Metro Jacksonville

Quote1. Free Bird - Lynyrd Skynyrd
  2. Ramblin Man - Allman Brothers Band
  3. Sweet Home Alabama - Lynyrd Skynyrd
  4. The South's Gonna Do It Again - Charlie Daniels Band
  5. Can't You See - Marshall Tucker Band
  6. Whipping Post - Allman Brothers Band
  7. There Goes Another Love Song - Outlaws
  8. Dixie Chicken - Little Feat
  9. Flirtin' With Disaster - Molly Hatchet
10. Caught Up In You - .38 Special
11. Midnight Rider - Allman Brothers Band
12. Take The Highway - Marshall Tucker Band
13. If You Want to Get to Heaven - Ozark Mountain Daredevils
14. One Way Out - Allman Brothers Band
15. Green Grass & High Tides - The Outlaws
16. The Devil Went Down to Georgia - Charlie Daniels Band
17. Hold On Loosely - .38 Special
18. Heard it in a Love Song - Marshall Tucker Band
19. Jim Dandy - Black Oak Arkansas
20. Jessica - Allman Brothers Band
21. Train, Train - Blackfoot
22. Fire On The Mountain - Marshall Tucker Band
23. Simple Man - Lynyrd Skynyrd
24. Black Betty - Ram Jam
25. Keep On Smilin' - Wet Willie
26. I'm No Angel - Gregg Allman
27. Gimme Three Steps - Lynyrd Skynyrd
28. Fooled Around And Fell In Love - Elvin Bishop
29. Saturday Night Special - Lynyrd Skynyrd
30. Statesboro Blues - Allman Brothers Band
31. Keep Your Hands to Yourself - The Georgia Satellites
32. What's Your Name - Lynyrd Skynyrd
33. Oh Atlanta - Little Feat
34. Third Rate Romance - Amazing Rhythm Aces
35. Homesick - Atlanta Rhythm Section
36. Southbound - Allman Brothers Band
37. Highway Song - Blackfoot
38. (Ghost) Riders In The Sky - Outlaws
39. Jackie Blue - Ozark Mountain Daredevils
40. Can't Keep Running - The Greg Allman Band
41. Ain't Wastin Time No More - Allman Brothers Band
42. Georgia Rhythm - Atlanta Rhythm Section
43. Bounty Hunter - Molly Hatchet
44. Blue Sky - Allman Brothers Band
45. Miss Understanding - Grinderswitch
46. Hard To Handle - Black Crowes
47. That Smell - Lynyrd Skynyrd
48. Southern Comfort - The Jimmie Van Zant Band
49. Second Chance - .38 Special
50. Tuesday's Gone - Lynyrd Skynyrd
51. Trouble No More - Allman Brothers Band
52. Willin' - Little Feat
53. Uneasy Rider - Charlie Daniels Band
54. Duane's Tune - The Dickey Betts Band
55. I Know A Little - Lynyrd Skynyrd
56. Long Haired Country Boy - Charlie Daniels Band
57. Hot 'Lanta - Allman Brothers Band
58. Battleship Chains - Georgia Satellites
59. Rockin' Into The Night - .38 Special
60. Open Road - Grinderswitch
61. See You One More Time - Marshall Tucker Band
62. Before The Bullets Fly - The Greg Allman Band
63. Dreams I'll Never See - Molly Hatchet
64. On the Hunt - Lynyrd Skynyrd
65. Takin' Up Space - Van Zant
66. Bad Little Doggie - Gov't Mule
67. Party In The Parking Lot - The Jimmie Van Zant Band
68. Travelin' Shoes - Elvin Bishop
69. Left Turn On A Red Light - Blackfoot
70. Gimme, Gimme, Gimme - Blackfoot
71. That's Your Secret - Sea Level
72. Thorn and a Wild Rose - The Greg Allman Band
73. Fire In The Kitchen - Warren Haynes
74. Brickyard Road - Johnny Van Zant
75. Ain't Life Grand - Widespread Panic
76. Feats Don't Fail Me Now - Little Feat
77. Island - The Greg Allman Band
78. Keep Your Hands On The Wheel - Ram Jam
79. Don't Pass Me By - Georgia Satellites
80. Time To Roll - The Dickey Betts Band
81. Rattlesnake Rock 'N' Roller - Blackfoot
82. Mind Bender - Stillwater
83. Shake 'Em On Down - North Mississippi Allstars
84. Coming Home - Johnny Van Zant
85. Goddamn Lonely Love - Drive-By Truckers
86. Don't Misunderstand Me - Rossington Collins Band
87. Countryside Of Life - Wet Willie
88. Grey Ghost - Henry Paul Band
89. Goin' Down South - North Mississippi Allstars
90. Castle Rock - Barefoot Jerry
91. Gator Country - Molly Hatchet
92. Climb To Safety - Widespread Panic
93. Soulshine - Gov't Mule
94. Rock Bottom - The Dickey Betts Band
95. Hit The Nail On The Head - Amazing Rhythm Aces
96. Refried Funky Chicken - Dixie Dregs
97. Champagne Jam - Atlanta Rhythm Section
98. It Hurts To Want It So Bad - Sea Level
99. Searchin' For A Rainbow - Marshall Tucker Band
100. Come On - Southern Bitch

QuoteI feel that some people have more of a stereotypical image of it.  Of the Confederate flag waving, cowboy hat wearing, more redneck kind of bands, of having that image.  But overall, I'm proud of it, today, the term.  And I'm proud to be associated with it.  The emphasis is on good songs.  If you look at what it is to grow up in the South, the family values, the spiritual side....the Bible Belt is part of our heritage, interracial interaction, the black culture, the love of the land...all those things make it what it was and what it still is.
                                                                                                                Jimmy Hall, Wet Willie

Quote from: sheclown on October 26, 2012, 04:40:42 PM
Call it.

Very first Southern Rock song.

Ever.

Quote from: Adam W on October 26, 2012, 04:32:08 PM
Well, the big ones I can think of are on the list. Aside from those, I always liked "Mountain Jam" by the Allman Brothers Band. Their version of "Statesboro Blues" is classic, too.

I never used to consider the Allmans to be Southern Rock - I thought them too good and maybe a bit too early. I always considered Southern Rock to be a caricature what the Allmans did and what Lynyrd Skynyrd popularized. Like Skynyrd got huge with their sound which was "Southern" and maybe was a more mainstream version of what bands like the Allmans were doing. And then a bunch of lesser bands started cranking out poor copies of the Skynyrd sound and POOF! "Southern Rock" was born.

It's like what happened with Nirvana. (Though, technically, "grunge" existed before Nirvana... as Southern Rock probably existed before Lynyrd Skynyrd).

Quote from: sheclown on October 26, 2012, 05:56:41 PM
Wet Willie and Elvin Bishop low grit factor.

Quote from: Tacachale on October 26, 2012, 05:48:40 PM

Quote from: Adam W on October 26, 2012, 04:32:08 PM
Well, the big ones I can think of are on the list. Aside from those, I always liked "Mountain Jam" by the Allman Brothers Band. Their version of "Statesboro Blues" is classic, too.

I never used to consider the Allmans to be Southern Rock - I thought them too good and maybe a bit too early. I always considered Southern Rock to be a caricature what the Allmans did and what Lynyrd Skynyrd popularized. Like Skynyrd got huge with their sound which was "Southern" and maybe was a more mainstream version of what bands like the Allmans were doing. And then a bunch of lesser bands started cranking out poor copies of the Skynyrd sound and POOF! "Southern Rock" was born.

It's like what happened with Nirvana. (Though, technically, "grunge" existed before Nirvana... as Southern Rock probably existed before Lynyrd Skynyrd).

I find that argument... untenable. The term "Southern Rock" was popularized because of the Allman Brothers. And they weren't all that much earlier than some other notable Southern Rockers like Elvin Bishop and Wet Willie. However, they certainly weren't as "hard rock" as some of the later bands such as Skynyrd, and Skynyrd definitely dominated the course of the style after they became big.

Quote from: sheclown on October 26, 2012, 05:21:27 PM


Very last Southern Rock song?

Quote from: Wacca Pilatka on October 26, 2012, 07:35:24 PM

Quote from: sheclown on October 26, 2012, 05:21:27 PM


Very last Southern Rock song?

Maybe "Keep Your Hands To Yourself"?

Quote from: jerry cornwell on October 26, 2012, 05:38:35 PM
First Southern Rock Song,
"Gimme Three Steps".... Skynryds first single (?) I mean arguably.
In terms of popularity to support Tacachale, Skynryd sells a million albums a year. When in NYC, I knew several grunge players who loved Skynyd and never mentioned Allman Brothers.

QuoteThe song is memorable for its opening riff and story of how the speaker was dancing with a girl named Linda Lou at a bar when a man, probably the girl's boyfriend or husband, enters with a gun (described as a .44) and catches them, angrily believing her to be cheating. The song's title refers to the chorus, "Won't you give me three steps/Gimme three steps mister/Gimme three steps towards the door?/Gimme three steps/Gimme three steps mister/And you'll never see me no more."[2] essentially asking for three steps head start to flee. The song is also based on a real-life experience Ronnie Van Zant had at a biker bar in Jacksonville known as The Pastime, including having a gun pulled on him, and thus inspiring him to write the lyrics on his way home.[3]

On September 22, 2012, The Pastime Bar, located at the intersection of Normandy Boulevard and Lenox Avenues (5301 Lenox Avenue, Jacksonville, Florida), walking distance from the Van Zant family home at that time, will be re-dedicated and renamed The Jug.

On September 25, 2012, it was announced that The Jug may close forever due to the lack of renovation funds and church influence from The Potters House church located on Normandy Boulevard. It is being discussed to see if The Jug can be "grandfathered" into doing business as it has been at its current location for some 40 years and the church currently occupies an old retail outlet. A petition has been started on Facebook at facebook.com/savethejug and outreach started to local entertainment who has worked with Lynyrd Skynyrd over the years for their assistance in keeping The Jug open.
Personnel

Quote"Whipping Post" is a song by The Allman Brothers Band. Written by Gregg Allman, the five-minute studio version first appeared on their 1969 debut album The Allman Brothers Band. But the song's full power only manifested itself in concert, when it was the basis for much longer and more intense performances.[1][2] This was captured in a classic take on the Allman Brothers' equally classic 1971 double live album At Fillmore East,[3] where a 23-minute epic rendition takes up the entire final side.[4][5] It was this recording that garnered "Whipping Post" spots on both the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list[6] and Rolling Stone's list of "The 500 Greatest Songs of All Time".[3]

QuoteThe Allman Brothers Band is an American rock/blues band once based in Macon, Georgia. The band was formed in Jacksonville, Florida, in 1969 by brothers Duane Allman (slide guitar and lead guitar) and Gregg Allman (vocals, organ, songwriting), plus Dickey Betts (lead guitar, vocals, songwriting), Berry Oakley (bass guitar), Butch Trucks (drums), and Jai Johanny "Jaimoe" Johanson (drums).[1] While the band has been called the principal architects of Southern rock,[2] they also incorporate elements of blues, jazz, and country music, and their live shows have jam band-style improvisation and instrumental songs.

Quote from: Adam W on October 26, 2012, 07:22:53 PM

Quote from: Tacachale on October 26, 2012, 05:48:40 PM

Quote from: Adam W on October 26, 2012, 04:32:08 PM
Well, the big ones I can think of are on the list. Aside from those, I always liked "Mountain Jam" by the Allman Brothers Band. Their version of "Statesboro Blues" is classic, too.

I never used to consider the Allmans to be Southern Rock - I thought them too good and maybe a bit too early. I always considered Southern Rock to be a caricature what the Allmans did and what Lynyrd Skynyrd popularized. Like Skynyrd got huge with their sound which was "Southern" and maybe was a more mainstream version of what bands like the Allmans were doing. And then a bunch of lesser bands started cranking out poor copies of the Skynyrd sound and POOF! "Southern Rock" was born.

It's like what happened with Nirvana. (Though, technically, "grunge" existed before Nirvana... as Southern Rock probably existed before Lynyrd Skynyrd).

I find that argument... untenable. The term "Southern Rock" was popularized because of the Allman Brothers. And they weren't all that much earlier than some other notable Southern Rockers like Elvin Bishop and Wet Willie. However, they certainly weren't as "hard rock" as some of the later bands such as Skynyrd, and Skynyrd definitely dominated the course of the style after they became big.

Well, I guess the point would be that the term or the popularity or whatever blew up after the success of Skynyrd. The market became flooded, so to speak, with cheap imitations. Copies of copies of copies.

Quote from: sheclown on October 27, 2012, 03:42:26 PM

Quote from: Adam W on October 26, 2012, 07:22:53 PM

Quote from: Tacachale on October 26, 2012, 05:48:40 PM

Quote from: Adam W on October 26, 2012, 04:32:08 PM
Well, the big ones I can think of are on the list. Aside from those, I always liked "Mountain Jam" by the Allman Brothers Band. Their version of "Statesboro Blues" is classic, too.

I never used to consider the Allmans to be Southern Rock - I thought them too good and maybe a bit too early. I always considered Southern Rock to be a caricature what the Allmans did and what Lynyrd Skynyrd popularized. Like Skynyrd got huge with their sound which was "Southern" and maybe was a more mainstream version of what bands like the Allmans were doing. And then a bunch of lesser bands started cranking out poor copies of the Skynyrd sound and POOF! "Southern Rock" was born.

It's like what happened with Nirvana. (Though, technically, "grunge" existed before Nirvana... as Southern Rock probably existed before Lynyrd Skynyrd).

I find that argument... untenable. The term "Southern Rock" was popularized because of the Allman Brothers. And they weren't all that much earlier than some other notable Southern Rockers like Elvin Bishop and Wet Willie. However, they certainly weren't as "hard rock" as some of the later bands such as Skynyrd, and Skynyrd definitely dominated the course of the style after they became big.

Well, I guess the point would be that the term or the popularity or whatever blew up after the success of Skynyrd. The market became flooded, so to speak, with cheap imitations. Copies of copies of copies.

Adam, not copies perhaps, but inspiration?  Molly Hatchet, Blackfoot?

QuoteBlackfoot is an American Southern rock musical ensemble from Jacksonville, Florida organized during 1970. Though they are primarily a Southern rock band, they are also known as a hard rock act.[1] The band's classic lineup consisted of guitarist and vocalist Rickey Medlocke, guitarist Charlie Hargrett, bassist Greg T. Walker, and drummer Jakson Spires.

They've had a number of successful albums during the 1970s and early 1980s, including Strikes (1979), Tomcattin' (1980) and Marauder (1981).

QuoteMolly Hatchet is an American southern metal band formed in Jacksonville, Florida, in 1975. They are known for their hit song "Flirtin' with Disaster" from the album of the same title. The band, founded by Dave Hlubek and Steve Holland, took its name from a prostitute who allegedly mutilated and decapitated her clients.[1] Most of Molly Hatchet album covers feature heroic fantasy inspired art, some of which were painted by artists Frank Frazetta and Boris Vallejo.[2]

Quote from: sheclown on October 26, 2012, 05:26:49 PM
Adam,

Allman Brothers not "gritty" enough?

Quote from: Ocklawaha on October 28, 2012, 10:45:49 AM
OZARK MOUNTAIN DAREDEVILS, had a great Southern hit song, "If You Want To Get To Heaven - You've Got To
Raise A Little Hell." The OMD group did a lot of songs that were just plain fun.

http://www.youtube.com/v/eVtHMDJcmxE?version=3&hl=en_US

QuoteDavid Lawrence Hlubek [pronounced "LOO'-bek"] was born on August 28, 1951. He is the lead guitarist and founding member of the Southern Rock band Molly Hatchet.

http://www.youtube.com/v/9MxkpCe4Iv4?version=3&amp;hl=en_US"></param><param%20name="allowFullScreen"%20value="true"></param><param%20name="allowscriptaccess"%20value="always"></param><embed%20src="http://www.youtube.com/v/9MxkpCe4Iv4?version=3&amp;hl=en_US

Dave was born a "Southern boy" in Jacksonville, Florida.[1] At the age of 5 or 6, Dave and his family moved to the Naval base in Oahu, Hawaii where he attended Waikiki Elementary School. From there, Hlubek's father was transferred and the family moved to Sunnyvale, California, then to Mountain View, and finally settling in San Jose. There he attended the same Junior High School as Wayne Newton. It was the South Bay that Dave called home during the next few years, before moving back to Jacksonville, Florida around 1965. There he attended and graduated from Forrest High School along with other legends of Southern Rock.

