Thursday, June 18, 2009

Hung out in Selma's Harmony Club last night

Nov. 25, 1967

Poets Rip Rebs For State Crown Lanier
By Ray Holliman, Assistant Sports Editor

The Lanier Poets spent a full half of football scaring their faithful fans to death Friday night.

Then they decided they could walk -- and even pass -- on water and that was too bad for the Butler Rebels. The Poets ignored the fact that Cramton Bowl was a quagmire in the third quarter, pushed over two touchdowns and went on to a 20-0 victory over the visitors from Huntsville to wrap up their second-straight Alabama Class 4-A football championship.

Quarterback Buddy Mesaris and wingback Scott Gellerstedt teamed up for a
52-yard scoring pass play and Lanier was off and running toward its 23rd straight victory and its second consecutive perfect season.

A crowd limited to an estimated 8,000 by two downpours shortly before game time, watched the Poets, with their backs to the wall at one time, escape a sticky situation and win in typical explosive fashion. The Lanier defense won its share of title glory with a masterful goal line stand from the two in the second quarter and the offense took the hint and
began to march through the mush.

I was thrilled to see that Barry Bailey is being honored by his hometown, Decatur, Ga.
If anyone deserves it
Barry does !!!

In 1970, Mylon Lefevre and I were locked in a heated battle for Barry's services. He had been practicing with Mylon's band and playing sessions for me.

The word on the street had Barry leaving and going on tour with Mylon, and I had been
hoping he would join ARS.

I called him and said "You are the best, and only the BEST will do for THE ATLANTA RHYTHM SECTION".
I then made him an offer he couldn't refuse.
He called back and accepted, and the rest is history.

He is incredible!
If he can think it, he can play it.

I've only known one other musician with that kind of God given talent.
That was Mike Shapiro,
the gifted sax player.

Barry also is one of the finest human beings I've ever known. I wish him and Ginger all the best. I haven't had the pleasure of meeting her yet, but I hope I do soon.

The press hasn't given him the credit he deserves, and that's always bothered me.I've seen a lot of them come down the pike,and in my humble and learned opinion, he and Duane Allman were the best lead guitarists playing in southern rock bands.

Keep Rockin,

Buddy Buie


So glad to meet you at the dedication and, being an expert on the Dothan Spirit, I wanna say, "GAL, YOU GOT THAT DOTHAN SPIRIT!"

I'm pretty sure when I started at Cloverdale in '56, OVER HALF of ALL the white male heads of households in Dothan were SALESMEN!

I saw you stapling those July 4 posters on N. Foster.

You got it, MY NINJA!!!!

THANX for the pix!


image courtesy of Kerry Ferrell

image courtesy of Kerry Ferrell
With the great photographer, Frank Moss Gaines, below.
The first house my parents bought was on Gaines Street.
The second was on Moss Street.

image courtesy of Kerry Ferrell

Hi Roberto,

My englisch is not good but i'm gonna try to explain what i'm looking for.
I'm looking for Sherry Grooms and the song : Nightfall.
My dear dear friend is very sick, it's really not good.
He try'd what joy to find in music, he's a big fan from the song.
Can you please help me to fulfil his wish ?
I've bin you so greatful.
Best regards.


Jeff Lemlich is the cat who can help you the most.
I am forwarding this to him.

I really hope he can help y'all get the Sherry Grooms' song.


Thank you for your help by the search for the song Night Fall from Sherry Grooms.I'ts make me so happy with it and my sick friend is so happy, i have no words to describe it.I would scribe you in more words but my english is to bad.Thanks dear friend.
Hi Roberto,
They're asking about a singer named SHERRY GROOMS in a group that I belong to. I see one of her records included a Buie-Gordy-Atkins song; another one was written and produced by Eddie Hinton. If Buddy or anyone else has some information/memories about Sherry, I'd be glad to pass it along to the interested parties!

