prenant du plaisir en buvant chic plutôt que du tord boyaux. "Imaginary Lover" qui a été un hit majeur, je le vois d'avantage comme étant dans la veine de "So Into You". Il a été conçu pour en faire un succès pop/rock. Il est aussi sur la ligne suivante pour les performances de diffusion radio chez BMI.


Que pensez-vous de ce disque ("Champagne Jam") ? Il y a de très bons morceaux, il s'est très bien vendu mais il me semble plus froid, moins vivant.

What do you think about this disc ("Champagne Jam")? There are very good songs, it has sold very well but it seems to me colder, less alive.

I think it is a great phonograph record. I believe it is a great link in the chain from "A Rock and Roll Alternative".

Je pense que c'est un grand disque. Je pense que c'est un des grands maillons dans la chaine depuis "A Rock and Roll Alternative".


"Underdog" (1979) semble ensuite plus intimiste, mélancolique. À quoi est due cette évolution ?

"Underdog" (1979) then seems more intimate, melancholy. What is the reason of this change?

"Underdog" seems to me to be where we lost our sight of where we should have been headed. I personally would have liked to have gone more rock 'aka' "Red Tape". I truly believe that record was our downfall. That's just my opinion and they are like assholes, everybody has one.

"Underdog", ça me semble être le moment où on a perdu de vue ce vers quoi on devait tendre. Personnellement, j'aurais aimé le faire plus rock comme "Red tape". Je pense vraiment que ce disque a été notre ruine. C'est juste mon opinion et ils sont comme des trous du cul. Chacun a les siens.


Quand et pourquoi avez vous quitté le groupe ?

When and why did you leave the band?

Right after "Underdog". A total creative breakdown. I just thought we should be going in another direction. I was very hard to live with and was given my 'marching orders'.

Juste après "Underdog". Une panne totale de créativité. Je pensais simplement qu'on aurait dû aller dans une autre direction. C'était très difficile à vivre et qu'on me donne mes "ordres de marche".


Vous n'êtes pas crédité sur le double LP live "Are You Ready!" mais on ne voit pas la photo non plus de votre remplaçant Roy Yeager. Qui était à la batterie ?

You're not credited on the double live LP "Are You Ready!" but we don't see rather the photo of Roy Yeager who replaced you. Who was on drums?

I was, but I think Buddy took Roy Yeager in the studio and 'tweaked' the tracks. After this all pictures of the band had me totally erased. I guess that was a management/band decision.

C'était moi mais je pense que Buddy a pris Roy Yeager en studio et a modifié les pistes. Après ça, sur toutes les photos du groupe, j'étais totalement effacé. Je suppose que c'était une décision du management et du groupe.


Quels sont les disques que préférez de cette période ?

What are the discs of this era that you prefer?

I love different cuts from different albums for different reasons. I would really dig putting together my own ARS Greatest Hits Tracks album.

J'aime différents morceaux de différents albums pour différentes raisons. J'aimerais vraiment bosser à compose mon propre album "ARS Greatest Hits".


What would be the track list of your "ARS Greatest Hits Tracks album"?


N'y a-t-il pas eu de concerts filmés dans les 70's qui pourrait laisser espérer un jour voir sortir un DVD concernant cette époque ?

Was there not been any concerts filmed in the 70's that could give the hope to see one day a DVD released about this time?

You'll have to ask Buddy Buie. I always thought that we should have been filmed and recorded live a lot more then we were. We played some pretty serious gigs from Kebworth England (205.000 fans) to the White House, to Day On the Green, not to mention our own Champagne Jam's. I really think that's one thing Lynyrd Skynyrd's management got right. They have so much footage recorded live on film. For some reason it didn't seem to matter much for the Atlanta Rhythm Section. Something else I totally disagreed with.

Il faudrait que vous le demandiez à Buddy Buie. J'ai toujours pensé que nous aurions dû être filmé et enregistré live beaucoup plus qu'on ne l'a été. A a joué des concerts pas mal importants depuis Kebworth en Angleterre (205.000 fans) jusqu'à la Maison Blanche, jusqu'au Day On the Green, sans parler de notre propre Champagne Jam. Je pense vraiment que c'est une chose que le management de Skynyrd a bien fait. Ils ont tellement de séquences de concerts en film. Pour quelque raison, il semble qu'il n'y ait pas trop de matériel pour l' Atlanta Rhythm Section. C'est quelque chose sur quoi je suis totalement en dédaccord.