Hlubek, along with Steve Holland, founded the band Molly Hatchet

QuoteThe Marshall Tucker Band is an American Southern rock/country rock band originally from Spartanburg, South Carolina. The band's blend of rock, rhythm and blues, jazz, country, and gospel[1] helped establish the Southern rock genre in the early 1970s.[2] While the band had reached the height of its commercial success by the end of the decade, the band has recorded and performed continuously under various lineups for nearly 40 years.[2]

The original lineup of the Marshall Tucker Band, formed in 1972, included lead guitarist, vocalist, and primary songwriter Toy Caldwell (1947â€"1993), vocalist Doug Gray (b. 1948), keyboard player, saxaphone player, and flutist Jerry Eubanks (b. 1950), rhythm guitarist George McCorkle (1946â€"2007), drummer Paul Riddle (b. 1953), and bassist Tommy Caldwell (1949â€"1980). They signed with Capricorn Records and in 1973 released their first LP, The Marshall Tucker Band. After Tommy Caldwell was killed in an automobile accident in 1980, he was replaced by bassist Franklin Wilkie. Most of the original band members had left by the mid-1980s to pursue other projects.[3] The band's lineup as of 2009 consists of Gray on vocals, guitarist Stuart Swanlund (died August 4, 2012),[4] keyboard player and flutist Marcus James Henderson, guitarist Rick Willis, bassist Pat Elwood, and drummer B.B. Borden.[5]

Quote from: Ocklawaha on October 28, 2012, 03:08:58 PM
LOBO:

"Me and You and a Dog Named Boo," which for those of us that wandered the country during the 60's-70's was certainly some sort of 'anthem.' If you sing along and get misty eyed, YOU WERE THERE.

Birth name   Roland Kent LaVoie
Born    July 31, 1943 (age 69)
Origin   Tallahassee, Florida, U.S.
Genres   Pop, country, folk, soft rock

http://www.youtube.com/v/hmZv5ND2YuI?version=3&amp;hl=en_US

Quote"They laughed me out of class, out of town, out of the state." Love, Janis.

This is another Southern Sweetheart, Jannis Jopplin was "born on the bayou," in the Kansas City Southern, Railroad town of Port Arthur, Texas. 

Primarily a painter while still in school, she first began singing blues and folk music with friends. While at Thomas Jefferson High School, she stated that she was mostly shunned. Joplin was quoted as saying, "I was a misfit. I read, I painted, I didn't hate Negroes.  As a teen, she became overweight and her skin broke out so badly she was left with deep scars which required dermabrasion. Other kids at high school would routinely taunt her and call her names like "pig", "freak" or "creep". Among her classmates were G. W. Bailey and Jimmy Johnson.

Joplin graduated from high school in 1960 and attended Lamar State College of Technology in Beaumont, Texas, during the summer and later the University of Texas at Austin, though she did not complete her studies. The campus newspaper The Daily Texan ran a profile of her in the issue dated July 27, 1962, headlined "She Dares to Be Different". The article began, "She goes barefooted when she feels like it, wears Levi's to class because they're more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break into song it will be handy. Her name is Janis Joplin."

Singing career: 1962-1965

Joplin's house at 122 Lyon Street in Haight-Ashbury in San Francisco, California. She lived there in the 1960s with her boyfriend Country Joe McDonald.

Cultivating a rebellious manner, Joplin styled herself in part after her female blues heroines and, in part, after the Beat poets. Her first song recorded on tape, at the home of a fellow student in December 1962, was "What Good Can Drinkin' Do". She left Texas for San Francisco ("just to get away from Texas", she said, "because my head was in a much different place") in January 1963, living in North Beach and later Haight-Ashbury. In 1964, Joplin and future Jefferson Airplane guitarist Jorma Kaukonen recorded a number of blues standards, further accompanied by Margareta Kaukonen on typewriter (as a percussion instrument). This session included seven tracks: "Typewriter Talk", "Trouble in Mind", "Kansas City Blues", "Hesitation Blues", "Nobody Knows You When You're Down and Out", "Daddy, Daddy, Daddy" and "Long Black Train Blues", and was later released as the bootleg album The Typewriter Tape.

Read more: http://www.answers.com/topic/janis-joplin#ixzz2AdQIzb5Q

Quote from: Ocklawaha on October 28, 2012, 08:19:27 PM
Southern Rock has deeper roots then any other form of modern music, don't believe it? Well, ''You Ain't Nothing But A Hound Dog." How about the very first Rock mega star?

http://www.youtube.com/v/GR3i3H2nR-A?version=3&amp;hl=en_US

Quote from: Tacachale on October 28, 2012, 09:19:44 PM
When people refer to "Southern Rock", they're almost always talking about a particular subgenre, not just any and all rock from the South (or with Southern influence). Taken that way, again, I don't think you can go much farther back than the Allmans. And neither Southern Rock nor rock music in general have "deeper roots" than other modern styles like the blues and r&b, considering its roots are in the blues and r&b.

Quote from: Tacachale on October 28, 2012, 09:19:44 PM

Quote from: Ocklawaha on October 28, 2012, 08:19:27 PM
Southern Rock has deeper roots then any other form of modern music, don't believe it? Well, ''You Ain't Nothing But A Hound Dog." How about the very first Rock mega star?

http://www.youtube.com/v/GR3i3H2nR-A?version=3&amp;hl=en_US

When people refer to "Southern Rock", they're almost always talking about a particular subgenre, not just any and all rock from the South (or with Southern influence). Taken that way, again, I don't think you can go much farther back than the Allmans. And neither Southern Rock nor rock music in general have "deeper roots" than other modern styles like the blues and r&b, considering its roots are in the blues and r&b.

Quote from: stephendare on October 29, 2012, 09:02:08 AM

Quote from: Adam W on October 29, 2012, 03:49:17 AM
"The blues themselves may date their first public performance to Jacksonville."

I seriously doubt that. No one knows when the first public performance of the blues was. There's just no way to know.

There is however a way to know when the first recorded instance of the music being called "the blues', and that is here in Jacksonville at the old Aerodrome.

QuoteFrom Wikipedia, the free encyclopedia
Jump to: navigation, search
38 Special

38 Special (2010)
Background information
Origin    Jacksonville, Florida,
United States
Genres    Southern rock, hard rock, country rock
Years active    1974â€"present
Labels    A&M
Associated acts    Lynyrd Skynyrd, Van Zant, Trace Adkins, Grand Funk Railroad
Website    www.38special.com
Members
Donnie Van Zant
Don Barnes
Larry Junstrom
Danny Chauncey
Bobby Capps
Gary Moffatt
Past members
Jeff Carlisi
Jack Grondin
Steve Brookins
Ken Lyons
Carol Bristow
Dale Krantz
Nancy Henderson
Lu Moss
Steve McRay
Lynn Hineman
Max Carl
Scott Meeder
Scott Hoffman
Donny Baldwin

38 Special (also written .38 Special or Thirty-Eight Special) is an American rock band that was formed by neighborhood friends Don Barnes and Donnie Van Zant in 1974 in Jacksonville, Florida.[1] The band's first two albums had a strong southern rock influence. By the early 1980s, 38 Special shifted to a more accessible arena rock style without abandoning its southern rock roots. This shift helped to usher in a string of successful albums and singles.

Their breakthrough hit was "Hold On Loosely" (1981). "Caught Up in You" (1982) and "If I'd Been the One" (1983) both hit No. 1 on Billboard magazine's Album Rock Tracks chart. "Back Where You Belong" (1984) continued the annual sequence of radio favorites. In 1985 they had another hit with "Teacher Teacher," written by Jim Vallance and Bryan Adams. The song climbed to #4 on the Billboard Top Tracks Chart / spent (10 weeks on the chart). Their last well known hit was "Second Chance" (1989) was a No. 1 hit on Billboard's adult contemporary chart.

In 2007, 38 Special was the opening act on Lynyrd Skynyrd and Hank Williams Jr.'s Rowdy Frynds Tour, and on September 27, 2008, they filmed a CMT Crossroads special with country singer Trace Adkins, performing both artists' hits from over the years. In 2009, 38 Special opened for REO Speedwagon and Styx as part of the "Can't Stop Rockin' Tour."

As of 2011, the lineup consists of Don Barnes, Donnie Van Zant, guitarist Danny Chauncey, bassist Larry Junstrom, keyboardist Bobby Capps and drummer Gary Moffatt.

QuoteSouthern rock is a subgenre of rock music, and genre of Americana. It developed in the Southern United States from rock and roll, country music, and blues, and is focused generally on electric guitar and vocals. Although it is unknown from where the term southern rock came, "many people feel that these important contributors to the development of rock and roll have been minimized in rock's history."[1]

Quote from: sheclown on October 31, 2012, 12:25:03 PM

QuoteSouthern rock is a subgenre of rock music, and genre of Americana. It developed in the Southern United States from rock and roll, country music, and blues, and is focused generally on electric guitar and vocals. Although it is unknown from where the term southern rock came, "many people feel that these important contributors to the development of rock and roll have been minimized in rock's history."[1]

Okay...

Elements of.

Seems as if the British invasion split rock into two categories.  Adam?  Do you agree?

Or three categories?  Or more? 

What is Southern Rock?

Musically
Stylistically
Thematically

Personally, I would say, it doesn't seem to matter as much where the band is from as what it sounds like, how it sounds like it does and what it sings about.

Quote from: Tacachale on October 31, 2012, 02:26:08 PM
I wouldn't say that the British Invasion "split" rock music. I'd say it's one of, and probably the most important, of a number of developments that occurred in rock music following the decline of the original wave of rock-n-roll. From that time there was a much greater diversity in what people called "rock", for instance the "garage rock" movement and the adoption of traditional blues and folk forms into rock music. IMO that's the ground Southern Rock was built on.

I would say that geography is significant to Southern Rock more so than in other genres. From the 60s to the 80s basically all the significant Southern Rock bands were from the South, though often from more peripheral areas, like Florida, Oklahoma, and Missouri, if you count the Ozark Mountain Daredevils.

Quote from: sheclown on October 31, 2012, 12:25:03 PM

QuoteSouthern rock is a subgenre of rock music, and genre of Americana. It developed in the Southern United States from rock and roll, country music, and blues, and is focused generally on electric guitar and vocals. Although it is unknown from where the term southern rock came, "many people feel that these important contributors to the development of rock and roll have been minimized in rock's history."[1]

Okay...

Elements of.

Seems as if the British invasion split rock into two categories.  Adam?  Do you agree?

Or three categories?  Or more? 

What is Southern Rock?

Musically
Stylistically
Thematically

Personally, I would say, it doesn't seem to matter as much where the band is from as what it sounds like, how it sounds like it does and what it sings about.

Quote from: Ocklawaha on October 31, 2012, 02:38:12 PM

Quote from: Tacachale on October 31, 2012, 02:26:08 PM
I wouldn't say that the British Invasion "split" rock music. I'd say it's one of, and probably the most important, of a number of developments that occurred in rock music following the decline of the original wave of rock-n-roll. From that time there was a much greater diversity in what people called "rock", for instance the "garage rock" movement and the adoption of traditional blues and folk forms into rock music. IMO that's the ground Southern Rock was built on.

I would say that geography is significant to Southern Rock more so than in other genres. From the 60s to the 80s basically all the significant Southern Rock bands were from the South, though often from more peripheral areas, like Florida, Oklahoma, and Missouri, if you count the Ozark Mountain Daredevils.

Unless one considers CCR one of the great southern styled 'swamp music' bands, from 'Central California.'  As for the Ozark Mountain Daredevils from Springfield, Mo. (Arkansas border country) Unless your a black-belt, I wouldn't suggest telling anyone from there that 'Their not southern enough,' in any local bar.

Don't forget that there was a huge 'folk or folk rock' music movement generally prior to Southern Rock: Peter Paul and Mary, Simon and Garfunkel, Mamma's and Poppa's, Kingston Trio and if you ever caught them in a serious moment, The Smothers Brothers... Okay, well maybe not Tommy and Dickie.  ;D

Quote from: Tacachale on October 31, 2012, 03:25:05 PM
CCR isn't usually considered a Southern Rock band, though they used a lot of the same elements later popularized by the Allmans and their successors did later.

Re: the Daredevils, my point isn't that they're not Southern (just look at them), it's whether they're a Southern Rock band. A lot of people would classify them that way, especially now, but their style is really country rock, after the fashion of the Eagles and the Flying Burrito Brothers, rather than the classic blues base of your typical Southern Rockers.

Quote from: sheclown on October 31, 2012, 08:26:02 PM
Okay, country rock and southern rock....different genres?

I'm a literature major, so forgive this analogy.  Wordsworth and Coleridge are both "romantic poets" and share common features although they have a different vibe.  It is the common elements (as well as geography and common place in history) that ties them in the genre.  This is what I think Southern Rock needs.  A definition.

I am constantly amazed that Jacksonville doesn't celebrate its Southern Rock heritage.  That's what I hope for in this exercise.  I hope that 15 year olds with borrowed guitars walk past "The Jug" and think to themselves I could change the world.

We have to show them how others have.

Quote from: sheclown on October 31, 2012, 08:26:02 PM
Okay, country rock and southern rock....different genres?

I'm a literature major, so forgive this analogy.  Wordsworth and Coleridge are both "romantic poets" and share common features although they have a different vibe.  It is the common elements (as well as geography and common place in history) that ties them in the genre.  This is what I think Southern Rock needs.  A definition.

I am constantly amazed that Jacksonville doesn't celebrate its Southern Rock heritage.  That's what I hope for in this exercise.  I hope that 15 year olds with borrowed guitars walk past "The Jug" and think to themselves I could change the world.

We have to show them how others have.

Quote from: Tacachale on November 01, 2012, 10:52:08 AM
^Right, country rock is distinct from Southern Rock. It uses country chord progressions, song structure, instrumentation and rhythms. In contrast, your classic Southern Rock bands use a firmly blues rock base, with blues musical form and rock instrumentation (of course there are many blues rock musicians that aren't Southern Rock). Musically speaking, the Ozark Mountain Daredevils are more in line with folks like the Flying Burrito Brothers, Pure Prairie League, and the Eagles than with the Allmans, Skynyrd, or Molly Hatchet.

However, there's a lot of overlap in the styles, and some Southern Rock bands incorporate country sounds. Many people would consider the Daredevils a Southern Rock band.

And I'd agree that many modern alt country bands are carrying the Southern Rock torch. For my money the best example is Drive By Truckers, whose album Southern Rock Opera is about Skynyrd.

http://www.youtube.com/watch?v=wrG5_2-OH8c

Quote
Church blew up in Birmingham
Four little black girls killed for no goddamn good reason
All this hate and violence can't come to no good end
A stain on the good name.
A whole lot of good people dragged threw the blood and glass
Blood stains on their good names and all of us take the blame

Meanwhile in North Alabama, Wilson Pickett comes to town
To record that sweet soul music, to get that Muscle Shoals sound

Meanwhile in North Alabama, Aretha Franklin comes to town
To record that sweet soul music, to get that Muscle Shoals sound

And out in California, a rock star from Canada writes a couple of great songs about the
Bad shit that went down
"Southern Man" and "Alabama" certainly told some truth
But there were a lot of good folks down here and Neil Young wasn't around

Meanwhile in North Alabama, Lynyrd Skynyrd came to town
To record with Jimmy Johnson at Muscle Shoals Sound
And they met some real good people, not racist pieces of shit
And they wrote a song about it and that song became a hit

Ronnie and Neil Ronnie and Neil
Rock stars today ain't half as real
Speaking there minds on how they feel
Let them guitars blast for Ronnie and Neil

Now Ronnie and Neil became good friends their feud was just in song
Skynyrd was a bunch of Neil Young fans and Neil he loved that song
So He wrote "Powderfinger" for Skynyrd to record
But Ronnie ended up singing "Sweet Home Alabama" to the lord

And Neil helped carry Ronnie in his casket to the ground
And to my way of thinking, us southern men need both of them around

Ronnie and Neil Ronnie and Neil Rock stars today ain't half as real
Speaking their minds on how they feel
Let them guitars blast for Ronnie and Neil

Quote from: sheclown on November 03, 2012, 08:43:28 AM
Little bit of info from John Wells:

Most people don't know it but the Allman Bros. band started in Jacksonville. At one time they lived in Sherwood Forrest on the northside. There was a teen club on Soutel Dr. behind the Pic n' Sav. They used to play there. THE ALLMAN JOYS!!
WHAT A HOOT!!!

Quote from: sheclown on November 03, 2012, 08:43:28 AM
Little bit of info from John Wells:

Most people don't know it but the Allman Bros. band started in Jacksonville. At one time they lived in Sherwood Forrest on the northside. There was a teen club on Soutel Dr. behind the Pic n' Sav. They used to play there. THE ALLMAN JOYS!!
WHAT A HOOT!!!

Quote from: sheclown on October 26, 2012, 07:47:09 PM

Quote from: jerry cornwell on October 26, 2012, 05:38:35 PM
First Southern Rock Song,
"Gimme Three Steps".... Skynryds first single (?) I mean arguably.
In terms of popularity to support Tacachale, Skynryd sells a million albums a year. When in NYC, I knew several grunge players who loved Skynyd and never mentioned Allman Brothers.