1965 SHERRY GROOMS (Mockingbird 1001)
Big Show '65

06/66 SHERRY GROOMS (ABC 10812)
The Call of The Wild One (David Bevis, Donald Srygley)
The Girl's Song (Fred Carter Jr.)
Prod : Fred Carter Jr.

11/66 SHERRY GROOMS (ABC 10875)
Night Fall (Joe Melson)
Tale Away The Memories (Rickie Page, George Motola)
Prod : Fred Carter Jr.

10/67 SHERRY GROOMS (ABC 10987)
Forever Is A Long Time (Buie, Gordy, Atkins)
That Same Old Song (Joe South)
Prod : Joe South

03/69 SHERRY GROOMS (Cotillion 44028)
I'm Easy (Eddie Hinton, Grady Smith)
I'm Only Foolin' Myself (David Bevis, Spooner & Ronnie Oldham)
Prod : Eddie Hinton

1977 EVEN STEVENS and SHERRY GROOMS (Elektra 45430)
The King of Country Music Meets The Queen of Rock and Roll
I'm From Outer Space
- taken from Stevens' "Thorn on The Rose" this was
a minor hit (#97) on the country charts

1978 SHERRY GROOMS (Parachute 514)
Mama's Boys

Jeff Lemlich

I have the song, and will send it to Lucie tonight

From J.R.

Jennifer Rolen It was a beautiful send-off for Evelyn DePass today. If she & Mike didn't know our secrets in h.s. - then they know 'em now! Loving comfort to Gail, Carole and family.

Robert Register

Not to go off-topic but the Rolen plot looked good last week while I was weeding the Register plot on Lane 11 of the City Cemetery.

Jennifer Rolen
I'm sure you don't know this, but our son erected all those lane markers & catalogued everyone buried at City Cemetary onto computer disc for the city as his Eagle Scout project. That was about 1988. Before that, it was all foot work to find relatives. Little boy worked his ass off but sure made his mama & daddy proud!

Robert Register

Somethin' goin' on over there by Highland.
I'm Mike Richardson, originally from Donalsonville, Georgia, just across the Chattahoochee River from Dothan, Alabama.

I joined a group called the The Impacts as keyboardist in (I think) June of 1967. I had just graduated from high school and was 18 years old.

I'm writing to request Neal Rose's email address. I'd want to be the first Impacts alumnus to get in touch with him and thank him for reminding me of what it was like to be a part of that particular group of musician/performers in the deep-Southern culture of the late 1960's. The pictures Troy State University's archives provided him of The Impacts at the 1967 National Peanut Festival have really stirred a few memories in me. (I found them after a friend saw them and directed me to your blog.)
Neal may not remember my name, but Lamar Spence called me "Heavy" (I probably weighed less than a 100 pounds at the time) and that became my stage name.

There were a few other errors in the caption for the group picture other than that the keyboard/horn play was "Heavy" (me, Mike Richardson), not David Coolie; Edwin McNeal was actually Edward McNeal; and (I believe) the gentleman identified as Preston T was someone for whom The Impacts were providing backup music that night.
Roberto, your blog is a natural wonder.
Mike "Heavy" Richardson

from Frank Tanton
In 1967 I played regularly at the infamous Doc Greenfield’s Club Capri, in the Baptist Bottom, in Dothan .I played bass with “The Impacts” which featured Davie Coolie on keys, Wayne “Sugar” Johnson on Drums, Edward McNeal on guitar, and Lamar Spence on Lead Vocals.We were the only white band playing there.Local DJ, “Preston T” was our booking agent.I guess we were quite a novelty back then, being so young and light skinned, but we could really play well, and we covered all the popular “Soul” tunes… The folks treated us very well there, and really seemed to enjoy our show… This always surprised me since, at least once a month, the Club Capri would feature the real thing such as Sam & Dave, and Wilson Pickett.I also saw Ike & Tina Turner, and Joe Tex there.That place was happenin'… Later on David Adkins and I played there with Billy King and the Rhythm Kings featuring Little Lois.Unfortunately we didn’t last long… David and I played a lot of BB King , Muddy Waters, John Lee Hooker, etc., and some number of people there, didn’t like the straight blues…Billy King once told me, “the black folk didn’t like straight ahead blues, because it reminded them of the bad old days”…In truth, I think it may have been just a little too weird for some of them to witness a couple of young smartass white kids burnin' up the blues…They loved it at the Little Wheels Club, at Ft. Rucker though…
I talked to Mitch Goodson tonight, and he said he would write down some of his recollections and share a few of his experiences with your readers... More to come...
Frank Tanton