Avez-vous encore des contacts avec vos anciens camarades de l'Atlanta Rhythm Section ?

Do you still have contacts with your former buddies of the Atlanta Rhythm Section?

Yes, I often speak to Buddy Buie. Dean Daughtry, Alison Heafner, and I have written some really great new songs together.

Oui, je parle souvent avec Buddy Buie, Dean Daughtry, Alison Heafner et on a écrit quelques super nouvelles chansons ensemble.


L'Atlanta Rhythm Section me semble un peu oubliée aujourd'hui (à ma connaissance tous les disques n'ont pas été réédités en CD) malgré des disques splendides. Est-ce votre avis ? [Si Oui] Pourquoi ?

The Atlanta Rhythm Section seems to me a little forgotten today (to my knowledge, all the discs haven't been released on CD) despite splendid discs. Is this your opinion? [If Yes] Why?

I think that the Atlanta Rhythm Section brand has been cheapened by constantly playing with non original members of the band. Plus there is no management/publishing/pr machine behind the band. ARS is only dignified by the still strong attention of radio airplay at the classic rock/southern rock level. This lives on only through the hit songs. There are no Bill Lowery's, Buddy Buie's, Arnie's, Alex Hodges', Buck Williams', Terry Rhoads', or Alex Cooley's behind the wheel anymore.

Je pense que la marque Atlanta Rhythm Section s'est dépréciée en jouant constamment avec des membres qui n'étaient pas d'origine. En plus, il n'y a pas une machinerie de management/publication/production derrière le groupe. La seule chose qui rende l'ARS digne est l'attention toujours forte portée par les radios au classic rock et au rock sudiste. L'ARS ne vit qu'à travers de ses hits. Il n'y a plus au gouvernail de Bill Lowery, de Buddy Buie, d'Arnie, d'Alex Hodges, de Buck Williams, de Terry Rhoads ou d'Alex Cooleys.


Qu'avez-vous fait après votre départ du groupe ?

What did you do after having left the band?

I've been working with Alison Heafner. She is one of the greatest singer/songwriter/performers I've ever come into contact with. I've been blessed to have worked with Roy Orbison, Billy Joe Royal, B.J. Thomas, Dennis Yost, Joe South, Al green, and the great Ronnie VanZant. Alison Heafner is a total artist in every since of the word and I put her at the top of the list.

J'ai travaillé avec Alison Heafner. C'est une des plus grandes chanteuse, auteur-compositeur, interprète avec qui j'ai été en contact. J'ai été honoré de travailler avec Roy Orbison, Billy Joe Royal, B.J. Thomas, Dennis Yost, Joe South, Al green et le grand Ronnie VanZant. Alison Heafner est une artiste totale dans tous les sens du terme et je la place en tête de liste.


Quels sont vos projets actuels ?

What are your current projects?


Jimmy Hall nous avait parlé de Deep South. Où en est le projet ?

Jimmy Hall talked us about Deep South. Where is the project?


Quels sont vos disques préférez de rock sudiste ?

What are your favorites Southern rock albums?

Sunday, July 20, 2003

William:

Ellicott and the Spanish commissioner, Minor, made a big deal about "this is simply a line of demarcation between our governments. This is in no way intended to rob you of your land. This is simply a question of jurisdiction and is not meant to disturb you in any way."(or some bull similar to that) Plus, the Indians had to allow the survey because they signed the Treaty of Colerain on the St. Mary's River in 1796.The big powwow that occurred at Ellicott's Observatory on the Chattahoochee in early August of 1799 ( the present-day "Fitch Place") was a "work-out session" to remind the Seminoles of their commitment to the survey.

Something that came to mind. Ellicott failed to mention that the line split the town of Chiscatalofa. Minor mentions it in his correspondence and addresses everything "Clisatalofa". Ellicott addresses everything "Camp on the Chattahoochee".