Interesting story about "Gimme Three Steps"

QuoteThe song is memorable for its opening riff and story of how the speaker was dancing with a girl named Linda Lou at a bar when a man, probably the girl's boyfriend or husband, enters with a gun (described as a .44) and catches them, angrily believing her to be cheating. The song's title refers to the chorus, "Won't you give me three steps/Gimme three steps mister/Gimme three steps towards the door?/Gimme three steps/Gimme three steps mister/And you'll never see me no more."[2] essentially asking for three steps head start to flee. The song is also based on a real-life experience Ronnie Van Zant had at a biker bar in Jacksonville known as The Pastime, including having a gun pulled on him, and thus inspiring him to write the lyrics on his way home.[3]

On September 22, 2012, The Pastime Bar, located at the intersection of Normandy Boulevard and Lenox Avenues (5301 Lenox Avenue, Jacksonville, Florida), walking distance from the Van Zant family home at that time, will be re-dedicated and renamed The Jug.

On September 25, 2012, it was announced that The Jug may close forever due to the lack of renovation funds and church influence from The Potters House church located on Normandy Boulevard. It is being discussed to see if The Jug can be "grandfathered" into doing business as it has been at its current location for some 40 years and the church currently occupies an old retail outlet. A petition has been started on Facebook at facebook.com/savethejug and outreach started to local entertainment who has worked with Lynyrd Skynyrd over the years for their assistance in keeping The Jug open.
Personnel

http://en.wikipedia.org/wiki/Gimme_Three_Steps

photo of "The Jug" today.

(http://i860.photobucket.com/albums/ab165/sheclown/TheJug1.jpg)

(http://i860.photobucket.com/albums/ab165/sheclown/DSCN3335.jpg)

Quote from: Adam W on November 03, 2012, 07:47:31 PM
^Did you not read what I posted? I acknowledged the Pastime. But the use of "The Jug" as the name comes from a different bar. Van Zant used the name of the Jug because it rhymed. The Pastime was never called the Jug. The Jug was a different bar in a different place.

Quote from: thunnus on November 03, 2012, 10:35:02 PM
What about the Truckers? I realize they're not the original line up, but the Muscle Shoals, AL pedigree has to give them some bump up.

http://www.youtube.com/watch?v=vqe3qyxNrwA

QuoteThe Muscle Shoals Sound Studio was formed in Muscle Shoals, Alabama, in 1969 when musicians Barry Beckett (keyboards), Roger Hawkins (drums), Jimmy Johnson (guitar) and David Hood (bass) (called The Swampers) left FAME Studios to create their own studio. The Muscle Shoals Sound Rhythm Section, as they became known, was the first rhythm section to own its own studio and, eventually, its own publishing and production companies. The distinctive accompaniment and arrangements have been heard on a tremendous number of legendary recordings, including those from Wilson Pickett, Aretha Franklin, and the Staple Singers amongst others. Many artists have recorded hit songs and complete albums at the studio.

The original rhythm section that broke away to create these studios first formed in 1967 and initially played sessions in New York and Nashville as well as on the famous FAME recordings. The initial successes led to the arrival of more mainstream rock and pop performers among them The Rolling Stones, Traffic, Elton John, Boz Scaggs, Willie Nelson, Paul Simon, Bob Dylan, Dr. Hook, Elkie Brooks, Millie Jackson and Julian Lennon.

Muscle Shoals Sound Studios, along with the Muscle Shoals Rhythm Section, moved to new facilities off Alabama Avenue in Sheffield in the late 1970s.

The Muscle Shoals Sound Rhythm Section, who owned the original Muscle Shoals Sound Studios, are referred to as "the Swampers" in the lyrics of Sweet Home Alabama by Lynyrd Skynyrd.

The original Muscle Shoals Sound Studios building is located at 3614 Jackson Highway and is listed on The National Register of Historic Places.[1]

Although the original Muscle Shoals Sound Studios relocated from 3614 Jackson Highway to an updated and larger facility on Alabama Avenue in Sheffield, the building (now owned by Noel Webster) still sees occasional use as a recording studio. The Black Keys album Brothers, recorded there in 2009 achieved Grammy Award success in 2011 in the building formerly occupied by Muscle Shoals Sound Studios.

Quote from: sheclown on November 04, 2012, 07:55:53 AM

Quote from: Adam W on November 04, 2012, 07:18:54 AM

Quote from: strider on November 04, 2012, 07:12:09 AM

Quote from: Adam W on November 03, 2012, 07:47:31 PM
^Did you not read what I posted? I acknowledged the Pastime. But the use of "The Jug" as the name comes from a different bar. Van Zant used the name of the Jug because it rhymed. The Pastime was never called the Jug. The Jug was a different bar in a different place.

Ahh, did you not read what was posted?  Regardless of what you have posted, the fact is the Pastime was also called the Jug at some point in time - look at the picture posted above.  The letters The Jug are not in the best of shape, but are there and obviously have been there for quite some time.

Ii appears from the various things posted that Van Zant did change the name of the bar in the song and that is why the Pastime is now also called the Jug as the incident did indeed happen in the Pastime (once called West Tavern?).

Fuck off.

I suppose any conversation can become contentious.

Quote

Welcome to Jacksonville
Home of Southern Rock.

Quote from: Adam W on November 03, 2012, 09:37:17 AM

Quote from: sheclown on November 03, 2012, 08:43:28 AM
Little bit of info from John Wells:

Most people don't know it but the Allman Bros. band started in Jacksonville. At one time they lived in Sherwood Forrest on the northside. There was a teen club on Soutel Dr. behind the Pic n' Sav. They used to play there. THE ALLMAN JOYS!!
WHAT A HOOT!!!

That's pretty well known. Butch Trucks is from Jacksonville, I believe. I used to be friends with Berry Oakley's daughter until we had a big falling out... but she lived in Jax for a long time (and she might still, for all I know).

(http://i860.photobucket.com/albums/ab165/sheclown/ButchTrucks.jpg)

QuoteClaude Hudson "Butch" Trucks (born May 11, 1947 in Jacksonville, Florida) is an American drummer who is one of the founding members of The Allman Brothers Band.

One of Trucks' first bands was local Jacksonville band The Vikings, who made one 7-inch record in 1964. Another early band was The 31st of February which formed and broke up in 1968. This group's lineup eventually included both Duane Allman and Gregg Allman. They recorded a cover of "Morning Dew", by 1960s folk singer Bonnie Dobson.

Trucks then helped form The Allman Brothers Band in 1969, along with Duane Allman (guitar), Gregg Allman (vocals and organ), Dickey Betts (guitar), Berry Oakley (bass), and fellow drummer Jai Johanny Johanson.

Together, the two drummers developed a rhythmic drive that would prove crucial to the band. Trucks laid down a powerful conventional beat while the jazz-influenced Johanson added a second laminate of percussion and ad libitum cymbal flourishes, seamlessly melded into one syncopated sound.

Said founding member and co-lead guitarist Dickey Betts of Trucks' addition to the original band lineup, "...When Butch came along, he had that freight train, meat-and-potatoes kind of thing that set Jaimoe up perfectly. He had the power thing we needed."[1]

Trucks continues to record and perform with the Allman Brothers Band today.

QuoteThe 31st of February was a rock and roll band formed by Jacksonville, Florida natives Scott Boyer, David Brown and Butch Trucks.

All three were alumni of Englewood High School in Jacksonville, though they did not come together musically until Brown and Trucks found themselves living on the same floor of a dormitory at Florida State University in the fall of 1965.[1] Having heard the folk-rock of groups like The Byrds and The Lovin' Spoonful, saxophonist Brown bought an electric bass and started to jam with drummer Trucks, an alumnus of The Vikings, The Echoes and the Jacksonville Symphonette. Guitarist and vocalist Boyer, making his living as a folk singer, was contacted by Brown who offered his and Trucks' services if Boyer would trade his acoustic guitar for an electric guitar. Boyer agreed and the three formed a group, The Bitter Ind. (short for Independents).[1]

Playing fraternity parties, growing their hair long and ceasing to attend their classes (in Brown's and Trucks' cases), the group left Tallahassee after the end of the school year and tried their hand at performing in Daytona Beach. After being turned down repeatedly by club owners, the group found a bit of luck, landing a one-night performance at the Club Martinique. Shortly into their set, two members of the Allman Joys, a group that frequently appeared at the club, walked in and sat down. After the group finished, the two members introduced themselves and lavished praise on the group. They were the namesakes of the Allman Joys, Duane and Gregg Allman. When the Bitter Ind. relayed their story of their inability to get steady employment, the Allmans offered them free lodging.[2] In time, the Bitter Ind. returned to Jacksonville discouraged, their meeting with the brothers Allman the only high point of their journey.

Shortly after returning to Jacksonville, however, Trucks received a call from Duane Allman, stating that the Allman Joys were playing at the Beachcomber, a Jacksonville club, and that they needed a drummer. Trucks agreed to sit in for the night. After the show, Duane Allman suggested to Trucks to ask the club manager to let the Bitter Ind. audition. The manager agreed, loved the group's sound and let them stay on through mid-1967.[3] After their engagement ended, the group, no doubt under threat of legal action from the New York nightclub The Bitter End, decided to change their name. After briefly using the moniker "The Tiffany System", the group found themselves in Miami, Florida, signed to folk giant Vanguard Records as The 31st of February. Their eponymous debut album was released in early 1968, a heady mix of folk-rock and psychedelic pop. After its failure to get noticed, the group added a lead guitarist and began to rework their sound.[4]

Almost immediately, the group again ran into Duane and Gregg Allman, who had just broken up their post-Allman Joys group The Hour Glass. Electing to join forces, the newly-hired guitarist was fired and the remaining five-piece began performing throughout the Southeast. In September 1968, they began recording material for their second album, including nacsent versions of "Melissa" (which would come out on the Allman Brothers Band's Eat A Peach album in 1972) and "Nobody Knows You When You're Down And Out" (which Duane Allman would later cut with Derek and the Dominos).[5] Though the material would not come out until four years later, they serve as an important bridge towards the sound that The Allman Brothers Band would be producing within twelve months. Whilst in the midst of recording and touring, Gregg Allman elected to move out to southern California in order to let his brother and the remaining members of the Hour Glass be freed from their contract with Liberty Records. Though Gregg offered the others positions in his backing band,[6] nothing came of it and in a matter of months, Butch Trucks would join Duane and Gregg Allman in The Allman Brothers Band.

Scott Boyer ended up forming the group Cowboy with Tommy Talton, eventually signing to the Allman Brothers Band's label, Capricorn Records. He is currently recovering from artery replacement surgery.[7]

David Brown ended up a studio bassist, eventually joining Boz Scaggs's band and, later, Cowboy with Boyer. He remains a member of Norton Buffalo and the Knockouts despite Norton Buffalo's untimely death on 30 October 2009.[8][9]

After joining the Allman Brothers Band, Butch Trucks has stayed there since 1969, save for the group's first (1976â€"1979) and second (1982â€"1989) hiatuses.

QuoteDerek Trucks is an American guitarist, songwriter and founder of the Grammy Award winning[1] The Derek Trucks Band. He became an official member of The Allman Brothers Band in 1999 and formed the Tedeschi Trucks Band in 2010 with his wife Susan Tedeschi. His musical style encompasses several genres and he has twice appeared on Rolling Stone's list of 100 Greatest Guitarists of All Time; currently 16th on the list.

Trucks was born June 8, 1979, in Jacksonville, Florida. His uncle, Butch, is a founding member of The Allman Brothers Band.[2] According to Trucks, the name of Eric Clapton's band, Derek and the Dominos, had "something to do with the name [Derek] if not the spelling”.[3] His great-uncle, Virgil Trucks, was a professional baseball player.[4]

Trucks bought his first guitar at a yard sale for $5 at age nine and became a child prodigy who played his first paid performance at age 11.[5][6] Trucks began playing the guitar using a "slide" bar because it allowed him to play the guitar despite his small, young hands.[7] By his 13th birthday Trucks had played along side Buddy Guy[8] and gone on tour with The Allman Brothers Band.[2][

Trucks formed The Derek Trucks Band in 1996 and[5][9] by his twentieth birthday, he had played with artists including Bob Dylan, Joe Walsh and Stephen Stills.[10] After performing with The Allman Brothers Band for several years as a guest musician, Trucks became a formal member in 1999 [5] and appeared on the albums Live at the Beacon Theatre and Hittin' the Note. In 2006 Trucks began a studio collaboration with Eric Clapton called The Road to Escondido and Trucks found himself performing with three bands in 17 different countries that year.[5] Trucks was invited to perform at the 2007 Crossroads Guitar Festival and after the festival he toured as part of Clapton's band.[5][11]

Trucks built a studio in his home in January 2008 and he and his band recorded the album Already Free.[12] Truck's and his wife, Susan Tedeschi, combined their bands to form the Soul Stew Revival in 2007 and performed at the Bonnaroo Music Festival in June 2008.[12][13][14][15][15] In late 2009, Trucks and his band went on hiatus and then dissolved. In 2010, Trucks formed the Tedeschi Trucks Band with his wife.[16][17][18]

...................

In 2010, The Derek Trucks Band won the Grammy Award for Best Contemporary Blues Album for the album Already Free. In 2012, Trucks and Tedeschi as the Tedeschi Trucks Band won the Grammy Award for Best Blues Album for the band's debut album Revelator.[32]

On February 12, 2012, Trucks accepted a Grammy Lifetime Achievement Award along with ten other members of The Allman Brothers Band.[33][34] On February 21, Derek Trucks and his wife joined other blues musicians for a performance at the White House for President Obama and his guests.[35]

Quote from: Adam W on November 04, 2012, 10:32:50 AM
Here's a video for the Vikings. It looks like Kevin made this and posted it on YouTube:

http://youtu.be/tfMN5ODAoGk (http://youtu.be/tfMN5ODAoGk)

Edit: couldn't figure out how to embed the video, so just posted a link.

QuoteThe Vikings were a band from Jacksonville, Florida in the early 1960s. The members were brothers Bill Snow (tenor sax) & Ronnie Snow (alto sax), Larry Dreggors (lead guitar), Billy Harden (rhythm guitar), Tommy House (bass guitar) and Claude "Butch" Trucks (drums). They released one 7" record titled "Rosemary/You're The One" in 1964, which featured guest vocalist & pianist Dana Burney on side B.

After The Vikings disbanded, Dreggors and Harden went on to join the Deep Six, and later Mouse & The Boys. Trucks went on to become one of the founding members and one half of the drumming duo of The Allman Brothers Band in 1969.

They should not be confused with another 1960s group of the same name, a British group formed in the Birmingham area who included vocalist Carl Wayne, bassist Ace Kefford and drummer Bev Bevan, all of whom later joined The Move. They are usually remembered as 'Carl Wayne and the Vikings', to avoid confusion with their US contemporaries.

Quote
Last Sunday morning, the sunshine felt like rain.
Week before, they all seemed the same.
With the help of God and true friends, I come to realize
I still had two strong legs, and even wings to fly.

And oh I, ain't wastin time no more
'Cause time goes by like hurricanes, and faster things.

Lord, lord Miss Sally, why all your cryin'?
Been around here three long days, you're lookin' like you're dyin'.
Just step yourself outside, and look up at the stars above
Go on downtown baby, find somebody to love.

Meanwhile I ain't wastin' time no more
'Cause time goes by like pouring rain, and much faster things.

You don't need no gypsy to tell you why
You can't let one precious day slip by.
Look inside yourself, and if you don't see what you want,
Maybe sometimes then you don't,
But leave your mind alone and just get high.

Well by and by, way after many years have gone,
And all the war freaks die off, leavin' us alone.
We'll raise our children in the peaceful way we can,
It's up to you and me brother
To try and try again.

Well, hear us now, we ain't wastin' time no more
'Cause time goes by like hurricanes
Runnin' after subway trains
Don't forget the pouring rain.

QuoteRemembering Duane Allman

POSTED: October 29, 4:16 PM ET | By Rolling Stone

Duane Allman slammed his foot down on the kick-start of his Harley Davidson Sportster motorcycle on an autumn evening 38 years ago today in Macon, Georgia. A few miles down the road, he clipped the rear end of a flatbed truck, sustaining fatal injuries. The lead guitarist of the Allman Brothers Band, who was gaining substantial recognition as an electric guitar revolutionary, was dead at age 24.

"It's clear that Duane Allman was one of the true innovators of the electric guitar to rise in the Sixties; arguably on par with Hendrix, he was just beginning to sort out the universe of sound in a high distinctive and moving way," wrote Lester Bangs in the February 1, 1973 issue of Rolling Stone. RS recently ranked Allman Number Two on our list of the Greatest Guitarists of All Time.

Outside of the Allman Brothers, Duane played a substantial role in other projects, like Wilson Pickett's 1968 album Hey Jude. He recorded with the likes of Aretha Franklin, King Curtis, B.B. King, and Clarence Carter, and in 1970, Eric Clapton snagged him to record on his album Layla and Other Assorted Love Songs, which featured the famous licks of "Layla." "I just heard this wailing guitar coming through the air, louder than anything else," Clapton said of experiencing Allman for the first time. "You could just hear the band and then this really high in the air sound like a siren. It was just amazing."