hey there Robert,
you do not know me I am Simon Robinson’s little sister Eve ( I’m 41!!!!) I am looking for your blog as you had a photo of Simon up there have lots of blogs so I thought it would be easier if I just asked you which one it is can let me know via email or via my blog at
thanks a lot J
xox eve xox
Eve A Jennings
Here it is @


I was sent your blog by a friend from years ago, with a common curiosity about what might have happened to an old friend of ours, from Tuscaloosa--Travis Rozzelle. You mentioned his name in your dedication, and we feel like we might be talking about the same person. It would be quite interesting to find out about Travis. Did your friend Travis have another name which starts with an "H"? Was Travis Rozzelle your friend's birth name, or the name he legally changed it to, and do you know why? Is he still alive? ...musician? ...singer?
If you get a minute, reply if you get the notion.
--Charlie Moore

Wednesday, June 17, 2009

Robert Dean, Merry Anderson, Kenny Rogers

The lady in the pic with Robert and Kenny is Merry (not Mary) Anderson. She was a delightful person. This is her obit.
C Whatley
Story last updated at 8:46 a.m. on Wednesday, April 26, 2000
Merry Cargal Anderson
Dothan, Ala.

Merry Cargal Anderson died Sunday, April 23, 2000.
A native of Vincennes, Ind., Mrs. Anderson served for many years
as the Secretary for the Dothan-Houston County Chamber of Commerce
and executive secretary for the National Peanut Festival. She was a
member of First Presbyterian Church and Circle One of the Women in
the church.
Services will be at 11:30 a.m. today in Memory Hill Cemetery,
Dothan, with the Rev. Parker Agnew officiating. In case of
inclement weather, the service will be held at Byrd Funeral Home,
Dothan, Ala.
Survivors include two daughters, Gay Anderson Wright,
Birmingham, Ala., and Joy Anderson Brown, Watkinsville; two sons,
Gerald V. ''Jerry'' Anderson Jr., Eufaula, Ala., and D. Michael
''Mick'' Anderson, Fort Gaines; nine grandchildren; and five
Pallbearers will be Frank M. Wright, J. David Brown, D.M.D.,
Gerald V. Anderson III, David L. Anderson, Matthew F. Anderson,
Trenton D. Brown, William E. Lindsey and Thomas Skipper.
The family will receive friends from 10-11 a.m. today at the
funeral home.
Athens Daily News, Wednesday, April 26, 2000

image courtesy of
ARS left to right:J.R. Cobb, Paul Goddard, Robert Nix, Dean Daughtry, Barry Bailey, Ronnie Hammond

On FRIDAY, JUNE 19, 2009
, ARS guitarist Barry Bailey will be given The Key To The City of his hometown of Decatur,GA. & Friday will be declared "BARRY BAILEY DAY" in Decatur.

image courtesy of

image courtesy of
Subject: [ChampagneJam] Announcing the Engagement of the legendary guitarist Barry Bailey
To: ChampagneJam@ yahoogroups. com
Date: Monday, June 15, 2009, 10:28 PM

I am pleased to announce, that this has been an exciting and wonderful,
whirlwind weekend, for Barry and myself. Beginning with his birthday
party on Friday evening, and ending with a romantic engagement last
night, we are both truly happy to make this announcement to his fans.

Thank you all for your continued support and your many birthday wishes
for Barry. We enjoy reading all of your posts.

