Thursday, October 01, 2009

I'm happy.
I'm sad.
I'm mad.

It ain't been easy.

Music is a comfort to me.

When all this happened, I was looking for a life line.
It came from some old friends of mine who are unfortunately deceased.
Their tunes pulled me through.

Call me sometime.

I lost your number.



Here's Jimmy Ellis cutting Blue Moon On Kentucky w/ The Playground Rhythm Section (a.k.a. Beaverteeth)

You'll hear David Adkins count off the song a couple times when Ellis misses it.


This is a video link to the remix of Jimmy "Orion" Ellis' "Blue Moon of Kentucky".

There is some very interesting musician banter at the start of the cut.. you can hear David and Jimmy D, among others guffawing at the start of the cut when Jimmy can't seem to get it started. When they do get started ..
it is the cut!


Wednesday, September 30, 2009

J. L.
I, Dale, of Thy gracious and glorius Man Lodge chapter 325, hearby agree to motion made Head Legislator Jig 325 in all sober state that this bill be carried out: Split-Tail

As Head Legislator, I Sir Jigston III, state that I am in sober state of mind and here by pledge to uphold said Man Law, in correspondence with the Man Law Code. By the power invested in me I put forth Man Law Amendment II into effect. As has been agreed said amendment to Man Law# SHU-325 is now to be upheld..all restrictions and rights are to be upheld by Man Law Members of Man Law Chapter #325
2 hours ago

Meme's River House by Neb Greene

Neb Greene (1970)

Neb Greene
From page 28 of Food, Fun, and Fable from Meme's on Bon Secour River

This is the way potatoes were fried on a fishing schooner on a charcoal furnace.

Wash and peal ten medium sized potatoes. Wash and peel four onions. Have black iron skillet about one third full of hot grease. Cut potatoes and onions in round slices. Put into skillet, put on lid and let cook, stirring occasionally and salting and peppering to taste. Sometimes the potatoes were not peeled but only scrubbed in sea water, then sliced ready to cook.

Four potatoes per man were about the usual allowance.

These were often served with hot fried fresh caught fish. The fish were cleaned, scaled, washed in sea water, then rolled in meal, salted and peppered and dropped in hot grease. The fish was eaten on tin plates accompanied by tin cups of hot coffee with either buttered store bread or hot cornbread also made in a skillet on top of the furnace.

It is often rumored that the skillet was scrubbed out with a little sand and sea water.

The tin dishes were thrown into a mesh croaker sack and towed behind the boat for a few miles, this being an early form of the automatic dishwasher.

image courtesy of

Neb Greene

Tuesday, September 29, 2009

Al Kooper

to me

show details Sep 28 (1 day ago)

On Sep 28, 2009, at 1:39 AM, Robert Register wrote:

Our good buddy, Larry Tenor, formerly keyboard man with "Little Feat"

When was Bill Payne
NOT the keyboard player in LF ?????????
That's beyond my comprehension - al kooper
I need an answer on this

Hi Robert/ Al,

As far as I know Bill Payne was always the keyboard guy with LF.
Larry lived in Southern Cal for quite awhile and has always claimed to be friends with the band and supposedly played and party'd with them both in rehearsals and some gigs. I'm sure that he was never an official band member. On the other hand he claims to have worked for the CIA, DEA, NSA etc. and did 8 tours in Viet Nam, some of which I know is true. With him, it's hard to tell what's real and what's not..if it's any consolation he can play most all of their tunes...

But the B3 is real and it's sittin' in the studio.

i hate revisionism.
I could easily have lied and said, as an actual member of The Royal Teens, that I played on their mega-hit "Shorts Shorts". But I never told that lie
All these "busts" that I correct in your blog are history corruptions. That's why I try and correct them. Anybody can say ANYTHING on the net. It is destroying actual history ESPECIALLY Bilkepedia
Off the soapbox and into the shower
Keep up the 99% good work !!!!!!


Thank you once more for your comments and your correction.

We like Ivory Soap... not exactly 100% pure.

Most of us here @ Zero, NW FL started blogging back in '03 because we got on the Web and couldn't find anything about "our" music. All of that has changed over the past six years & now the last thing we want to do is to publish lies and exaggerations.

Let me assure you that we appreciate the accuracy & the consequences of your bullshit detector. Feel free to call our hand on anything.

We may only be a bunch of bare-footed Rebel Sons of Bitches but we admire you as a musician & we also admire your life story and your love of the music.

Glad you read the blog and look forward to hearing from you soon.


You can choose to print this or not... makes no difference to me

My apologies to Al for phrasing my statement incorrectly. I'll try and be more selective about the wording I choose. I respect and admire all of Kooper's work and there is a lot of it. I do have a few words to say about Revisionism. There are certain undeniable facts concerning any situation.. like who played on which record.. or who played on a particular gig... or who recorded where in what year. These kind of facts should not be distorted or revised to suit the purveyor of the story being told... even if you are the only one left alive to tell the story. I'm in agreement with Al 100% on this.