Allman's unique style launched the Allman Brothers Band's 1971 album At Fillmore East head-first into becoming one of the greatest live albums ever recorded (with over three million albums sold) and influencing artists like Gary Rossington of Lynyrd Skynyrd. "For a slide, I've always used a glass Coricidin bottle, just like Duane Allman," Rossington has said. "Duane was one of my heroes and, in my opinion, he was the best slide player who ever lived."

Jerry Wexler's eulogy for Duane rang clear and crisp: "This young and beautiful man who we love so dearly but who is not lost to us, because we have his music, and the music is imperishable."

Quote
Nashville, TN is the birthplace of brothers Howard Duane & Gregory Lenoir Allman. Duane was born to Willis & Geraldine Allman on November 20, 1946 and baby brother Gregg was born on December 8, 1947. Their dad was a career Army sergeant and moved the family to Norfolk, Virginia soon after Gregg arrived.

In 1949 Willis Allman was murdered by a veteran after Willis befriended the man. After Willis’ death, Geraldine moved the family back to Nashville and finally moved the boys to Daytona Beach, FL when Duane was 11 and Gregg 10.

In 1959 while visiting relatives in Nashville, young Duane & Gregg attended a concert by the great B.B. King. Both boys fell in love with the music they heard that day and at one point Duane turned to Gregg and said “We got to get into this.”

Soon after, Gregg began playing guitar after hearing a neighbor playing country standards on an acoustic guitar. It was 1960 and older brother Duane decided to also try his hand at guitar. A few weeks later, Gregg stopped playing guitar and concentrating on his vocals because, as he recalled in an interview, once Duane began playing “he…passed me up like I was standing still”.

In 1961 the two brothers began playing in local bands and Duane quit high school to concentrate on his learning the guitar. The band the brothers eventually began playing with was called The Escorts. This band morphed into the Allman Joys, with Maynard Portman on drums and Bob Keller on bass.

Quote
"Midnight Rider" is a popular and widely covered song by The Allman Brothers Band, from their album Idlewild South. Written by Gregg Allman and Robert Kim Payne,[1] the song has become a fixture of the band's live performances and an enduring standard.[2] Renditions by Joe Cocker, Gregg Allman himself, and Willie Nelson have all reached the charts as singles.

Quote"Midnight Rider" uses traditional folk and blues themes of desperation, determination, and a man on the run:

    I've got one more silver dollar,
    But I'm not gonna let 'em catch me, no ...
    Not gonna let 'em catch
    The midnight rider.

The verses arrangement features Duane Allman's acoustic guitar carrying the song's changes, underpinned by a congas-led rhythm section and soft, swirling organ.[2][3] Dickey Betts' lead guitar phrases ornament the choruses and the instrumental break, while Gregg Allman's powerful, soulful singing, featuring harmony-producing reverb, has led to the song becoming known by some as Allman's signature piece.[2] Music writer Jean-Charles Costa stated in 1973 that, "'Midnight Rider' has been recorded by other bands and it's easy to see why. The verse construction, the desperate lyrics, and the taut arrangement make it standout material,"[3] while musician and writer Bill Janovitz said that the recording successfully blended elements of blues, country music, soul music, and Southern rock.[2]

"Midnight Rider" has been a concert staple for the band in decades since; it is usually played fairly closely to the original template, and was not used as the basis for long jams until the Allman Brothers' annual New York City run in 2010.

QuoteRam Jam was an American 1970s rock band, best known for their 1977 hit single, "Black Betty."

The band members were Bill Bartlett (guitar), Pete Charles (drums), Myke Scavone (lead singer), and Howie Arthur Blauvelt (bass). Also, Jimmy Santoro, who toured with the band in support of their debut album, joined on guitar for the follow-up album. Bartlett was formerly lead guitarist for bubblegum group The Lemon Pipers, while Blauvelt played with Billy Joel in two bands, The Hassles and El Primo.

QuoteEarly days

Bill Bartlett went on from the Lemon Pipers to form a group called Starstruckâ€"originally including Steve Walmsley (bass) and Bob Nave (organ) from the Lemon Pipersâ€"later replacing Walmsley with David Goldflies (who later played for years with Dickie Betts and Great Southern, and the Allman Brothers). While in Starstruck, Bartlett took Leadbelly's 59 second long "Black Betty," arranged, recorded and released it on the group's own TruckStar label. "Black Betty" became a regional hit, then was picked up by producers in New York who formed a group around Bartlett called Ram Jam. They re-released the song, and it became a hit nationally. The Ram Jam "recording" was actually the same one originally recorded by Starstruck, the band at that time composed of Bartlett, lead guitar and vocals, Tom Kurtz, rhythm guitar and vocals, David Goldflies, bass, David Fleeman on drums. The rest of the tracks on the first studio album containing "Black Betty" was played by the Ram Jam lineup. The song caused a stir with the NAACP and Congress of Racial Equality calling for a boycott due to the lyrics.[citation needed]

Despite the controversy, the song reached number 18 on the singles chart in 1977 in the U.S. and Top Ten in the United Kingdom and Australia, while the Ram Jam album reached the U.S. Top 40. It was also a hit in the Netherlands, reaching number 4.

Quote
Little Feat is an American rock band formed by singer-songwriter, lead vocalist and guitarist Lowell George and keyboardist Bill Payne in 1969 in Los Angeles.

Although the band has undergone several changes in its lineup, the music remains an eclectic blend of rock and roll, blues, R&B, boogie, country, folk, gospel, soul, funk and jazz fusion influences.

Quote
"Statesboro Blues" is a blues song in the key of D written by Blind Willie McTell; the title refers to the town of Statesboro, Georgia. Covered by many artists, the version by The Allman Brothers Band is especially notable and was ranked #9 by Rolling Stone in their list of the 100 Greatest Guitar Songs of All Time[citation needed]. In 2005, The Atlanta Journal-Constitution ranked "Statesboro Blues" number 57 on its list of 100 Songs of the South.[1]

The most familiar version of the song is by The Allman Brothers Band,[12] as recorded at the Fillmore East in March 1971 and first released on the 1971 album At Fillmore East. This version is famous also for Duane Allman's slide guitar playing, which, as Rolling Stone would write years later, featured "the moaning and squealing opening licks [that] have given fans chills at live shows."[13]

Allman's slide riffs on "Statesboro Blues" have been analyzed and transcribed in guitar magazines many times over[14][15][16][17] and the tones of Allman and Dickey Betts's guitars on the song were hailed by Guitar Player as some of the "50 Greatest Tones of All Time."[18] After Allman's death in a motorcycle accident later that year, the performance was included on the 1972 album Duane Allman: An Anthology. In 2008, Rolling Stone magazine ranked The Allman Brothers Band's version of "Statesboro Blues" as #9 in its list of the 100 Greatest Guitar Songs of All Time.[13]

The song is still a staple of The Allman Brothers Band's live shows, now often with Derek Trucks on slide. Dickey Betts also continues to play the song live.[19]

Quote
    The words to "Dreams" are completely true.  At that time, I was staying up at Julia Brose's place.  Julia worked for Dallas Smith as his secretary.  She was very pretty, and she lived up off of Laurel Canyon. You'd go up there, and on this little hill was a little timy shack, just big enough for a very romantic hideaway.  Of course, she had an old man, who happened to be in the Doors--she was hanging out with John Densmore, and she eventually married him.  Julia's been married to so many musicians; there's no telling what kind of royalties she gets.

     When I was staying up there, when I woke up and my eyes would open, I would be looking down the mountain.  If it was raining, there would be mudslides and all that.  That must have been in my mind when I sat down behind Sanford's Hammond.

    Just one more morning, I had to wake up with the blues
    Pulled myself out of bed, put on my walking shoes
    I went up on the mountain, to see what I could see
    The whole world was falling, right down in front of me.

    That's where the lyrics to "Dreams" came from.

     I ended up staying at Julia's a bunch. Sometimes she would be out for stretches of time and I'd stay there.  One time Julia was on the road with the Doors, so she asked me to watch her dog, who was going to have pupplies.  While I was there, her next-door neighbor turned me on to my first tab of Orange Sunshine.  I'm tripping out when the dog starts having puppies.  It's times like this when I don't like being alone, but God bless that neighbor.

     I did my best to help the dog out with the puppies, and it went okay.  Then I looked out the window and here come four limousines up the drive.  It's them, the fucking Doors.  All of them come in--Densmore, Jim Morrison, Robbie Drieger, and Ray Manzarek--because Julia wanted them to meet me. Robbie and Ray split, but Densmore and the Lizard King decide to stay. Julia introduced me, and I'm like, "Hey, how are you doing?" and of course, I'm still tripping.

     Morrison looks at me and goes, "What you got there on your hand, man?"
   
     "Oh,"  I said looking up at him, "it's just a little puppy juice."  Densmore was looking at me kinda strange, and my man Morrison said, "Oh, boy, this is going to be a good one.  I have to stay and hear about this."

     He left laughing--and this good thing was, we were all laughing so hard that Densmore wasn't thinking about me banging Julia, because he thought I was just the house sitter.

Quote from: Spence on November 18, 2012, 04:31:49 AM
Just last week attended a funeral service for a buddy whose family was .38 special.
JAX NEEDS this bond among its local legends and budding talent.
Does such an endeavor necessitate an investment in real estate?
OR
Can a group form and meet and jam at rotating venues who may consider hosting at no charge?
Karpeles?
Friday Musicale?
future new owners of 9th&Main?
RAM?
MetPark?
The Landing?

feedback?

Quote"Can't You See" is a song written by Toy Caldwell of The Marshall Tucker Band. The song was originally recorded by the band on their 1973 debut album, The Marshall Tucker Band, and released as the album's first single. It was re-released in 1977 and peaked at number 75 on the Billboard Hot 100.[1] The song was also featured in the Johnny Depp film Blow, in a 2011 commercial for Busch Beer and a 2012 ad for tourism in Gatlinburg, Tennessee.

A live version of the song is included as the final track on the band's 1975 album, Searchin' for a Rainbow.

The song is noted for its flute introduction done by Jerry Eubanks.

QuoteOnce I got settled in, my main order of business was to write songs.  After showing them those two songs, I became the writer for the Allman Brothers Band.  On some of the early songs that I wrote after I got to Florida -- like "Black Hearted Woman," "Every Hungry Woman," and "Whipping Post" --my experience with that girl Stacy was probably in my head, but I can't say I was specifically thinking about her while I was writing them.  Honestly, I don't know where they came from.  The words just appeared.

     My brother was staying with this artist chick named Ellen Hopkins, who lived down the street from Butch, so I had a place to stay too.  This was Arlington, which is a suburb of Jacksonville.  Berry Oakley, his wife, Linda, and their little baby daughter, Brittany, were also staying there, so I was staying up in the very top of the house, in this sitting room with a real nice couch in it.  I was up there, laying on that couch, and I was just exhausted.

     I wrote "Whipping Post" the first night I was at Hop's house.  It was a huge place that must have been built around the turn of the century, and the house was real squeaky.  Despite that, I was told more than once that after a certain time I was not to make a sound.
 
     "If that baby wakes up," Duane told me, "man, we're outta here.  Ya dig?" (That was my brother's saying--"Ya dig?")

     So that first night, I laid me down to go to sleep on my attic couch, and I dozed off for a while.  All of a sudden I woke up, because a song had me by the ass.  The intro had three sets of three, and two little steps that allowed you to jump back up on the next triad.  I thought it was different, and I love different things.  It hit me like a ton of bricks.  I wish the rest of them had come like this--it was all right there in  my head, all I had to do was write it down so I wouldn't forget it by the morning.

     I started feeling around for a light switch, but I couldn't find one anywhere. I was in my sock feet; I just had on my drawers and a T-shirt.  I found my way into the kitchen and it was pitch-dark.  I had my hands out and I touched an ironing board--thank goodness, instead of tripping over it, which would've made a terrible noise.

     I was feeling all around the counters for a piece of paper.  I couldn't find any paper or a pencil anywhere, but I did find a box of kitchen matches.  A car happened to go by, and its lights flashed long enough to allow me to see that red, white, and blue box.  I knew I could use the matches to write with, because I had diddled around enough with art to know that charcoal would work.

     I figured the ironing board cover would work as a pad, so I'd strick a match, blow it out, use the charcoal tip to write with, and then strike another one.  I charted out the three triads and the two little steps, and then I went to work on the lyrics:

     "I've been run down, and I've been lied to..."

QuoteZydeco derives from the French phrase Les haricots ne sont pas salés, which, when spoken in the Louisiana Creole French, sounds as "leh-zy-dee-co sohn pah salay". This literally translates as "the snap beans aren't salty" but idiomatically as "I have no spicy news for you." Alternatively the term has been given the meaning "I'm so poor, I can't afford any salt meat for the beans." The first recorded use of the term was in 1949.[1]

QuoteNorth Mississippi Allstars is a Southern rock/blues band from Hernando, Mississippi, founded in 1996. The band is composed of brothers Luther Dickinson (guitar, vocals) and Cody Dickinson (drums, keyboards, electric washboard), and Chris Chew (electric bass guitar). In addition to the guitar, Dickinson also plays a cigar box guitar called the "lowebow."[specify] Duwayne Burnside, who formerly played second guitar in the band, is a son of R. L. Burnside (who also played on some of the band's tracks).

QuoteI gotta brand new car that drinks a bunch a gas Got a house in a neighborhood thats fading fast Got a dog and a cat that don't fight too much Got a few hundred channels to keep me in touch Got a beautiful wife and three tow-headed kids A couple big secrets I'd kill to keep hid I don't God but i fear his wrath I'm trying to keep focused on the righteous path
I've got a couple of opinions that I hold dear Got a whole lotta debt and a whole lotta fear Got a grill in the backyard and a case of beers Got a boat that ain't seen the water in years More bills than money I can do the math I'm trying to keep focused on the righteous path
I'm trying to keep focus as I drive down the road On the ditches and the curves and the heavy load Ain't bitchin about things that ain't in my grasp Just trying to hold steady on the righteous path
I gotta friend of mine that I've known all my life [ From: http://www.metrolyrics.com/the-righteous-path-lyrics-drive-by-truckers.html ] Who can't get it right no matter how hard he tries He's got kids he don't see and several ex wives and a list of bad decisions bout 80 miles wide Trouble with the law and the IRS Where he'll get the money is anybody's guess He's a long way off but if you was to ask He'll say I'm trying to stay on the righteous path
We are trying to keep focused as we drive down the road like back in highschool before the world turned cold Now the brakes are thin and the curves are fast Just trying to hold steady on the righteous path
We're hanging out and we're hanging on we're trying our best we can to keep on keeping on We got messed up minds for these messed up times And it's a thin thin line Separating his from mine
I'm trying to keep focused on the righteous path 80 miles an hour with a worn out map no time for self pity or a load of crap Just trying to keep steady on the righteous pat

Read more: DRIVE BY TRUCKERS - THE RIGHTEOUS PATH LYRICS

Quote
"Gator Country"

I've been to Alabama, people ain't a whole lot to see;
Skynyrd says it's a real sweet home but it ain't nothing to me.
Charlie Daniels will tell you the good Lord lives in Tennessee, ha!
But I'm going back to gator country where the wine and the women are free.

There's a gator in the bushes, he's calling my name,
And a saying come on boy, you better make it back home again.
There's many roads I've traveled but they all kind of look the same.
There's a gator in the bushes, Lord, he calling my name.

Old Richard Betts will tell ya Lord he was born a Ramblin' Man.
Well he can ramble back to Georgia but I won't give a damn.
Elvin Bishop out struttin' his stuff with little Miss Slick Titty Boom.
But I'm going back to gator country to get me some elbow room.

There's a gator in the bushes he's calling my name.
and saying come on boy, you better make it back home again.
There's many roads I've traveled but they all kinda look the same.
There's a gator in the bushes, Lord, he calling my name. Yep.

There's Marshall Tucker riding a rainbow searching for a pot of gold.
Well they can take the highway, baby, and they can take all they can hold.
The Outlaws down in Tampa town it's a mighty fine place to be.
They got green grass and they got high tides and sure looks good to me.

There's a gator in the bushes, he's calling my name.
Saying come on boy, you better make it back home again.
There's so many roads I've traveled but they all kinda look the same.
There's a gator in the bushes, Lord, he's calling my name.

Oh gator country,
a little bit of that chomp chomp

QuoteForrest Richard "Dickey" Betts (born December 12, 1943) is an American guitarist, singer, songwriter, and composer best known as a founding member of The Allman Brothers Band. He was inducted with the band into the Rock and Roll Hall of Fame in 1995[1] and also won with the band a best rock performance Grammy Award for his instrumental "Jessica" in 1996 [2] Recognized as one of the greatest rock guitar players of all time,[3] he had early on in his career one of rock’s finest guitar partnerships with the late Duane Allman[4] introducing melodic twin guitar harmony and counterpoint which "rewrote the rules for how two rock guitarists can work together, completely scrapping the traditional rhythm/lead roles to stand toe to toe".[5] Dickey Betts was ranked #58 on Rolling Stone's 100 Greatest Guitarists of All Time list in 2003, and #61 on the list published in 2011.[3][6]

Quote

(http://i860.photobucket.com/albums/ab165/sheclown/mikecampbell.jpg)

Mike Campbell is a Ribault c/o 68 graduate!