This entire week will be exciting for both of us, as Barry is being
honored and given the key to the city, and Atlanta is proud to declare
Friday June 19, 2009, Barry Bailey day. As if this wasn't enough, we
will end the week with my birthday on Sunday!

Please celebrate this joyous time with us, as we embark upon the
adventure of a lifetime. We will keep you posted on the upcoming

Thanks again for all of your support,

image courtesy of

Robertoreg has already written THE SUN ALSO RISES 2.
Everything's the same
except, instead of Pamplona,
it's set in Tuskaloosa during the week of the Alabama-Auburn game &
Jake got IT shot OFF in 'Nam
& Lady Brett getzzzz ragged all weekend about how she needs to let her hair to grow back out.


knows that the manner of Hemingway's death was his sincerest expression of self-criticism.

Post # 7230 from Roberto

Now undisturbed for a few moments, the hard working people of Selma can go back to work as they try to accomplish good things that improve this old world.

As we diligently seek truth, accuracy, efficiency and results in our daily job, we can all rest assured that another one of those worthless, illiterate, unrealistic social reformers is plotting the remaking of Selma with his/her own selfish abstract principles which have & will create nothing more than chaos.

Sweet dreams!

Monday, June 15, 2009

Woke up today before dawn & happened to turn on "The Sun Also Rises" on AMC starring my all time hero, Erroll Flynn as Mike.

image courtesy of

Sunday, June 14, 2009

Hi Robert... It was good to see and talk with you at the Mural Event in Dothan earlier this week...

It was also good to visit with some old friends I haven't seen in many years... I thought the mural looked great and everyone seemed to enjoy the presentation... It was a good day...

You're so right about that old age thing not being for sissies... My short term memory is for she-it...

You're looking fit Robert... Hang in there buddy...

image by Frank Tanton
left to right: Chips Moman, J.R. Cobb, Robertoreg, Paul "The Old Man" Cochran, Bama Queen

image by Frank Tanton
You can see Goldsboro and Justo up on stage behind me

from the Champagne Jam Yahoo Group:

The Atlanta Rhythm Section's BARRY BAILEY

Adding Funk to Southern Rock And Roll
Stories by Jack McDonough
Photos by Neil Zlowzower