On the other hand, there are situations in any given event where the participants view facts from a different perspective. Then there are those situations where no one is left living who can verify what really went down at a particular time... and who can claim to know anything about any situation except from their own point of view?

History is volatile and open to interpretation.. not lies.. If you lie then it becomes malicious... The Playground history is a perfect example. Although I have talked to as many PRS artists, writers and musicians as possible.. no one has the same story... and no one knows the real story. They only know the story from their experiences and their perspective. The only guy who did know the story died in '89. The only thing that is "gospel truth" around here is the music, the tapes, the archives. And By God when we're dead and gone the only absolute truths will be the music that we left behind.

I'll end my sermon with a passage from the "Long Riders". If you would turn your text to chapter 9, Verses 4&5 of Walter Hill's film about the Jesse James and Cole Younger gangs:

Men are revered and remembered
As they lay in their coffins and rot
Some live in the legends of history
but most are forever forgot
The Victory, it goes to the strongest
and only the strong will survive
Survival is living the longest
but nobody gets out alive

The Questions don't ever get answered
and the rights, they're remembered all wrong
The Facts, they get plenty confusing
so someday if you're singing this song
Remember, it's just for the record
You can't change the handwork of fate
Tell 'em I lived for the moment
and I died when I tried to go straight

Dickinson and Cooder "Wildwood Boys"

From the Boggy Bayou perspective,

fiction courtesy of

"You'll never make it as a singer," you told me after I played for you one morning. "You're marking time, pining for some Catholic virgin back home."

"Marking time? You didn't like my song."

"You'll never have her."

I smiled, strumming the guitar. You glanced at Will, who frowned.

"Doubtful?--Just look at your own face in the mirror."

You shuffled the cards as if you were a gambler, dealt them with a professional slap on the Formica table top, and, almost without seeing, said something vague and general about my family, gave one or two comments about my emotional life (correct, by the way), and then offered to answer any question about it. My situation "vaguely stormy," made you smile. "You're decent but static in your allegiances, which will stop you from writing good songs." Then you added that I had an impending important event that would change my life, set me back a year or two, but in the long run free me from inhibitions.

Saw your posts on Psychedelic States Vol II Alabama and thought that you needed Vol I. which included "Maybe Later" by my band from back then, The Omen and Their Luv from Tuscaloosa. This song was recorded at Boutwell's "Church" studio in B'ham. Eddie Hinton engineered the session and Tippy Armstrong was a guest lead guitar player. I will see if I can put the song on my Facebook page and then you can copy it from there,
The song list list for Vol I is as follows:
1) "Cyclothymia" by The Versatiles
2) "Your Love" The Yardleys
3) "Home at Last Days of the Week
4) "Green Knight" The Movement
5) "I'm Leaving You" The Jerks
6)"Midnight Grey" The Distortions
7)"Comin' On Back to Me" The Rites of Spring
8)"Walkin' the Dog" The Tories
9)"I Need You" The Stolen Children
10)" Bye Tyme" The Changing Tymes
11)" The Red INvasion" The K-Pers
12)"Tell Her No" Sheffields Gate
13)"The Judge and The Jury" The Judges
14):Can't You Stop it Now" The Mixed Emotions
15)"She Lied" The Bittersweet
16)"Paul Revere" Randy and the Holidays
17)"Shadows of You" The Illusions
18) "I won't Have to Worry" The Chords
19"She Can't be Won" The Very-Ations
20)" Im Leaveing Home" The K-Otics
21) "Reflections of Charlie Brown" Micky Buckins & the New Breed
22)"She's Been Traveling Around The World" The Seeds of Time
23)"Come Back to Me" The Mad Lads
24)"Why Can't I Dream" This Side Up
25)" I'm No Good" The 5
26)"By My Side" The Rockin' Rebellions
27) "Funny KInd of Day" Fox and the Huntahs
28)"Gotta Go Now" The 5c Stamp
saving the best for last
29) " Maybe Later" The Omen and Their Luv
Included is a pic of The Omen and Their Luv playing the playing the Tuscaloosa County High Prom, May 1968. The reason I am not wearing a tie in the pic is because the principal pissed my off when we were setting up. He said" You're not going to wear that tie died t-shirt tonight". So I wore another t-shirt. Still playing the same '66 Jazz Bass and still have my old Vox Super Beatle, though I now play a Gallion-Kruger rig.

Sunday, September 27, 2009

The second portion of the Friday, September 4, 2009 interviews on
Wally & Dave Morning Show broadcast from Tuskaloosa's BIG 12:30 WTBC

Dave: Wow!

RR: & what happened is a partnership with some cats in Germany and Jim Lancaster in Valparaiso. They remixed; remastered it & so now we have Jimmy "ORION" Ellis singing Georgia Pines.

Dave: Let's talk to Jim Lancaster
Good morning, Jim. How are you?

Jim: I'm doing fine & I hope you guys are doing great & glad you're having us on this morning.

Dave: It's a real pleasure to have you on WTBC, the long time voice of West Alabama.
Of course, through many years, Tiger Jack Garrett and The Big 1230 have had a long, storied history with great music like this.