Quote
Campbell was born in Panama City, Florida. He grew up there and in Jacksonville, Florida, where he graduated from Jean Ribault High School in 1968. At 16, he bought his first guitar, a cheap Harmony model, from a pawnshop. His first electric guitar was a $60 Goyatone. Like Tom Petty, Campbell drew his strongest influences from The Byrds and Bob Dylan, with additional inspiration coming from guitarists such as Scotty Moore, Luther Perkins, George Harrison, Carl Wilson, Jerry Garcia, Roger McGuinn, Keith Richards, Brian Jones, Jimmy Page, Mick Taylor, and Neil Young. The first song he learned to play was "Baby Let Me Follow You Down," a song which appeared on Dylan's eponymous debut album.

He formed a band named Dead or Alive which quickly disbanded. He first met Petty through Mudcrutch drummer Randall Marsh when they were auditioning him and he suggested his friend Mike to play rhythm guitar.
Campbell's autograph on a 1975 "Mudcrutch" 45.

Mudcrutch moved to L.A. and signed a record deal with Shelter Records, recording an album in 1974 that ended up being shelved. Campbell then joined Petty to found the original Tom Petty and the Heartbreakers in 1975 along with Benmont Tench (keyboards), Ron Blair (bass guitar) and Stan Lynch (drums).
The Heartbreakers

Like the other players in the Heartbreakers, Campbell avoids the virtuoso approach to playing, preferring to have his work serve the needs of each song. Guitar World magazine noted "there are only a handful of guitarists who can claim to have never wasted a note. Mike Campbell is certainly one of them". He is a highly melodic player, often using two or three-strings-at-a-time leads instead of the more conventional one-at-a-time approach. "People have told me that my playing sounds like bagpipes," he muses. "I'm not exactly sure what that means." His estimation of his own style is typically modest: "I don't think people can really top Jimi Hendrix and Eric Clapton as far as lead guitar goes. I like my playing to bring out the songs." Like Tench, he is heavily involved in constructing the arrangements for the Heartbreakers' tunes. And also like Tench, he prefers rawness to polish in the studio and onstage.

Campbell co-produced the Heartbreakers albums Southern Accents, Pack Up the Plantation: Live!, Let Me Up (I've Had Enough), Into the Great Wide Open, She's the One, Echo, The Last DJ, The Live Anthology and Mojo, as well as the Petty solo albums Full Moon Fever, Wildflowers, and Highway Companion.

Quote


Well I used to wake the mornin' ... before the rooster crowed
Searchin' for soda bottles to get myself some dough
Brought 'em down to the corner ... down to the country store
Cash 'em in and give my money to a man named Curtis Leow

Old Curt was a black man with white curly hair
When he had a fifth of wine he did not have a care
He used to own an old Dobro ... used to play it across his knees
I'd give old Curt my money ... he'd play all day for me

Play me a song Curtis Leow ... Curtis Leow
Well I got your drinking money ... tune up your Dobro
People said he was useless ... them people all were fools
'Cause Curtis Leow was the finest picker to ever play the blues

He looked to be sixty ... and maybe I was ten
Mama used to whup me but I'd go see him again
I'd clap my hands, stomp my feets, try to stay in time
He'd play me a song or two then take another drink of wine

Play me a song Curtis Leow ... Curtis Leow
Well I got your drinking money ... tune up your Dobro
People said he was useless ... them people all were fools
'Cause Curtis Leow was the finest picker to ever play the blues

Yesssir

On the day old Curtis died nobody came to pray
Ol' preacher said some words and they chunked him in the clay
Well he lived a lifetime playin' the black man's blues
And on the day he lost his life that's all he had to lose

Play me a song Curtis Leow ... hey Curtis Leow
I wish that you was here so everyone would know
People said you were useless ... them people all are fools
'Cause Curtis you're the finest picker to ever play the blues

QuoteThe band's website says that the song is based on a composite of people who actually lived in the Van Zants' original neighborhood in Jacksonville, FL. Specifically, the country store "is based on Claude's Midway Grocery on the corner of Plymouth and Lakeshore in Jacksonville."[6] The business has since been renamed Sunrise Food Store, but still occupies the same location. The Loew character is sometimes thought by Skynyrd fans to be inspired by Shorty Medlock, the grandfather of Rickey Medlocke, Lynyrd Skynyrd's drummer during their 1970 tour and one of the band's current guitarists.

QuoteA descendant of the Blackfoot Confederacy, he is the grandfather of Rickey Medlocke.[1]

Starting in 1979, Shorty made contributions to Blackfoot's music. He wrote the Top 40 hit "Train Train" (released on the album Strikes), and played harmonica on the track.[1] For the follow-up album Tomcattin', Shorty co-wrote the song "Fox Chase" and gave the song a short introduction.[2] For Marauder, Shorty co-wrote "Rattlesnake Rock 'n' Roller" and played banjo on the track.[3] Shorty had also appeared on Blackfoot's 1975 debut album, No Reservations, singing a version of "Railroad Man" (which he also wrote).

Shorty is also rumored to be the inspiration for the fictional character Curtis Loew, who appears in the Lynyrd Skynyrd song "The Ballad of Curtis Loew"

Quote
The band's website says that the song is based on a composite of people who actually lived in the Van Zants' original neighborhood in Jacksonville, FL. Specifically, the country store "is based on Claude's Midway Grocery on the corner of Plymouth and Lakeshore in Jacksonville."[6] The business has since been renamed Sunrise Food Store, but still occupies the same location. The Loew character is sometimes thought by Skynyrd fans to be inspired by Shorty Medlock, the grandfather of Rickey Medlocke, Lynyrd Skynyrd's drummer during their 1970 tour and one of the band's current guitarists.

QuoteIt was during that tour [July 1973,] that we were visited by a young, and I mean young, reporter for Rolling Stone named Cameron Crowe.  Of course, I had no idea he would go on to make Almost Famous nearly thirty years later, and that it would include some of our stories.

     When that movie came out in 2000, my only thought was that I wished my brother could've been there to watch it, though I'm sure he saw it from his big seat...

    ...But the jumping off the roof into the pool, that was Duane--from the third floor of a place called the Travelodge in San Francisco.  I got up there with him, but I said no, this is too high--I might miss.  My brother wanted to do it again, but the cat who owned the place came out shaking his fist, yelling at him.  My brother was somewhat of a daredevil, and he and Oakley would do shit like that.  We told that story all the time, and I have no doubt that Cameron was around for it.

QuoteSweet Home Alabama Meaning
How deep is your love for this song? Go deeper.
In the 1950s and '60s, Alabama was ground zero for the Civil Rights Movement.

It was in Alabama that Rosa Parks refused to move to the back of the bus. Martin Luther King led protest marchers on a long walk from Selma to Montgomery. In Birmingham, police attacked civil rights demonstrators with dogs and fire hoses, and Ku Klux Klansmen blew up a black church, killing four little girls attending Sunday School inside.

Social changeâ€"racial changeâ€"came to Alabama in a hurry… but not without generating stiff resistance from more than a few tradition-minded white folks who liked things just fine under the old Jim Crow system of racial segregation. They rallied around their defiant governor, George Wallace, who marked his inauguration into office in early 1963 by declaring, "I say segregation now, segregation tomorrow, segregation forever."

To many outsidersâ€"especially to liberal-minded people from the Northâ€"white Alabamians' militant defense of the color line seemed, simply, indefensible.

Neil Young certainly saw things that way. The Canadian-born rock legend recorded a pair of tracks, "Southern Man" and "Alabama," ripping white southerners for standing in the way of progress. "Southern man," Young sang, "better keep your head / Don't forget what your Good Book says / Southern change gonna come at last / Now your crosses are burning fast."

The southern men who comprised Lynyrd Skynyrd were huge fans of Neil Young and his music, but they felt that Young had gone too far in launching his broadside attack against the entire South and all its (white) people. The Skynyrd boys weren't racists; what gave Neil Young the right to judge them? Or, as band frontman Ronnie Van Zant put it in a 1974 interview with Rolling Stone magazine, "We thought Neil was shooting all the ducks to kill one or two." Not every southern man was a cross-burning bigot; was every white southerner supposed to feel ashamed merely for being who he was?

So Lynyrd Skynyrd went into an Atlanta recording studio late in 1973 to cut "Sweet Home Alabama", a record self-consciously designed to serve as the South's answer to "Southern Man" and "Alabama." The result was the biggest hit of their career (and a much bigger hit than either of the Neil Young tunes that inspired it), a hard-rocking anthem of southern pride that remains a staple of frat party DJs and classic-rock radio stations to this day. Few would argue against the idea that "Sweet Home Alabama" is worthy of consideration for any shortlist of the greatest rock songs ever.

So there's not much question that "Sweet Home Alabama" was a success, as a song. But did it succeed as the South's answer to northern criticisms of southern culture?

That all depends on what you think the song actually means. We know that the song was written as a direct response to a couple of Neil Young tunes criticizing southerners for racism. We know that the song invokes a series of hot-button political referencesâ€"to segregationist Governor George Wallace, to the city of Birmingham where much bloody violence occurred during the Civil Rights Movement, to President Nixon's Watergate scandal. We know that that key verse ends with Skynyrd frontman Ronnie Van Zant sneering that all that stuff "does not bother me / does your conscience bother you?"

But we really don't know exactly what that means.

Many fans (and critics) have heard the song as a simple and straightforward attack on Neil Young (and northerners in general) and a militant defense of the South, its traditional "good ol' boy" culture, and perhaps even its system of white supremacy. In this interpretation, the song is a kind of redneck anthem, defiantly flipping the bird to sanctimonious liberals and northerners. A casual listen to the lyrics certainly lends itself easily to this interpretation, as does the enduring image of Lynyrd Skynyrd performing the song live before thousands of (almost entirely white) fans with a giant Confederate battle flag hanging behind the stage and hundreds more waving in the crowd.

But there's another way to hear the song, in which "Sweet Home Alabama" sends a much more complex and nuanced message than most people usually think. Interestingly, it is this alternative interpretation that seems to have been favored by Lynyrd Skynyrd and, perhaps surprisingly, also by Neil Young.

In this version, the song is less a defense of the worst aspects of modern southern history than a simple reminder that northerners have their own problems and that people in glass houses shouldn't throw stones. In this version, the backup singers' chorus ("Boo! Boo! Boo!") after the line about loving George Wallace is intended to signal the band's disapproval of the segregationist governor's racial politics; the next line, "we all did what we could do," might then mean that they had tried to work against him. "Now Watergate does not bother me" might be understood as something more than a line designed simply to aggravate liberal foes of President Nixon. It might be heard, instead, as Van Zant arguing that he wasn't judging all individual northerners to be bad people because their president had committed bad acts; they shouldn't judge him for the things George Wallace did either.

So… "Does your conscience bother you?"

Like any work of art, "Sweet Home Alabama" means what its listeners think it means. It's fascinating that both Neil Young and George Wallace reportedly loved the song. Ronnie Van Zant and the band worked the ambiguity to great effect; they performed beneath the stars and bars but also called the eruption of Confederate paraphernalia among their fans "embarrassing." They publicly criticized George Wallace's racism, but happily accepted the governor's invitation to personally anoint them Grand Marshalls of the State of Alabama. They told Neil Young, in so many words, that "a Southern Man don't need him around," but continued to idolize the man and his music; Ronnie Van Zant often wore a Neil Young t-shirt in concert, and was hoping to collaborate with him on a new record before those plans were destroyed by the plane wreck that killed Van Zant and two of his bandmates in 1977.

That tragic accident made it impossible for Ronnie Van Zant to further clarify what "Sweet Home Alabama" meant to him.

So what's it mean to you?

QuoteWhen Little Feat was at its best, the band blended complex rhythms, multiple styles and time signatures not only within the same song, but often within a few measures. Take the case of “Fat Man in the Bathtub,” one of the band’s signature originals, which features elements of funk, blues, doo-wop and Latin music underneath Lowell George’s gritty vocal delivery.

George’s lyrics tell the sad tale of protagonist “Spotcheck Billy,” who seems to be suffering from a lack of sex or drugs or both, depending on your view. Some have said that the song is an autobiographical account; that George is the “Fat Man in the Bathtub,” while others theorize that Lowell was referring to one of his many famous musician friends.

Little Feat first recorded “Fat Man in the Bathtub” for 1973’s Dixie Chicken, the band’s first album with Kenny Gradney on bass, Paul Barrere on second guitar and Sam Clayton on percussion. “Fat Man” saw its first live action in ‘73 and remained a staple of the group’s live repertoire throughout every period of their career.

QuoteBiography

Lucero's sound has been described as a "synthesis of soul, rock, and country [that] is distinctly Memphisian."[1] The band had their start in Memphis, TN and played for the first time in early 1998. Since 2001, they have played between 150 and 200 shows a year across the United States and Canada and have been called "one of the hardest working bands of the last 10 yearsâ€"on tour significantly more days than they are not."[2] Lucero has released eight full length albums.[3]

The members of Lucero are Roy Berry (drums), John C. Stubblefield (bass), Brian Venable (guitar), and Ben Nichols (guitar and vocals), Rick Steff (piano, organ, accordion), and Todd Beene (pedal steel). Todd Gill substituted for Brian Venable from 2003 to 2004. The band also experimented with guitarist Steve Selvidge in the early months of 2003.

In late 2008 the band announced they had signed a four album deal with Universal Music Group,[4] though the relationship with Universal was short-lived.[5] 1372 Overton Park was released October 6, 2009 by Universal Music Group and was the first Lucero album to feature a horn section.

Lucero's latest album, Women & Work, was released on March 13, 2012 by ATO Records. This new album integrates more of the horn section as well as the pedal steel guitar, keyboards and a gospel chorus.[6][7]

The first solo release from frontman Ben Nichols, The Last Pale Light in the West, was released in January 2009 on Lucero's label Liberty & Lament. The seven-song record was inspired by Cormac McCarthy's book Blood Meridian and recorded with Rick Steff on piano and accordion and Todd Beane on pedal steel.[8]

In May 2009, Nichols co-starred in MTV's $5 Cover, a Craig Brewer-produced quasi-fictionalized series about the Memphis music scene. A performance of Lucero's song "San Francisco" at the Young Avenue Deli in Memphis was featured in the trailer for the series.[9]

Ben Nichols' previous band was Red 40 in which he played alongside Colin Brooks and Steve Kooms.[10]

Drummer Roy Berry is half of experimental duo Overjoid[11] and was a member of the Memphis-based band The Simple Ones before joining Lucero.[12]

John C. Stubblefield has recorded with North Mississippi Allstars, Jim Dickinson and Sack Lunch, among others. He co-produced Hill Country Revue’s 2010 album Zebra Ranch.[13]

Brian Venable is Henry’s Dad.[14]

Rick Steff has recorded with Cat Power, Hank Williams Jr. and Dexys Midnight Runners, among others.[15]

Todd Beene is also currently a member of the Tennessee band Glossary.[16]

QuoteThe Outlaws[1] are a southern rock/country rock band formed in Tampa, Florida in late 1967 by guitaristâ€"vocalist Hughie Thomasson, drummer David Dix, bassist Phil Holmberg, guitarists Hobie O'Brien and Frank Guidry, plus singer Herb Pino. Guidry brought the name Outlaws with him when he joined (he had been in another group that had that name).
.......................
While the Outlaws are generally considered to be a part of the southern rock genre, there are distinct differences in their approach and their influences. Their primary similarity to other southern rock bands is the dual lead guitar interplay, a defining characteristic of many southern rock bands. However, the Outlaws’ mix of country and rock elements displays the vocal harmony influences of groups like Buffalo Springfield, the Byrds, and Poco. Their use of three and four part harmonies set them apart from their contemporaries who usually relied on a single lead vocalist.

Hughie Thomasson's signature guitar playing style and voice were defining characteristics of the band's sound. Thomasson's guitar sound was underpinned by the use of the Fender Stratocaster (and sometimes a Fender Telecaster) played in a quasi-country style mixed with fluid, quick blues runs. Hughie was nicknamed "The Flame" for his flaming fast guitar work. He is a member of the Fender Hall of Fame.

The other lead guitarist, Billy Jones, played mainly a Gibson Les Paul and switched between a clean and distorted sound. A good example of this can be heard on "Green Grass and High Tides" on the right stereo channel. Hughie Thomasson's smooth Stratocaster sound can be heard on the left channel. Thomasson opens the first solo at the intro and plays the first half of the two succeeding longer solos all on the right channel. There are many video examples of his Green Grass solos on the internet.