SOUTHERN FRIED rock and roll has been churning out of Dixie and riding high on the charts for years, and Barry Bailey, the lead guitarist with the Atlanta Rhythm Section, is one of its foremost exponents. Although he has recorded seven albums and several hit singles, including "So Into You" [from A Rock And Roll
Alternative] , over the past seven years, Bailey has been paying his musical dues for nearly two decades.
Barry had just turned 12 years old when his parents gave him his first guitar-a twenty-dollar Sears Silvertone-for his birthday. "They thought I'd give it up in six months, so they gave me a cheapie," he remembers. "But I kept on with it, maybe because I've been exposed to music for as long as I can remember.
My father has a very extensive record collection. It was old big band and bebop stuff; I wasn't too fond of it, but it influenced me."
Before long the aspiring guitarist began taking lessons. "They were okay for developing technique," Barry recalls, "but as for reading, I forgot more than I remembered. I'm still a very slow reader - and I regret that - but American Bandstand was happening, and the excitement of the whole Elvis thing made me want to get into playing." A year after being given his Silvertone, Barry bought a Gibson Les Paul Junior - he believes it be a '56 - for $85.00
from a missionary who was leaving the country. That instrument, which was in perfect condition, is easily worth $300.00 or more today.
As Bailey's skills on the guitar grew more polished, his musical influences began to diversify. My taste was more white-oriented at first," he explains. "You had to search for the blues stuff. But white rock and roll began to bore me more and more. When the Beatles came along I thought they were a joke at first. I was listening to jazz and blues players by then, like B.B., Albert, and Freddie King on the radio. I also listened to a jazz show; that's where I
started noticing guitarists like Kenny Burrell and Grant Green.
"All this time I was in different kinds of bands, usually bad ones," he continues. "I had this little Premier amp in those days; I wish I had it now. If you turned it up just enough you could get good sustain with no distortion. I think I'd get a good sound out of it now. Then around 1963 or '64 I got a Gretsch Country Gentleman guitar-I was listening to Chet Atkins a lot-and I also got a bigger amplifier. I didn't care what kind it was; I just wanted a bigger
one, and it had two 12-inch speakers."
Barry was aware of the fact that George Harrison was also playing a Country Gentleman then. "After the Beatles had been popular for a year I decided there was more to them than I'd seen at first," he admits. "In fact the whole Atlanta Rhythm Section has been very much influenced by that British thing. That's one difference between us and other bands from the South. We use more melody, and we
have more frequent and nicer chord changes. Even on a tune like "Boogie Smoogie"[from The Atlanta Rhythm Section] we worked in some pretty nice changes. And lyrically, we have more going for us. I've finally gotten to recognize good lyrics; before it made no difference to me what they were."
After working with a series of high school groups, including one called the Vons which Barry remembers as a typical outfit of that genre, the guitarist enrolled as a music major at DeKalb Community College in Atlanta. The main reasons why he decided to continue his schooling were his aversion to military conscription and his parents' urgings that he go on to college in case his musical ambitions failed to pan out. But even while pursuing his studies, Bailey managed to play six nights a week with St. John And The Cardinals at a local club, Kitten's Korner. Predictably, the lure of music spelled a quick end to his classroom career.
Between 1966 and 1971 Barry began finding steady performing work. He played on a number of tours headed by such popular rock and roll acts as Roy Orbison, the Yardbirds, and even Paul Revere And The Raiders. The studio gigs became more plentiful too, thanks to his association with bassist Emory Gordy-known lately for his work on tour with singer Emmylou Harris-and guitarist/singer Joe South. Bailey, who played on a number of Joe South's albums, now states, "It was Joe who introduced me to recording techniques."
There were other sessions as well, including work on Mylon LeFevre's first album, Weak At The Knees [Warner Bros., B-3070]. That record brought Bailey together with producer Allen Toussaint. "Allen just destroyed me." Barry says. "He still remains one of the people in the music business I respect most." Later Toussaint would call on Bailey to work on the first American album by singer Frankie Miller, High Life (now out of print). In addition to his performances on all the other records listed in the discography at the end of this article, he also played behind singers Taj Mahal and Maggie Bell on some tracks that have never been released.
By 1971 Bailey had finally begun developing "whatever it is that I can call my style. But then" he adds, "I've never really accepted any style as my own. I try all kinds of different things." Thanks in part to this attitude-and to the versatility that resulted from it-he had also established himself by that time as one of the principal session players at Atlanta's Studio One, the center of that musical town's recording industry. His guitar work is highlighted on a number of hits that have emanated from that location, including Lobo's "I Want You To Want Me" (out of print), and he also supplied the bass line on Joe South's "Birds Of A Feather" [Joe South's Greatest Hits, Capitol, SM-450], another Studio One product.
The roots of the Atlanta Rhythm Section grew from the community of musicians who, like Barry, had worked with some of the top performers in southern pop music before becoming affiliated with Studio One. Two of the three founders of the Studio would later be involved with the ARS: Buddy Buie, who is now the group's manager, and J.R. Cobb, its rhythm guitarist.
(The third, Bill Lowery, was the former president of the National Academy of the Recording Arts and Sciences.) The other members of the band are bassist Paul Goddard, drummer Robert Nix, pianist Dean Daughtry, and vocalist Ronnie Hammond, who joined the lineup after the first ARS album. According to Bailey, "Any commercial release that came out of Atlanta in those years probably had at least one of us playing on it."