I believe it's by the U.S. Constitution: only the Congress can extinguish Indian title. Clearing Indian title is what lead to Fort Mims. The U.S. ignored the predicament of the Tombigbee people who had obtained title from three European powers over a period of one hundred years and yet the U.S. did nothing about the title reverting back to the Creeks and allowed the Tensaw people to be slaughtered.

Even though the Choctaws had extinguished their title to the land between the Chickasawhay and the Tombigbee on three occasions (French, English, Spanish), title reverted back to them when the Spanish evacuated in May of 1799. It was up to the U. S. to extinguish title.(plus there were Creek land claims there that the Choctaws could extinguish for the U.S. with an X of the pen and of course with the ubiquitious "one dollar and other valuable considerations"). The U.S. finally extinguished its first Indian title in present-day Alabama on October 17, 1802 (an event unacknowledged on its bicentennial last year),when General Wilkinson signed the Treaty of Fort Confederation with the Choctaws near present-day Epes, Al. That extinguished title to that 1.5 million acres north of Ellicott's Stone on the west bank of the Mobile and Tombigbee up to the old British line of demarcation(1765) and west to the Chickasawhay. In March 1803, the General Land Office established a land office in St. Stephens to lay out and sell this land. This was the first U.S. public land sold in present-day Alabama. The people on the east side of the river had clear French, British and Spanish titles yet the U.S. could never get the Creeks to relinquish title. As I said before, this was one of the major factors that led to the attack on Ft. Mims.

Yes, Mound #381(meaning: 381 miles east of the Mississippi River) was near the mound we found. I forgot what Greg's conclusion was but we could've found a witness mound(I think). It had the 8inch x 8inch square of wood mold in the center so it was one of the last group of mounds which included Ellicott's Mound but also the 1853 witness mounds built durings Whitner's retracement. Ellicott's #381 was in the center. Whitner's 1853 witness mounds were located in the four cardinal directions. I'm pretty sure Greg could get a big check from the National Surveyor's Foundation if he'd just turn in his findings. He'll get it done though by next March. We're gonna have another ASPLS Ellicott's Line Retracement Seminar at the Solon-Dixon Center near Andalusia in March. You oughta go to that. Plus, you'd love Solon-Dixon. It's run by Auburn and they gotta Turpentine Museum. And plenty of bunks. You could probably sleep two busloads.

I believe Chiscatalofa moved between the U.S. 84 bridge or Bryant's Creek and the mouth of Irwin's Mill Creek. The Fitches told me they find more artifacts north of the road we come in on (St. Stephens Base Line[ and at the riverbank,the location of Ellicott's observatory] ). The 7110.2 feet of Alabama land below the Fitch place (including all of Chattahoochee State Park: a fractional 16th section owned by both Florida and Alabama so nobody could figure out a way to steal it from the public schools so the northern fraction is now owned by the Alabama Public Schools and managed by the Conservation Department) was basically in Florida until 1854. It was homesteaded in Tallahassee in the 1820's and they are the oldest U.S. deeds in Florida. (for land now in Alabama)

I think the initial archaeology should occur around Ely's Landing (Ellicott observatory-Eastern terminus for the St. Stephens Base Line[which governs all land in Southeast Mississippi to the Pearl River] ) It is also is the northern most point on the globe governed by the Tallahassee Meridian which also governs land in Key West and the Dry Tortugas. Ask the Fitches about digging here.

Another site that must demand investigation is the area around Ellicott Mound #381 and the 90 foot spring. Ask Ansley about this.

One of my goals for the retracement seminar in March is to find Ellicott Mound #350 in Geneva County. It is labeled on the early territorial and state maps as "350 miles east of the Mississippi River".

Think I've taken care of it all. Hope you don't mind seeing yourself on the Internet but that's where you're heading. You'll be appearing on "cuba alabama" tonight at a moniter near you.

Hasta,

Roberto

Oh yeah. the historic marker. I'll give you a text but it will require both sides. We also need an "Ellicott's Observatory" and a "Tallahassee Meridian" along wid duh "Fohbzzz Puhchuss"

Wednesday, October 01, 2008

From Daniel Burnley~
http://www.myspace.com/danielburnley
The wild Southern comedy, SKIPTRACERS, which features a number of Atlanta actors not only warranted an encore screening, but won a jury award for Best Alabama Film at Birmingham's Sidewalk Moving Picture Festival this weekend. This comes on the heels of tieing for an Audience Award for Best Narrative Feature at the Rome International Film Festival, and winning an Accolade Award of Excellence in La Jolla, California.