QuoteThe Ozark Mountain Daredevils are a Southern rock/country rock band formed in 1972 in Springfield, Missouri, USA. They are most widely known for their singles "If You Wanna Get To Heaven" in 1974 and "Jackie Blue" in 1975.

The Daredevils are also mentioned in the "Don's Story" chapter of American humorist David Sedaris' book Barrel Fever. Bassist Michael "Supe" Granda has also written a book about the band, It Shined.

Quote from: BridgeTroll on December 12, 2012, 08:33:24 AM
Question:  Is "Southern Rock" more closely defined by the sound or the bands original location?  I have a few more classics... but the bands began in Non southern areas of the country...

QuoteRed Dirt Music is a music genre that gets its name from the color of soil found in Oklahoma. Although Stillwater, Oklahoma is considered to be the center of Red Dirt music,[1] there's a Texas Red Dirt sound as well. Outlaws Waylon Jennings and Willie Nelson are associated with that distinctive Texas sound while Bob Childers defines Oklahoma Red Dirt music. At one time the distinction between the two genres was obvious, but by 2008 that gap had diminished.[2]

History

Oklahoma has been the source of several pop music movements that can be traced not only to a specific city, but a specific location within the city. Those music scenes include Kansas City jazz (attributed to an area of Oklahoma City called Deep Deuce), Western swing (attributed to Cain's Ballroom in Tulsa), and Leon Russell's Tulsa Sound from his Tulsa church-turned-into-studio. Like those three, Red Dirt music grew from a specific place in Stillwater. The place was an old two-story, five-bedroom house called "The Farm" - for two decades the center of what evolved into the Red Dirt scene.[3] The house, located on the outskirts of Stillwater, was the country home of Bob Childers. Eventually Childers left The Farm, but the Red Dirt scene continued to grow and thrive.[4] Childers said, "I found something in Stillwater that I just didn't find anywhere else. And I looked everywhere from Nashville to Austin. I always came back to Stillwater - it's like a fountainhead for folks trying to get their vision."[5]
The Red Dirt Rangers (Ben Han, Brad Piccolo, John Cooper) performing at the Woody Guthrie Folk Festival. July 12, 2008.

One of many bands representing Red Dirt music - as their name signifies - is the Red Dirt Rangers. The Rangers - John Cooper, Brad Piccolo and Ben Han - have been making music since the late-1980s and, along with Childers, were part of The Farm's earliest musical brotherhood which also included Jimmy LaFave and Tom Skinner. These musicians and others jammed in the living room, on the front porch, in the garage (known as the Gypsy Cafe), and around campfires in the yard where "the sheer joy of creating music with friends transcended everything else."[3] Cooper said, "The Farm was as much an attitude as a physical structure. It allowed a setting where freedom rang and all things were possible. Out of this setting came the music." The physical structure burned down in 2003.[3]
Definition

Critics say that Red Dirt can best be likened to the indie genre of rock 'n' roll as there is no definitive sound that can be attributed to all the bands in the movement. Most Red Dirt artists would be classified by the music industry as Americana, folk, or alt-country, though the range of sounds in the Red Dirt spectrum goes beyond these genres. It has been described as a mix of folk, rock, country, bluegrass, blues, Western swing, and honky tonk, with even a few Mexican influences. Singer-songwriter and former Stillwater resident Jimmy LaFave said,

    "It's kind of hard to put into words, but if you ever drive down on the (Mississippi) Delta, you can almost hear that blues sound," he explains. "Go to New Orleans, and you can almost hear the Dixieland jazz. Go to San Francisco, and you get that psychedelic-music vibe. You hear the Red Dirt sound when you go through Stillwater. It has to do with the spirit of the people. There's something different about them. They're not Texans, they're Okies, and I think the whole Red Dirt sound is just as important to American musicology as the San Francisco Sound or any of the rest. It's distinctly its own thing."[6]

Jimmy LaFave performing at the Woody Guthrie Folk Festival along with (L-R) Radoslav Lorković, Joel Rafael, Butch Hancock, Audrey Auld Mezera and David Amram. July 12, 2008.

Some define Red Dirt music as "country music with an attitude".[7] Others say it's a state of mind as much as it is a sound - a sound that successfully closes the gap between rock and country.[7]

Although many bands got their start in Stillwater, each band has a distinctive sound said Brandon Jackson, guitarist for the band No Justice. "The sound is different from each band to band to band. Some guys are more rock, some guys are more country, and there's everything in between," Jackson said. Cody Canada, front-man for the band Cross Canadian Ragweed said, ""It's country, folksy, it's bluesy, it's rock, and it's just blue collar music. It's a lot about the lyrics. It's a lot about the feeling of it. It doesn't have a label, I guess. It's everything from Merle Haggard influence to full blown Rolling Stones."[4]

Marc Ringwood, founder of Texas Troubadours - a website dedicated to the sounds of Oklahoma and Texas - says, "I don’t think there is a true way to define it. Trying to analyze it, you see that a lot of artists carry the same influences going back to the days of Bob Wills and Woody Guthrie (for the older artists and bands), and then you have new guys who have followed in stride with their peers by feeding off their influences. Red Dirt also has more of a spiritual quality within the music. It’s more honest, and true and noncliched, like a lot of other music we’re exposed to in major markets."[8]

When asked to define Red Dirt music in an interview with Texas Troubadours, Red Dirt musician and Tahlequah resident Randy Crouch said, "Well, I don't think I'd be the one who's able to define it, but it seems to have Oklahoma values, you know how Okies are real good at doing everything themselves, maybe a sense of independence about it. It's natural, and honest, and about real life. You know, it's almost like the way Woody approached music."[9]

Ben Cisneros, a writer for The 9513 - a country music blog website - says Red Dirt is a "movement" that has managed to create an infrastructure enabling regional success. He states that "program directors and DJs all over Texas and Oklahoma have set up shows that feature Red Dirt music. Not only that, but many stations in major markets are including Red Dirt music in their regular rotation right alongside mainstream modern country."[10]

QuoteLike Kristin Chenoweth said, when you mention southern rock, the first artist you think of is … Justin Bieber. Wait, what? Okay, actually, it’s typically Lynyrd Skynyrd, and at the 2012 American Country Awards, the southern rock legends took the stage with the help of Trace Adkins.

Nothing gets an audience to its feet like a group of 1970s rock legends. When Skynyrd and Adkins took the stage at the Las Vegas awards show, the crowd exploded. Adkins started ‘What’s Your Name’ by singing the first verse, and the Skynyrd band chimed in with unforgettable guitar solos and bass riffs.

Most contemporary country stars would have felt intimidated by the presence of such legendary rockers, but Adkins performed perfectly on key â€" even though he towered several inches above most of the band.

As the men sang, cameras focused on Carrie Underwood and Keith Urban, who were standing side-by-side, grooving along to the song. Underwood was spotted singing along to every word â€" looks like she’s been a country fan for decades!

Unfortunately for Underwood and Urban â€" and all of the fans in Las Vegas and at home who were hoping for a Skynyrd medley â€" the band and Adkins only performed one song together. On the bright side, it was a spot-on rendition of the 1977 hit.

Quote
The Amazing Rhythm Aces is an American country rock group. The band has characterized their music as "American Music" or "Roots Music"â€"rock, country, blues, R&B, folk, reggae and Latino. While they are best known for their 1970s hit "Third Rate Romance", their small but fanatical fan base would fiercely reject the erroneous classification of the band as a "one hit wonder"; the group has released 18 albums over 30 years including a 15-year hiatus. Their music is distinguished by its eclectic scope, literate and often quirky lyrics, and distinctive vocals by lead singer/songwriter Russell Smith.

Quote from: JaxJerry on December 14, 2012, 12:09:12 PM
Is hometown hero Johnny Tillotson ( Poetry In Motion, Send Me The Pillow You Dream On) in your net?

QuoteJohnny Tillotson (born April 20, 1939 in Jacksonville, Florida) is an American singer and songwriter. He enjoyed his greatest success in the early 1960s, when he scored 9 top-ten hits on the pop, country and adult contemporary billboard charts including "Poetry In Motion" and the self-penned "It Keeps Right On A-Hurtin'". He also sang "Yellow Bird", an adaptation of the Haitian song. Johnny's version is quoted as being a favorite of the former head of the Supreme Court of the United Kingdom, because he and his wife had enjoyed it during their honeymoon. (BBC Interview)

He is the son of Doris and Jack Tillotson. Jack owned a small service station on the corner of 6th and Pearl in Jacksonville; he also acted as the station's mechanic. At the age of nine, Johnny was sent to Palatka, Florida.[1] to take care of his grandmother. He returned to Jacksonville each summer to be with his parents when his brother Dan would go to his grandmother. Johnny began to perform at local functions as a child, and by the time he was at Palatka Senior High School he had developed a reputation as a talented singer.[2] He became a regular on the Toby Dowdy regional TV show in Jacksonville, and then had his own TV show on WFGA-TV.[3] In 1957, while Tillotson was studying at the University of Florida, a local disc jockey, Bob Norris sent a tape of Johnny's singing to the Pet Milk talent contest, where he was chosen as one of the six National finalists. This gave Johnny the opportunity to perform in Nashville, Tennessee, on WSM the Grand Ole Opry, which led Lee Rosenberg, a Nashville publisher, to take a tape to Archie Bleyer, owner of the independent Cadence Records.[4] Bleyer signed Tillotson to a three-year contract, and issued his first single, "Dreamy Eyes" / "Well I'm Your Man" in September 1958. Both songs had been written by Tillotson, and both made the Billboard Hot 100, "Dreamy Eyes" peaking at # 63. After graduating in 1959 with a Bachelor's Degree in Journalism and Communications, Tillotson moved to New York City to pursue his music career.[1][2][5]

....................

On March 23, 2011 Johnny Tillotson was inducted into the Florida Artists Hall of Fame alongside painter James F. Hutchinson. This is the highest honor that the State of Florida bestows on an individual citizen. Only 48 others have been so honored to date. Their plaques are on permanent display in the Florida State Capitol.

Quote from: sheclown on December 14, 2012, 11:53:37 AM

http://www.youtube-nocookie.com/v/0_EFdod4YDo?version=3&amp;hl=en_US

Quote from: sheclown on December 14, 2012, 12:38:46 PM
Okay, nothing southern rock about this guy, but the history is very interesting --

http://www.youtube-nocookie.com/v/Oy_ArpznZUs?version=3&amp;hl=en_US

QuoteJohnny Tillotson (born April 20, 1939 in Jacksonville, Florida) is an American singer and songwriter. He enjoyed his greatest success in the early 1960s, when he scored 9 top-ten hits on the pop, country and adult contemporary billboard charts including "Poetry In Motion" and the self-penned "It Keeps Right On A-Hurtin'". He also sang "Yellow Bird", an adaptation of the Haitian song. Johnny's version is quoted as being a favorite of the former head of the Supreme Court of the United Kingdom, because he and his wife had enjoyed it during their honeymoon. (BBC Interview)

He is the son of Doris and Jack Tillotson. Jack owned a small service station on the corner of 6th and Pearl in Jacksonville; he also acted as the station's mechanic. At the age of nine, Johnny was sent to Palatka, Florida.[1] to take care of his grandmother. He returned to Jacksonville each summer to be with his parents when his brother Dan would go to his grandmother. Johnny began to perform at local functions as a child, and by the time he was at Palatka Senior High School he had developed a reputation as a talented singer.[2] He became a regular on the Toby Dowdy regional TV show in Jacksonville, and then had his own TV show on WFGA-TV.[3] In 1957, while Tillotson was studying at the University of Florida, a local disc jockey, Bob Norris sent a tape of Johnny's singing to the Pet Milk talent contest, where he was chosen as one of the six National finalists. This gave Johnny the opportunity to perform in Nashville, Tennessee, on WSM the Grand Ole Opry, which led Lee Rosenberg, a Nashville publisher, to take a tape to Archie Bleyer, owner of the independent Cadence Records.[4] Bleyer signed Tillotson to a three-year contract, and issued his first single, "Dreamy Eyes" / "Well I'm Your Man" in September 1958. Both songs had been written by Tillotson, and both made the Billboard Hot 100, "Dreamy Eyes" peaking at # 63. After graduating in 1959 with a Bachelor's Degree in Journalism and Communications, Tillotson moved to New York City to pursue his music career.[1][2][5]

....................

On March 23, 2011 Johnny Tillotson was inducted into the Florida Artists Hall of Fame alongside painter James F. Hutchinson. This is the highest honor that the State of Florida bestows on an individual citizen. Only 48 others have been so honored to date. Their plaques are on permanent display in the Florida State Capitol.

I wonder if it is the gas station which Michael Trautmann owns or the odometer shop across the street owned by Pastor Ron.  Anyone know?  That is a piece of Springfield history I never knew.

QuoteThe Rossington-Collins Band rose from the ashes of Lynyrd Skynyrd in 1979 and released two excellent albums before rock’n roll excess took its toll on both of its founding guitarists and the band broke up in 1982.

In 1979 remaining Lynyrd Skynyrd members had recovered enough to play one off show at The Charlie Daniels Band’s Volunteer Jam. They got enthusiastic response from the crowd, which led to formation of The Rossington â€" Collins Band.

Skynyrd drummer prior to plane crash, Artimus Pyle was supposed to continue on drums, but his broken leg prior to stepping into the studio forced The Rossington â€" Collins Band to replace him with Derek Hess. Billy Powell continued on keyboards, as did Leon Wilkeson on bass. Barry Harwood took Steve Gaines’ position on third guitar and to replace Ronnie Van Zant, they hired former 38 Special backup vocalist, Dale Krantz as the lead singer.

Their debut album Anytime, Anyplace, Anywhere was for the most part written by Allen Collins and gained good reception from press and fans alike. With hits songs Prime Time and Don’t Misunderstand Me, it peaked #9 at the charts and was eventually certified platinum.

The Rossington - Collins Band rarely played any Skynyrd tunes while on stage, but they ended each performance with instrumental version of Freebird, dedicated to Ronnie Van Zant, Steve Gaines and Cassie Gaines.

Troubled with the passing of his wife in 1980, Allen Collins dove deeper into alcohol and drug fueled downward spiral, forcing the band to cancel several gigs. Dale Krantz’s and Rossington’s newly found love also created friction between him and Allen.

Soon after the release of their sophomore effort, This Is The Way, Rossington â€" Collins Band broke up. Gary Rossington and Dale Krantz formed Rossington Band and rest of the guys added Randall Hall and Jimmy Daughtery to the line-up and continued under the name Allen Collins Band.

Both of these bands were short-lived and Lynyrd Skynyrd finally reunited in 1987 with Ronnie's younger brother, Johnny Van Zant on vocals

QuoteGary Robert Rossington (born December 4, 1951, Jacksonville, Florida, United States) is an American musician, best known as a founding member of Southern rock band Lynyrd Skynyrd. He plays lead and rhythm guitar. He is also a founding member of The Rossington-Collins Band along with former Lynyrd Skynyrd bandmate, Allen Collins.[1] Rossington is the only original member still with the band as of 2012.

Quote
(http://i860.photobucket.com/albums/ab165/sheclown/AllenCollins_zps0508ca7e.jpg)

QuoteLarkin Allen Collins Jr.[1][2][3] (July 19, 1952 â€" January 23, 1990) was one of the founding members and guitarists of Southern rock band Lynyrd Skynyrd, and co-wrote many of the band's songs with late frontman Ronnie Van Zant. He was born in Jacksonville, Florida.

QuoteThis old town ain't been the same Since this old boys been gone
Lord I still got some good friends But I feel so all alone
All I hear is disco See pretty boys with high heels on
Well, some people sure hate me And police dog me round
Well, the only place I'm welcome Is on the west side of town
Well, I'm on the wanted posters I can't show my face in town, alright

Play this one for south side

Jacksonville, I love you But you don't want me around
Jacksonville, you raised me And this is where I got my sound
Although I'm your outlaw I still love my hometown, all around

Ahh, this is for the west side boys

This old town ain't been the same Since your native sons been gone
Lord, I still got some old friends But I am so all alone
All I hear is disco See pretty boys with high heels on
Well, you can keep your disco Pretty boys with high heels on

Read more: LYNYRD SKYNYRD - JACKSONVILLE KID LYRICS

Quote
Overview

The original studio recording of "In Memory of Elizabeth Reed" is the fourth track on the group's 1970 album Idlewild South. Composed by Dickie Betts, it is the first instrumental written by a bandmember. The original Rolling Stone review of Idlewild South said the song "just goes and goes for a stupendous, and unnoticed, seven minutes."[1]

The song is named after a headstone Betts saw at the Rose Hill Cemetery in Macon, Georgia,[2] a place frequented by band members in their early days to relax and write songs. Considerable legend has developed about what Betts was doing at the time, some originated by a possibly put-on interview Duane Allman gave Rolling Stone.[3] The cemetery was later memorialized by the band as the final resting spot of both band leader Duane Allman and bassist Berry Oakley.