"The Rhythm Section is the first band I've been in where I was not the only guitarist," Barry notes. "Before then I had always played with only horns or a keyboard. We weren't trying to copy other southern bands by having J.R. and myself on guitar; it was just the natural way to do it. Now I've gotten dependent on the arrangement, and because of it I would now feel more comfortable sitting in with other players. J.R. and I stick to the lead/rhythm concept. He plays great rhythm and very, very good slide. Most of his leads consist of swapping his slide licks with my lead lines. On "Outside Woman Blues," from A Rock And Roll Alternative [Polydor, 1-6080],
he plays a great solo."
Bailey now has nine guitars; "I still have every one I've ever bought," he points out. Onstage he almost always plays a Gibson Les Paul Deluxe with stock pickups, given to him by Cobb in 1971. Recently he acquired another Deluxe, but only uses it for backup, because "it's not set up quite right, and it's not broken in." He sometimes uses his Gibson in the studio, but more often relies on his two Fender Telecasters, one of which has Gibson humbuckers on it. "And I'm looking for a good Strat," he confides, "but I've
got to find one that's comfortable, and that I can depend on. For what I do onstage, though, nothing is as good as the Les Paul. It's got the ballsy sound, and it's easy to play. I've never even bothered to try to adjust to anything else, like a Strat, which is the only other thing I'd ever consider using in concert."
Back in the late '60s, when Barry began playing the Les Paul Junior he had previously consigned to his closet, he was using the lightest strings he could find. He also included an unwound third and banjo strings for the first and second. "Then I found out that there were strings like that already," he says. "They were Ernie Balls." He continues to use very light strings which are made by Metro Music [3100 Roswell Rd. N.W., Atlanta, GA
30305]. These are gauged .009, .011, .014, .024, .032, and .042.
From his vantage point as a veteran of the music business and a
seasoned guitar stylist, Bailey is able to trace the evolution of his style, describing four characteristic traits: the way he combines the use of his bare fingers with the flatpick, the controlled vibrato and the way he uses his left hand, his technique with harmonics, and his manner of utilizing the amplifiers.
Barry's use of his fingernails dates back to an early inspiration acquired while playing with a band called the Kommotions, which toured with, and opened shows for, the Yardbirds. Jeff Beck [see GP, Nov. '75] was then the Yardbirds' lead guitarist, and the source of that inspiration. "I was quite impressed, to say the least," Bailey recounts. "He was playing very loud but taking advantage of it, using fuzztone distortion and various effects. And I noticed that he had long fingernails; I've had them ever
since. If I break a nail now, it's panic for two days. I use my fingertip if I have to, but it gets tender." In combining the pick and fingers, Barry generally concentrates his fingerwork on the first three strings and sometimes the fourth.
As for his left-hand technique, Bailey says, "It's as much a part of my style as my right hand. I bear down a lot with my left, Most everyone does that, I guess-Beck, Steve Cropper [see GP, May '78], Eric Clapton, and Jimmy Page were the first players I saw who did-but I've seen many guitarists abuse the left-hand vibrato. They'll wiggle a note just for the sake of shaking the strings. Maybe they have something I'm missing, but to me it looks overdone."
Barry came across his own method chime effects more or less by
accident. "I was just striking the notes in a different way, and then trying to figure out what I had done. Then I'd hear Jimi Hendrix [see GP, Sept. '75] doing it all over the instrument. I'm still wondering how he did everything he did. Roy Buchanan [see GP, Oct. '76] also has the effect down; I hear him doing it quite a bit."
Bailey runs his instrument through two Marshalls, one a 50-watt amp and the other a 100-watt. His interest in Marshalls dates back to when he was with St. John And The Cardinals, the first band in which he and bassist Paul Goddard played together. This outfit worked for Roy Orbison on a Canadian tour. The popular rock singer enjoyed a close association with Marshall; his regular band, the Candymen (which included some future ARS members)
introduced the brand to the United States after their British tour in 1967.
Part of the deal offered to St. John And The Cardinals for their stint with Orbison involved giving Bailey and Goddard some new Marshall equipment, and the 100-watt amp that Barry uses today was what he received.
Two years ago the guitarist picked up the smaller Marshall, which has been modified. "My roadies worked on that one," he explains. "I don't know what they did; I take my equipment manager's word for a lot of things."
Currently, the only effects device between Barry and his Marshalls is a Maestro Echoplex unit feeding into both amps. Bailey has an interesting approach to using the amplifiers: "Most other players who use Marshalls run their instruments through the first channel,
but there's a lot of difference between the two channels. The second one is pretty bassy. I go through the first inputs of the second channels on both amps, so I don't have that much of a high end, but I add a lot of high from the treble control. I keep the bass turned up on the guitar but down on the amp. I'm not sure that's so unorthodox, but I think most players would turn the controls in the opposite way."
He adds that he keeps the treble control on the guitar between 7 and 10, and sets the volume between 6 and 10, "though usually wide open." Bailey also uses the back (treble) pickup almost exclusively. "If I do need more low end, I would change to a different pickup position, but that's rare," he says.
Of course Barry's style cannot be completely analyzed in terms of these four categories. His guitar lines provide the perfect complimentary feeling for the overall sound of the ARS. As long as southern rock continues to sell and most likely for some time after that, Bailey's work will be a fixture in contemporary music.