Jim: Well, the Alabama musicians, I say the Lower Alabama musicians and the Middle Alabama musicians are simply one of a kind.

The Jimmy Ellis story- we have Playground Recording Studio in Valparaiso where the track was originally recorded by Finley Duncan & the group called Beaverteeth which would have been the Adkins brothers & Jimmy Dean on bass w/ Charlie Silva singing so the actual release has three different vocalists singing on that same track & what we did was we started transferring the analog tapes to the digital domain which would be computers to preserve them. This is a cut we found and on the track sheet there just happened to be a little square on Track #7 or so that that said "ELVIS"- I guess they were making fun but it was Jimmy Ellis. So there's a cut of Jimmy Ellis, a cut of Jimmy Lewis and cut of Charlie Silva singing and they're on the actual CD. There's an instrumental track as well. The song was written by Buddy Buie & John Rainey Adkins & to us & to anybody who plays the song;
of course we all know the song from the Wilbur Walton cut in the mid-Sixties but the actual song to us is just simply a really great written song. The chord structure...if you're a musician, the chord structure is very unique & follows the lyrics & matches the lyrics just perfectly.

Dave: Talk a little bit about how there's been such a resurgence in,
especially in Europe of the HEEEY BABY type music.


please replace the copy with the Old Dothan Tunes CD with this. I talked to Amos last week and learned new stuff.

*The Webs (John Rainey Adkins, lead guitar, Bobby Goldsboro, guitar and vocals, Amos Tyndall, bass, and Dave Robinson, drums), recorded a few songs as “The Dothans”. Amos told me recently that it was “the idea of those guys up there (the recording studio or record label) because they thought the name The Webs wouldn’t work.” Dave wanted to go to Georgia Tech, so he quit before they took the Roy Orbison job and was replaced by Paul Garrison. After they went on the road as Orbison’s backup band, Amos tired of traveling and dropped out. Next, Bobby went out on his own. John Rainey and their replacements became the Candymen (after Orbison had his hit “Candyman”). After they quit working with Orbison, they recorded a few songs using the “Webs” name again, because Orbison wouldn’t turn loose of the Candyman name. Rodney Justo was the singer with the group at that time.
Jimmy Dean

Also you might want to add this about the Jimmy Ellis cuts I sent----

I joined Beaverteeth in May, 1972. The band was working at the Flamingo Club in Dothan at the time. It was also working as the staff musicians at Finley Duncan's Playground Studio in Florida. We (John Rainey Adkins, guitar, David Adkins, lead guitar, Charlie Silva, drums, and me on bass) backed up quite a few musicians who recorded there. One of them was Jimmy Ellis, who sounded just like Elvis. Finley, in cahoots with Shelby Singleton, who had purchased Sun Records, had the idea to cut Jimmy singing "That's Alright, Mama"
and "Blue Moon of Kentucky"
and release it on Sun with no artist named on the record. The idea was to duplicate the Presley cuts as closely as possible. We weren't in on the plot, just picking for another singer in the studio. I even put scotch tape on my fingers to get more of a standup bass sound, but it didn't work out. If Shelby and Finley were looking for publicity, they got it. As soon as the record came out on the Sun label, The Nashville Banner ran a big story about it, with Shelby being accused of using old tapes Elvis cut at Sun. Of course, a more careful listen by anybody quickly revealed the ruse, and the idea ultimately flopped. In the spring of 1973, we went to work as B. J. Thomas's backup band and had to quit the Playground job.
While we were at Playground, we recorded a version of Georgia Pines quite different from the version I had played on in 1965 while I was bass player with Wilbur Walton Jr. and the James Gang up in Nashville. I found out only recently that after we left Playground, ol' Finley pulled Charlie Silva's voice track down and produced versions with Jimmy Ellis and Jimmy Louis singing.

image courtesy of
Theirs and ours were just released on CD and it's a real hoot to hear them. Imagine Elvis singing Buddie and John Rainey's tune, Georgia Pines. I think you can hear them at Playground Studio's website. I am supposed to have already sent Buddy a copy of this, and I will this week.
B. J. called today and told me Buddy had just had a pacemaker installed, which worried me, so I called Buddy and he said he is fine, can even come off some of the medication he has been taking. We oldtimers are starting to thin out some now, so I worry about everybody, and was glad to know The Bud is ok. He is one of the most talented guys I have ever known and I am glad to still have him as a friend, even though I was probably a pain in the butt back in the old days and used to karate chop him and Paul Cochran from behind every chance I got.
Jimmy Dean

From the Saturday, November 5, 1966 B'ham News PUNCH's POP RECORDS story by Gene Butts:

Another up'n coming composer-singer is Bobby Goldsboro, who was born in Marianna, Fla., attended high school in Dothan, Ala., studied two years @ Auburn before going into show business.

He got off to a good start, was at one time guitar player for Roy Orbison. His first release "See the Funny Little Clown," was a big hit and he's been grinding out goodies regularly since that time.

His newest, "Blue Autumn," a wistful ballad, finds Bobby in a blue mood, amid the red and gold glories of fall. On the flip side: "I Just Don't Love You Anymore."