The Rolling Stone Album Guide called "In Memory of Elizabeth Reed" in its original studio incarnation "the blueprint of a concert warhorse, capturing the Allmans at their most adventurous."[4] The New York Times has written that "its written riffs and jazz-ish harmonies [allow] improvisers room."[5] Accordingly, "Elizabeth Reed" has appeared in many Allman Brothers concerts, sometimes running half an hour or more,[6] and on numerous Allman Brothers live albums, but first and most notably on At Fillmore East, which many fans and critics believe is the definitive rendition. In 2007, Rolling Stone named "In Memory of Elizabeth Reed" one of its Fifty Best Songs Over Seven Minutes Long[7] â€" and in giving it Honorable Mention on its 100 Greatest Guitar Songs of All Time list made 2008, Rolling Stone called the At Fillmore East performance "transcendant".[8]

QuoteDanny Joe Brown, (August 24, 1951 â€" March 10, 2005)[1] was a member of the Southern rock group Molly Hatchet, and singer and co-writer of the band's biggest hits from the late 1970s.

He was born in Jacksonville, Florida in 1951 and graduated from Terry Parker High School in 1969.[2] Shortly after graduating, he enlisted in the U.S. Coast Guard and was stationed in New York for two years.[2] Once he left the Coast Guard, Brown's focus turned solely to music and joined Molly Hatchet in 1974.

He is best known for writing and singing on such songs as "Flirtin' with Disaster", and "Whiskey Man"; he was also the vocalist on "Dreams I'll Never See", a faster tempoed cover of the Allman Brothers song. The band's sound was immediately recognizable by Brown's distinct voice, a deep, raspy, throaty growl.[2]

Brown left Molly Hatchet in 1980 because of chronic diabetes and pancreatic problems, but soon started his own band, The Danny Joe Brown Band, which released a single studio album in 1981.[3] He later rejoined Molly Hatchet in 1982, only to leave again in 1995 after suffering a stroke. He died at his home in Davie, Florida, at the age of 53, in March 2005. His obituary attributed his death to renal failure, a complication of the diabetes he had since age 19.[1

QuoteHave you heard about the Sunshine Blues Festival yet? It's Tedeschi Trucks Band, Dr. John, The Wood Brothers, Walter Trout, Sonny Landreth, Big Sam's Funky Nation, Jaimoe's Jasssz Band and other great acts, performing on January 18 in Fort Myers, January 19 in Boca Raton, and January 20 in St. Petersburg. These dates are coming up fast, so be sure to visit www.SunshineBluesFestival.com for ticket info, special hotel rates and more details.

QuoteBarefoot Jerry is an American Southern rock and country rock band, based in Nashville, Tennessee, most active from 1971 to 1977. It was composed of area studio musicians under the tutelage of Wayne Moss, lead guitarist of Area Code 615, and other 615 alumni. This name is also used to refer to Moss and his sidemen in current reunions and other projects. Moss founded Cinderella Recording Studios and has operated it since 1960.

Moss had previously played in many sessions, including Bob Dylan's Blonde on Blonde and played the guitar riff on Roy Orbison's "Pretty Woman". In addition to Moss, band members included: Terry Dearmore, Kenny Buttrey, Jim Colvard, Dave Doran, Si Edwards, Mac Gayden, John Harris, Warren Hartman, Russ Hicks, Kenny Malone, Charlie McCoy, and Fred Newell.

QuoteThis floating rock festival for a cause aboard Royal Caribbean International’s spectacular, Liberty of the Seas, departs January 10, 2013 from Fort Lauderdale, Florida.

Featuring:

Foreigner, Paul Rodgers, Creedence Clearwater Revisited, Kansas
Bachman & Turner, 38 Special, The Marshall Tucker Band
Blue Oyster Cult, Foghat, Molly Hatchet, Kentucky HeadHunters
Bobby Keys & The Suffering Bastards
Atlanta Rhythm Section, Pat Travers Band, Melvin Seals & JGB
The Artimus Pyle Band, Black Oak Arkansas
Royal Southern Brotherhood
Devon Allman’s Honeytribe, SwampDaWamp, Whiskey Myers
Fired Guns, Mike Zito, Citizens Band Radio, The Blue Lords

The main attraction of the cruise is, of course, multiple performances by the Rock Legends bands aboard. The ship offers no fewer than three performance venues for Rock Legends Cruise bands: The Deck, The Platinum Theater and Studio B/Ice Rink. All artists will perform 2-3 shows, festival style and a schedule of performances will be released closer to the sail date. This format will allow individuals to come and go between venues to see different bands. Our aim is to allow each and every Rock Legends Cruise passenger to have an opportunity, over the course of the voyage, to see the bands they wish to see.

QuoteJohn Roy "Johnny" Van Zant (born February 27, 1959) is an American musician and the current lead vocalist of Southern rock band Lynyrd Skynyrd. He is the younger brother of Lynyrd Skynyrd co-founder and former lead vocalist Ronnie Van Zant and .38 Special founder Donnie Van Zant.

Van Zant performed during the 1970s with his 1st band, The Austin Nickels Band. They later changed their name to The Johnny Van Zant Band releasing their debut solo album, No More Dirty Deals, in 1980. Original members of The Johnny Van Zant Band consisted of Johnny Van Zant on lead vocals, Robbie Gaye, on guitar, Danny Clausman, on bass, Erik Lundgren on lead guitar, Robbie Morris, drums and Joan Hecht (previously Joan Cusumano) and Nancy Henderson on background vocals. Johnny Van Zant released three more solo albums between 1981 and 1985, before taking a break from the music business.

He became lead vocalist for the reunited Lynyrd Skynyrd in 1987, and continues to record and perform with them today. He released another solo album, Brickyard Road, in 1990, which featured the popular title track, which was a #1 hit on the U.S. Mainstream Rock Tracks chart for three weeks. He also records and performs with his brother Donnie as Van Zant since 1998.

In May 2006, less than 1 day before he was to perform at KSAN-FM 107.7 The Bone's Bone Bash 7, Van Zant underwent emergency surgery to have his appendix removed. Treated at Stanford University Medical Center in Palo Alto, California, after reporting pain to a doctor earlier in the day. The incident forced the band to cancel three US shows.[1]

Van Zant is an avid fan of the Jacksonville Jaguars. He recorded a video, along with remaining members of Lynyrd Skynyrd, that is played at every Jaguars home game on the Everbank Field video board

QuoteTurn it Up!
By Ron Eckerman

A behind-the-scenes narrative of life in the mid-1970's with  the band that defined Southern Rock, the iconic Lynyrd Skynyrd.

Plane crash survivor and former tour manager Ron Eckerman pours out his heart and soul in this memoir of life on the road with the band during their rise to international stardom, including the tragic plane crash that took the lives of singer and songwriter Ronnie Van Zant, guitarist Steve Gaines, back-up singer Cassie Gaines, and assistant tour manager Dean Kilpatrick

Quote
biography
[-] by Bruce Eder
Grinderswitch was a white blues-rock band that never rose above being a second-tier Capricorn Records act, not remotely as popular as the Allman Brothers or the Marshall Tucker Band. But Dru Lombar (vocals, guitar, slide guitar), Larry Howard (guitar), Stephen Miller (keyboards), Joe Dan Petty (bass), and Rick Burnett (drums) built a loyal following in the tens of thousands playing music that was influenced by British blues outfits like John Mayall's Bluesbreakers, Cream and T.S. McPhee's Groundhogs, but also the real article, especially Albert King and Booker T. & the MG's -- Lombar sounded more Black than any White rock singer you've ever heard. They could have been a more soulful and exciting competitor to Canned Heat, but they weren't lucky enough to appear in hit festival movies or get the right single out at the proper time. Working in the commercial shadow of better-known acts, they counted as fans members of the Marshall Tucker Band and a lot of other musicians who felt they deserved a break. The group failed to emerge as much more than a top regional act and an opener for the Allmans and Charlie Daniels, among others, despite recording seven album between 1972 and 1982, first for Capricorn and later for Atlantic.

Quote
Warren Haynes (born April 6, 1960) is an American rock and blues guitarist, vocalist and songwriter. Haynes is best known for his work as longtime guitarist with The Allman Brothers Band and as founding member of the jam band Gov't Mule.[1] Early in his career he was a guitarist for David Allan Coe and The Dickey Betts Band.[2] Haynes also is known for his associations with the remaining members of The Grateful Dead, including touring with Phil Lesh and Friends and The Dead.[3] In addition, Haynes founded and manages Evil Teen Records.[4]

QuoteThe Georgia Music Hall of Fame was located in downtown Macon, Georgia from 1996 until it closed in 2011.[1] The Hall of Fame preserved and interpreted the state's rich musical heritage through programs of collection, exhibition, education and performance; it attempted to foster an appreciation for Georgia music and tried to stimulate economic growth through a variety of dynamic partnerships and initiatives statewide. The Hall of Fame closed due to low attendance and reduced state funding.[2][3]

Mercer University purchased the former Hall of Fame building in June 2012; the university will use the building for expanded programs within its School of Medicine.[4]

The Georgia Music Hall of Fame’s institutional history began in 1978 when the Georgia General Assembly created the Senate Music Recording Industry Committee to study the economic impact of the state’s music industry and to explore ways to promote Georgia music and attract music businesses to the state.[5] In 1979, the Committee developed a Georgia Music Hall of Fame program honoring Georgia musicians who have made significant contributions to the music industry, with Ray Charles and music publisher Bill Lowery named the first inductees on Sept. 26, 1979. Owing much to the vision of then Lt. Governor Zell Miller, the Committee also endeavored to create a public museum and archive to document the state’s music heritage and serve as a cultural heritage destination. In 1990, the Georgia Music Hall of Fame Authority was created as an instrumentality of the State of Georgia and a public corporation with the stated corporate purpose and general nature: 1) to construct and maintain a facility to house the Georgia Music Hall of Fame; 2) to operate, advertise and promote the Georgia Music Hall of Fame; and 3) to promote music events at the facility and throughout the state. On Sept. 22, 1996, the Georgia Music Hall of Fame opened as a 43,000-square-foot (4,000 m2) facility housing a main exhibit hall, a retail store, the Zell Miller Center for Georgia Music Studies, an administrative wing, a classroom and a reception room. In 1999, the second phase of the museum, The Billy Watson Music Factory, an interactive and interpretive exhibit space for pre-K through elementary students, opened. The hall was closed on June 12, 2011 due to lack of attendance. The exhibits are now being housed at the University of Georgia, Georgia State University, the University of West Georgia and in private collections.[6]

QuoteDave Hlubek, founder of the Molly Hatchet band and the only original member still playing with the current band will be at the cruise on January 26th!! Bring your albums and even your guitars for him to autograph. If you are into Southern Rock, Dave is "the Man". He is the one who wrote "Flirtin with Disaster" and most of their other hits. We still have to determine the time, but he will be at the Krystal.

Quote
Barefoot Jerry remains one of the unsung heroes of southern rock. They rose from the ashes of  Nashville super group Area Code 615 which featured some of Nashville’s best studio musicians and released string of successful albums between 1971 and 1977 before breaking up.

Lead by  guitarist Wayne Moss, Barefoot Jerry’s original line-up also included ex- Area Code 615 members Mac Gayden on guitar and vocals, Kenneth A. Buttrey on drums along with John Harris on keyboards.

In 1971 Barefoot Jerry signed to Capitol Records and released their classic debut album, Southern Delight. Following year Capitol dropped them, but Barefoot Jerry released the self-titled sophomore effort for Warner Brothers records.

Russ Hicks and Kenny Malone had replaced Gayden and Buttrey. The band then signed to Monument records and went through further lineup changes (Si Edwards on drums, Dave Doran on bass, Fred Newell on vocals) before recording  1974's Watchin' TV.

In 1975 Monument released You Can't Get Off With Your Shoes On, and Crocery, double LP featuring reissues of their first two albums came out the following year.

Wayne Moss resurrected Barefoot Jerry one more time in 1976 and the band recorded Keys to the Country with bassist Terry Bearmore, guitarist Jim Colvard and Warren Hartman keyboards. This same line-up recorded the last Barefoot Jerry album, 1977's Barefootin'.

Barefoot Jerry has shared the stage with Wet Willie, The Charlie Daniels Band and other major players in southern rock scene, yet remain fairly unknown to this day, which might have something to do with the ever rotating members of the band. In fact, Wayne Moss was the only member who played in all of the albums and concerts.

Quote
Stillwater was an American band of the 1970s, which played Southern rock with a folk flair.

Their song Mind Bender charted in the top 40 in 1977. The band existed from 1973 to 1982 and was based in Warner Robins, Georgia. They released two albums on Capricorn Records, Stillwater (1977), which included the single "Mind Bender", and I Reserve the Right! (1978). They opened for such bands as the Atlanta Rhythm Section and the Charlie Daniels Band. They broke up shortly after the loss of Capricorn Records. They reformed with drummer David Heck and released the album Running Free in (1997).

There is another rare live album entitled, "Hotels, Motels and Road Shows" on Capricorn Records in 1978. Two Stillwater songs appear which were recorded at a show at the Fox Theater, "Out on a Limb (live)", and "Mind Bender (live)". "Mind Bender" is also included the another Capricorn Records album, "The Souths Greatest Hits, VOL 2."

After the band broke up, Rob Walker enlisted in the United States Air Force Band of New England, Pease Air Force Base, New Hampshire. Later years in service, he was stationed in Active Duty with the Band of the US Air Force Reserve at Robins Air Force Base. He has performed with many musicians as a result, including pianist Kevin Joseph Barnett (Kevin J. Barnett). Rob Walker has since retired from USAF and can be seen around middle Georgia playing with Eddie Stone of Doc Holliday.

Mike Causey can still be seen playing and teaching guitar around Warner Robins and Macon. Al Scarborough plays bass with a band called The Wall in Warner Robins and Macon Ga. Rob Walker and Eddie Stone play regularly throughout the middle Georgia area. David Heck currently lives and performs in Denver, CO. Jimmy Hall now lives in Byron, Georgia. Bobby Golden played with The Wall and currently lives in Atlanta, Georgia. Bob Spearman, who also played with The Wall after Stillwater, died of cancer. Mike Causey, Sebie Lacey, Tony Cooper, and Eddie Store can be heard on Phil Palma's Christian CD "Warrior"

QuoteAfter touring England and most of the continent of Europe, I returned to Jacksonville. The Classics IV, The Bitter Ind., The Second Coming, future members of The Atlanta Rhythm Section and several other rockers like Lynyrd Skynyrd and the Molly Hatchet Band were beginning to eat, sleep and drink rock 'n roll. Other bands like Blackfoot would soon follow. Southern rock was in the womb and Jacksonville was the mother.

Quote
Later, I was in Jacksonville to discover Gregg, Duane and company were crashing above the R&R Liquor Store on Main Street. It was a funky old apartment with nothing but mattresses and music. This was the real beginnings of Southern Rock.

QuoteRobert Nix, 67: Original Atlanta Rhythm Section drummer

By Michelle E. Shaw

The Atlanta Journal-Constitution

Although he left Atlanta in the 1980s, the beat went on for Robert Nix, the first drummer of the Atlanta Rhythm Section, a Southern rock band that had a number of hit records in the 1970s.

Over the past three decades, Mr. Nix continued to make music and enjoy life, friends and family said.

“We were working on several things,” said Alison Heafner Nix, his wife. “He never stopped working. The music never stopped.”

In the 1970s Mr. Nix was more than the drummer of ARS, said friend Buddy Buie of Eufaula, Ala. He co-wrote several ARS songs with Mr. Buie, and proved to be a great collaborator.

“We wrote a lot of hits, ‘So Into You’ and ‘Imaginary Lover’ just to name two,” said Mr. Buie who was the band’s producer and principal songwriter.

Quote"What I remember about the Allman Brothers is right there in Jacksonville, Florida.  They used to come down to a place call The Forest Inn on a Sunday afternoon or something like that.  They would actually just bring their trucks right up there, unload the equipment, set it right outside, and just start jamming.  They would get out there and jam for three or four hours.  They didn't charge a penny."  Donnie Van Zant, .38 Special

Quote
The Allman Joys was an early band with Duane and Gregg Allman fronting.[1] It was originally the Escorts, but it eventually evolved into the Allman Joys. Duane Allman quit high school to spend his days at home practicing guitar. They auditioned for Bob Dylan's producer, Bob Johnston, at Columbia Records, backing a girl trio called The Sandpipers.[2] Eventually, they went on to form Hour Glass and then the Allman Brothers Band.