Tonight I went out on 4th Skreet & picked up some blues from Daddy Mack

I also discovered TODAY
this Bank of Switzerland poetry series on YouTube &
It be so BAD!!!!


I realized my camera batteries were dead when I got to the dedication. John Rainey's daughter, Traci Adkins Wingate

took the photos, so please give her props for capturing this event on film for us! I noticed a few folks making videos there. Any idea who it was & how we could get hold of the video?


Hey Robert-
My name is Wynn Christian, and I'm originally from Dothan, AL. I've been checking out your site for a while now, and I think my band, Spoonful James, has actually been mentioned a couple of times. Anyway, John Rainey Atkins was the first person to put a guitar in my hand. I lived down the street from Art's Music in Dothan (where John Rainey worked), and even though I was young, I always considered him a friend. He even came and spoke to my middle school class about guitar one time! Well, last weekend (at BamaJam) a friend brought me some old Beaverteeth records and a couple of Candymen records. I was really blown away, and I can't wait to sit down and give them a listen. This gentlemen asked me if I knew where John Rainey was buried, as he wanted to pay his respects. I do not remember where he was buried, so I was wondering if you or any of your contacts might have an idea?
I hope the above makes's been a long day. Thanks for any help you might be able to provide.
Again, I enjoy your blog!

David Adkins' reply:
Thanks for the hook-up and for coming to the Mural thang! I saw you but I got caught up visitin' w/ evahbody! Sorry we didn't get to talk but it was truly a great, unexpected honor! now we need to get some other local legends on the next mural that I think should have been on this one(i.e., Jimmy Dean(who played w/ "The Webs, James Gang & Beaverteeth"!' Norman Andrews,Mitch Goodson, etc.) Anyway, I'm thankful for John Raineys' honor and he really was a great brother & mentor to me and a lot of others in the music business!! Also, don't forget Robert Nix(who has roots in Blakely Ga.) Robert is great unsung songwriter as well as a musician and while doing some recording w/ Alison & him at Mike Boyds' studio before Mike passed away(another great local player and sound engineer) Robert & Alison would come over to the house and entertain me & Laura(whos' brother Jay Scott is from here and played sax on Alicia Bridges " I Love the Night Life" a million seller, not to mention some Skynard tracks & more). Robert, who like Rodney Justo who drove all the way up from Tampa has a great memory and could tell some great stories about JR and the Candymen!
David Adkins

Where is John Rainey's grave?


It's at the City Cemetery in our family plot,can't remember which row, but I'll let you & Wynn know when I find out.

image courtesy of Robert Dean

Robert Dean, Mary Anderson, Kenny Rogers

image from Hey Baby Days

Robert Dean @ the board in Playground Recording Studio, Valparaiso, FL

image courtesy of Robert Dean

image courtesy of Robert Dean
CHARLIE SILVA, drummer and vocalist for BEAVERTEETH

image courtesy of Robert Dean

image courtesy of Robert Dean

image courtesy of Robert Dean

image courtesy of Robert Dean