SKIPTRACERS is a featured film in next weekend's Dixie Film Festival in Athen, GA, screening at 3 p.m., Saturday, October 4 at the Carmike Cinemas. http://dixie.bside.com/2008/

Monday, September 29, 2008

Hey y'all~

Went to see Skiptracers in THE TRAGIC SHITTEE
Sattiddee nite.
Walked out of the Theatre and talked to Jim Stuckey for the first time in 42 years.
The first thing he said was, "They said the score was 31-0 at the half. Is that 31 us?"

I'm pretty sure Andy Stuckey is his son.
SKIPTRACERS won BEST ALABAMA FILM at this year's Sidewalk Moving Picture Festival.



The ENTIRE movie leads up
to this climactic MOMENT
where our hero,
FRANK TANTON,
http://www.myspace.com/thebopcats

IS
appalled at how
folkzizzzz
at the funeral,
BEEZE KICKIN' THE F*CKIN' PREACHER'S ASS!!!!
http://skiptracersmovie.com


Lance~

My 20 yr. old son Christopher http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=178172075&MyToken=c38fbe77-7aa2-4b05-be3e-2c85704ed0e1
is flying in
to L.A. Thursday & he'd love to see Venice.
His cell number is 205-393-5033

cashregister88@yahoo.com is his email.


Hope you can show him THE STARS!

BEST,
r

THE ALABAMA SHAKESPEARE FESTIVAL started buying newspaper ads pitching BEAR COUNTRY so the push is on!


Bear Country

Fri., Jan 09 to
Sun., Feb 15

What if you had the opportunity to get up close and personal with legendary
football coach Paul “Bear” Bryant?
In ASF’s production of
Bear Country—you can.
Sit in the stands and absorb the wit, wisdom and life journey of a man who rose from being the child of dirt poor sharecroppers to become an
Alabama icon and the national standard by which college football coaches are judged.

best,
r

Roberto,
I know you needed the
T Shirt for the
Athens black out Sat. nite but I regret that it will be next week before it will ship.

We had a little trouble getting the quality that we wanted at a reasonable price and finally decided to keep the quality and pay a little more. I think you will be happy when it arrives.
THANKS FOR YOUR CONTRIBUTION !
Regards,
Greg


G~

I damn sho' hope we give y'all a reason to wear black.
r

R~
Easy brother.
g


From: robert register [mailto:robertoreg2003@yahoo.com]
Sent: Sat 9/27/2008 10:01 PM
To: Haynes, Greg @ Atlanta Peachtree
Subject: Re: Your T Shirt is coming soon

HOW 'BOUT DEM DAWGZZZZZ?!!!!!



Sorry we didn't take it easy on ya.



What up wid all dem racist ass GAWJAH FANS painting themselves wid black face and showing they asses on national TV.



Man, dis beeze 2008.

WE PUNISH STUFF LIKE THAT IN BAMA JUST LIKE WE DID TONIGHT BETWEEN THE HEDGES.



Hope y'all didn't mind us ruining your entire season for ya before the eyes of this entire nation.



best,

rr

Roberto,

I was not surprised to get up this morning to see that you had already fired off an email to me. What was amazing is that it was sent at 10:01 P.M. last night apparently when BAMA was up 31- 0. That explains your completely out of control enthusiasm. You apparently were unaware the Georgia had already decided to spot BAMA 31 points just to make the game interesting. What makes most of DAWGS mad is that someone in the athletic department outsourced the comeback math calculations to a department at Georgia Tech. The Rambling Wreck certainly wrecked us. According to sources, the Techsters thought there were five quarters in the game, hence they miscalculated causing the changing of the “Tide” to fall short. There should be an investigation. I hate to make excuses, but did I mention that the team was suffering from jet lag because of the flight back from Arizona State.

However, I reluctantly offer you my congratulations. See I am not a bad sport. My wife, Nora apparently is because she changed her allegiances on the spot to BAMA, saying something like she always goes with the winner. I think that is baloney because I know for a fact that she was close to her Grandma Lott who was a Norman from Union Springs
and was a graduate from that fine institution in Tuscaloosa.

It is a sad day over here in JAWGA. I have a black wreath on the door. The concrete Bulldog that sits on the step is covered and people have run out of gas.

Give all my friends from the Heeey Baby Days my regards and Go Dawgs !

Regards,

Greg


P.S. T Shirts expected early next week,and will be mailed ASAP. Thanks for your generous contribution.

BAMA COACH NICK SABAN ARRESTED
AP-Tuscaloosa
Authorities arrested Alabama head coach Nick Saban in the predawn hours
Monday at his home in Tuscaloosa on
animal cruelty charges. Saban, 56,
was charged with 85 counts of animal cruelty in an alleged attack which
occurred
Saturday night in
Athens, Georgia.
Police said that as many as
92,138 witnesses saw Saban and a large group of violent young men under
his control hit, kick, crush, and destroy a large pack of mostly-docile
bulldogs. One officer was quoted as saying, "I haven't seen bulldogs
treated this badly since the Micheal Vick case."





Jimmy Dean, David Adkins, Buddy Buie & Jim Lancaster~

THE ZERO, NORTHWEST FLORIDA ARCHIVES
received a marvelous bequest from one of our citizens.

Our friend made only two requests:

#1: That the Japanese copy of Wilbur's 24 HOURS OF LONELINESS 45
be given to Wilbur.

#2: That the DON'T TELL THE FOLKS IN MEMPHIS 45 by BUIE & COBB
go to Buddy Buie.

Now all of these 45s have the potential to go to CD or mpg. so I need to know the best place to send them so they be preserved.

45 RPM #3: GEORGIA PINES by THE JAMES GANG on the black ASCOT label

45 RPM #4: PEOPLE SURE ACT FUNNY by THE WEBS on M-G-M

45 RPM #5: LOST ( CRICKET IN MY EAR) by THE WEBS on LITE

45 RPM #6:
THE RIGHT STRING BABY BUT THE WRONG YO-YO by THE JAMES GANG on white ASCOT promo copy

45 RPM #7: 2 copies, one in the original sleeve, of THE RIGHT STRING BABY BUT THE WRONG YO-YO by THE JAMES GANG on ASCOT

45 RPM #8: GEORGIA PINES by THE JAMES GANG on ASCOT

45 RPM #9: Promotion copy of ASCOT's EVERYBODY KNOWS (BUT HER) by THE JAMES GANG

45 RPM #10: OH PRETTY WOMAN by ROY ORBISON and THE CANDYMEN

45 RPM #11: DELICATE WOMAN by WILBUR WALTON JR. AND THE JAMES GANG on 123

Tell me the best place to send this stuff!

Wilbur Walton Jr. and Jimmy Dean
image courtesy of Robin Rainer & DOTHAN MAGAZINE http://dothanmagazine.com

Bubba Lathem, Jimmy Dean, Wilbur Walton Jr., Fred Guarino, Johnny Mulkey



Japanese cover courtesy of Jim Hodges

Japanese liner notes courtesy of Jim Hodges





Wilbur Walton Jr. & The James Gang performing at Ft. Brandon Armory in Tuscaloosa.
photo courtesy of WTBC http://www.wtbc1230.com/

photo by Michael E. Palmer

photo by Michael E. Palmer

photo by Michael E. Palmer

best,
r

Sunday, September 28, 2008

ENCORE PRESENTATION OF SKIPTRACERS @ this Weekend's SIDEWALK MOVING PICTURE FESTIVAL~

SKIPTRACERS

Sunday, 9/28 @ 6:30 p.m.Regions Center Auditorium
Like their home state of Alabama, the Trawicks are slam - full of oddities, idiocy, contradictions, traditions, and rednecks. In pursuit of McAndrews and the city championship, JD and company are opposed by the dastardly Cletus Yoates and his henchman Bart, who will stop at nothing to destroy the Trawick family, business, and football legacy. Along the way, the Trawicks discover the hidden and absurd underbelly of the South - and punch it.