From the back of the Early Allman compilation (Allman Joys - Early Allman):

"One quiet Nashville evening back in '66, songwriter John D. Loudermilk walked into a small club called the Briar Patch. Up on the bandstand was what looked like just another of the thousands of teen age rock bands of the era. When they started to play, Loudermilk could tell they weren't so typical after all. The two front men were both blond and very intense. One played a trebly, stinging slide guitar; the other sang in an anguished, world-weary voice. John D. wondered how it was that these two looked so young yet played with so much experience. Needless to say, he was very interested in the group, which called themselves the Allman Joys. Allman was the surname of the two blond brothers, Duane and Gregg, who led the band. Although he'd never produced before, Loudermilk decided to take the group into the studio and cut some sides on them.
One of the Allman Joys' sides, "Spoonful," was released locally and sold well. But Loudermilk had already decided to concentrate on song writing, so he brought the group to Buddy Killen, head of Dial Records. Killen thought the group was quite good, so he had John Hurley take them into the studio to record more tunes.
'They were really way ahead of their times, I realize now," Killen says. 'Nobody really understood what Duane and Gregg were all about at the time. Eventually I gave them their release and they went to California, leaving these tapes behind.' Duane and Gregg Allman went on to form Hour Glass and the Allman Brothers Band."

Note: Loudermilk's memory is slightly inaccurate, since Duane did not learn to play slide guitar until the Hour Glass, a couple of years later.

Quote

The Welcome to Rockville music festival returns for a third go-round in April, this time spread over two days and featuring a distinctly Jacksonville flavor.

Lynyrd Skynyrd, Limp Bizkit and Shinedown â€" all with deep roots in Jacksonville â€" are among the acts scheduled to perform. Others include Alice in Chains, 3 Doors Down, Stone Sour, Three Days Grace, Papa Roach, Bullet for My Valentine and Asking Alexandria.

Monster Energy’s Welcome to Rockville is scheduled for Saturday, April 27, and Sunday, April 28, at Jacksonville’s Metropolitan Park, which will have four stages for the event. Two-day general admission tickets are $99.50, and single-day tickets are $54.50. Two-day VIP tickets will also be available. Tickets go on sale at 10 a.m. Friday, Feb. 1, through www.welcometorockvillefestival.com and ticketmaster.com.

This will be the third Welcome to Rockville festival, and the first to go for two days. The 2011 event featured Godsmack, Seether, Stone Sour, Cold and Puddle of Mudd.  Last year’s festival had Korn, Shinedown, Evanescence, P.O.D and Adelita’s Way.

Here’s the schedule:

SATURDAY

Alice in Chains, Limp Bizkit, Stone Sour, Three Days Grace, Papa Roach, Bullet For My Valentine, Halestorm, Asking Alexandria, All That Remains, In This Moment, Escape the Fate, Pop Evil, Otherwise and Young Guns

SUNDAY

Lynyrd Skynyrd, Shinedown, 3 Doors Down, Buckcherry, Hollywood Undead, Skillet, Steel Panther,  Device, Motionless in White, Filter, Saving Abel, Thousand Foot Krutch, Nonpoint and Red.

QuoteSwampDaWamp is one of the most exciting new southern rock bands around. Since 2007 released, hard rockin’ self-titled debut album, they have garnered much critical acclaim and expanded their international fan base to cover all walks of life. Close to 20 000 fans on Myspace have already seen the future of southern rock and I suggest for you to do the same.

The brain-child of singer-songwriter-guitarist Gig Michaels, North Caroline's SwampDaWamp is the powerful and creative collaboration of six talented and seasoned musicians: Gig Michaels (lead vocals & acoustic guitar); David Lee (drums); Michael Hough (guitar & vocals); Keith Inman (guitar); Mike Huffman (keyboards, B3 & vocals); and Cody Bennett (bass). Together they have created unique, feel-good SwampDaWamp sound that shows wide appreciation to their musical roots.

As born and raised southerners, SwampDaWamp writes whiskey fuelled songs about backyard barbeques, NASCAR, and everything that makes up a culture born and raised in the south. All in all, both, their debut and 2.0 EP, are infectious blend of rock and blues with good dose of southern flavour, topped with Gig Michaels' powerful, gravely voice.

SwampDaWamp can be seen on tour all across United States with artists like The Marshall Tucker Band, and The Kentucky Headhunters, and are well known for their free-spirited, sing-and-dance-along live shows.

On the heels of their successful 2.0 EP, year 2009 saw the release of much-anticipated follow-up, Rock This Country. From the rockin’ opening track “Lady” to the “American Man”, a patriotic anthem for hard-working everyday heroes, Swampdawamp delivers twelve new exciting tunes with great love and passion for the country they are blessed to live in and say in their music, singing proud and saying it loud!

Puresouthernrock.com had a change to interview Gig Michaels and Keith Inman earlier in 2009, so be sure to check out our interview with Swampdawamp as well as our review of Rock This Country.

Quote
Monster Energy’s Welcome to Rockville is scheduled for Saturday, April 27, and Sunday, April 28, at Jacksonville’s Metropolitan Park, which will have four stages for the event. Two-day general admission tickets are $99.50, and single-day tickets are $54.50. Two-day VIP tickets will also be available. Tickets go on sale at 10 a.m. Friday, Feb. 1, through www.welcometorockvillefestival.com and ticketmaster.com.

This will be the third Welcome to Rockville festival, and the first to go for two days. The 2011 event featured Godsmack, Seether, Stone Sour, Cold and Puddle of Mudd.  Last year’s festival had Korn, Shinedown, Evanescence, P.O.D and Adelita’s Way.

Here’s the schedule:

SATURDAY

Alice in Chains, Limp Bizkit, Stone Sour, Three Days Grace, Papa Roach, Bullet For My Valentine, Halestorm, Asking Alexandria, All That Remains, In This Moment, Escape the Fate, Pop Evil, Otherwise and Young Guns

SUNDAY

Lynyrd Skynyrd, Shinedown, 3 Doors Down, Buckcherry, Hollywood Undead, Skillet, Steel Panther,  Device, Motionless in White, Filter, Saving Abel, Thousand Foot Krutch, Nonpoint and Red.

QuoteWidespread Panic is an American rock band from Athens, Georgia. The current lineup includes guitarist/singer John Bell, bassist Dave Schools, drummer Todd Nance, percussionist Domingo "Sunny" Ortiz, keyboardist John "JoJo" Hermann, and guitarist Jimmy Herring. Michael Houser and George McConnell have also played lead guitar for the band.

Since their inception in Athens, Georgia, in 1986, Widespread Panic has risen to elite status among American jam bands.[1] Following in the steps of other Southern rock jam bands such as The Allman Brothers, they have influences from the Southern rock, blues-rock, progressive rock, funk and hard rock genres. They are frequently compared to other jam band "road warriors" such as the Grateful Dead and Phish.[2] Widely renowned for their live performances, as of 2011, they hold the record for number of sold-out performances at Red Rocks Amphitheatre (Morrison, Colorado) at 38 and Philips Arena (Atlanta, Georgia) at 17.

QuoteShanyTown: "The legend Continues"... with good solid rock n' roll from the family that brought you Lynyrd Skynyrd and 38 Special.

QuoteJohn Dawson "Johnny" Winter III (born February 23, 1944) is an American blues guitarist, singer, and producer. Best known for his late 1960s and 1970s high-energy blues-rock albums and live performances, Winter also produced three Grammy Award-winning albums for blues legend Muddy Waters. Since his time with Waters, Johnny Winter has recorded several Grammy-nominated blues albums and continues to tour extensively. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 74th in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".[1]

Quote
There is no shortage of good rock bands around here. So why does a Jacksonville band become a local favorite with a devoted following of fans and a packed house wherever they go? It's because the band Big Engine is simply outstanding! This Jacksonville four-piece group is in demand for everything from big events to small clubs, and they are getting national attention too, playing Classic Rock from the 70s, Hard Rock and Metal from the 80s and 90s, Southern Rock, a little Punk Rock, and some excellent music of their own.

The Big Engine is a high-octane rock n' roll machine, playing over 300 shows a year for thousands of fans. They do plenty of audience-pleasing cover favorites, but they also write some songs of their own, which are equally popular with their fans. When the band fires up “That Girl’s a Freak” or “Party like a Rock Star,” the audience sings along with them, knowing all of the words. That’s one sign of a successful band

QuoteFriday, March 1, 2013
   
    9:30pm until 1:30am
   
ARE YOU READY TO GET A LITTLE TWISTED?

Chappell Entertainment, Twisted Tea & Cheers Park Ave are throwing YOU a Twisted Tea Party with Big Engine on Friday, March 1st 9:30PM-1:30AM!

* Cheers Park Ave will be carrying Twisted Tea for the 1st time & will be offering a Twisted Tea Drink Special all night long!

It gets cooler! Jacksonville, FL's biggest live music fans have banded together into a group called "The Misfits." Perhaps YOU are already a member of their Facebook Group.

- The Misfits are pretty pumped up about this party and they are all getting into the spirit of Twisted Tea's Slogan - "Be a little Twisted" by declaring this night a Twisted Costume Party! They invite you to get in on the fun and dress up too!

We can't wait to see what everyone comes up with so Misfits, Big Engine Fans; be original, be crazy, be a little twisted!

* Big Engine will have lots FREE Twisted Tea Stuff on hand to award all of you with so come PARTY LIKE A ROCK STAR WITH BIG ENGINE at Cheers Park Ave!

QuoteBig Engine is tearing through the Southeast, rocking audiences night after night with high octane performances with a hint of Southern rock sweetness.

QuoteDixie Chicken is the third studio album by the American rock band Little Feat, released in 1973. (see 1973 in music). The artwork for the front cover was by illustrator Neon Park.

The album is considered their landmark album with the title track as their signature song that helped further define the Little Feat sound. This was augmented by two additional members (guitarist Paul Barrere and percussionist Sam Clayton) added to make the more complete and familiar lineup that continued until their 1979 breakup. Bassist Kenny Gradney was brought in to replace original bassist Roy Estrada. This new lineup radically altered the band's sound, leaning toward New Orleans R&B/funk.

QuoteLynyrd Skynyrd guitarist Gary Rossington has been hospitalized, forcing the band to cancel this weekend’s live shows.

The band posted the news:

“Skynyrd Nation, regrettably, our shows at the Hard Rock Biloxi this weekend on 2/15 & 2/16 have been cancelled. Gary Rossington has been hospitalized in Wyoming with an abdominal infection. We are awaiting further tests and treatment, once we receive information on Gary’s status we will release additional information. Thank you for your understanding & support.”

QuoteSkynyrd have been touring in support of their latest album, “Last Of A Dyin’ Breed.”

Upon its release last summer, the project debuted at No. 14 on the Billboard Top 200 Album Chart, the highest charting for a Skynyrd album since 1977.

Quote
The members of Southern Rock quintet Blackberry Smoke are no strangers to hard work. Playing up to 250 dates each year, the guys are on the road more often than not, and they’ve seen tangible results of their labor. The band has toured with and befriended idols such as The Marshall Tucker Band, ZZ Top (with Billy Gibbons jamming with the band on a Florida stop), Lynyrd Skynyrd and George Jones. The band was even asked to play for Jones on his 80th birthday, not long after the country legend turned in a guest appearance on the band’s sophomore album. They’ve toured Europe thrice over, and had their songs featured in video games (EA Sports’ NASCAR 08) and films (Swing Vote), as well.

Mixing elements of gospel, bluegrass, arena rock, soul and more than a touch of outlaw country, Blackberry Smoke has earned a passionate fanbase that continues to grow as the band itself evolves. The band is as blue collar as the bandanas its members wear.

QuoteFebruary 25, 2013 4:45 PM ET

Guitarist Dan Toler, best known for his work with the Allman Brothers, died today in Manatee County, Florida, according to Ticket Sarasota. Toler had been battling ALS â€" also known as Lou Gehrig's disease â€" and was unable to play guitar or speak for his last few months. He was 65.

Toler joined the Dickey Betts and Great Southern band in the late Seventies and moved to the Allman Brothers with his brother David "Frankie" Toler and Betts. Toler played with the Allman Brothers on their 1979 comeback album Enlightened Rogues and was in the band for their next two records, 1980's Reach for the Sky and 1981's Brothers of the Road.

100 Greatest Artists: The Allman Brothers Band

Dan and Frankie Toler then spent much the 1980s playing with the Gregg Allman Band, touring and recording I'm No Angel in 1986 and Just Before the Bullets Fly in 1988. Toler rejoined Betts' Great Southern band in 2002 and later created the Townsend Toler Band with John Townsend. He then joined the Renegades of Southern Rock and wrapped his career with Toler Tucci Band, along with Chaz Trippy from the Gregg Allman Band.

After his brother's death in June 2011, Toler announced he had ALS that August. No funeral plans have been made yet.

Read more: http://www.rollingstone.com/music/news/dan-toler-former-allman-brothers-guitarist-dead-at-65-20130225#ixzz2M00iikur
Follow us: @rollingstone on Twitter | RollingStone on Facebook

Quote
"That Smell" is a song by the southern rock band Lynyrd Skynyrd. Written by Ronnie Van Zant and guitarist Allen Collins, it was released in 1977 on the album Street Survivors. At the time the song was written, the band had been drinking and doing many different drugs.[1] Van Zant had said that he started drinking heavily to relieve the pressure of performing in front of large audiences.[1]

The song's name comes from the fact that there is a saying among heroin users that the smell of cooking it brings you right back to shooting it. [2]

Van Zant's inspiration for the song was the increasing reckless indulgences of the band members culminating in the evening when guitarist Gary Rossington got drunk and high and survived the crash of his new car into an oak tree along Mandarin Road in Jacksonville, Florida[1] (where the band was founded). Van Zant was thus inspired to write the song as a warning about the consequences of careless overuse of drugs and alcohol. Van Zant said, "I had a creepy feeling things were going against us, so I thought I'd write a morbid song (as a warning)."[1] The lyrics cautioned that "tomorrow might not be here for you", and that "the smell of death surrounds you". Three days after the album was released, the band was devastated by a plane crash killing several members including Van Zant.

Quote from: sheclown on February 28, 2013, 07:00:04 PM
Number 47:  "That Smell"  Lynyrd Skynyrd

http://www.youtube-nocookie.com/v/VAMTXnh2O9M?version=3&amp;hl=en_US

Quote
"That Smell" is a song by the southern rock band Lynyrd Skynyrd. Written by Ronnie Van Zant and guitarist Allen Collins, it was released in 1977 on the album Street Survivors. At the time the song was written, the band had been drinking and doing many different drugs.[1] Van Zant had said that he started drinking heavily to relieve the pressure of performing in front of large audiences.[1]

The song's name comes from the fact that there is a saying among heroin users that the smell of cooking it brings you right back to shooting it. [2]

Van Zant's inspiration for the song was the increasing reckless indulgences of the band members culminating in the evening when guitarist Gary Rossington got drunk and high and survived the crash of his new car into an oak tree along Mandarin Road in Jacksonville, Florida[1] (where the band was founded). Van Zant was thus inspired to write the song as a warning about the consequences of careless overuse of drugs and alcohol. Van Zant said, "I had a creepy feeling things were going against us, so I thought I'd write a morbid song (as a warning)."[1] The lyrics cautioned that "tomorrow might not be here for you", and that "the smell of death surrounds you". Three days after the album was released, the band was devastated by a plane crash killing several members including Van Zant.

Quote from: sheclown on March 01, 2013, 06:26:18 AM
yes, well Jacksonville's death occurred as well, some would say.

Quote from: stephendare on March 02, 2013, 02:08:54 PM

Quote from: Adam W on March 02, 2013, 02:07:54 PM
I think we're having two entirely different conversations.

are we?

QuoteSkinny Molly was founded in 2004 by Mike Estes (ex- Lynyrd Skynyrd), Dave Hlubek (Molly Hatchet) and drummer Kurt Pietro.  Originally just a project put together for European tour, Skinny Molly have been touring US and Europe ever since and released their debut album, No Good Deed in 2008.

Mike Estes became friends with Rossington Collins Band while still in high school and that friendship eventually led him to write and play with Lynyrd Skynyrd in the early nineties. After leaving Skynyrd, Mike released two solo albums, Drivin’ Sideways and Brave New South, before teaming up with Dave Hlubek and forming Skinny Molly in 2004. Nowadays Hlubek is back with Molly Hatchet and their line-up consists of Southern Rock Allstars/Blackfoot guitarist Jay Johnson, and bassist Luke Bradshaw along with Mike Estes and drummer Kurt Pietro.

Skinny Molly started by playing Skynyrd and Molly Hatchet covers but also performed their own songs occasionally. Their 2008 debut album featured many of these live favorites, including Whiskey And Cocaine Blues, Straight Shooter and High Price Of Low Livin'.

More popular in Europe than US, Skinny Molly are now poised for success on their home turf with their forthcoming CD "Haywire Riot" slated for an release later this year. The first single from the CD is entitled "Mr. President" and is available as a free download from their website.

Quotegary rossington

Ronnie was two years older than us.  I was on a baseball team called the Lakeshore Rebels, and he was on a team called the Green Pigs.  Bob was on a team called the Bugs, because his sponsor was an exterminator.  Our team was a school team.  The Green Pigs were from the Green Pig restaurant.  We were only, like, fourteen.  Anyway, Bob Burns had a set of drums he'd got because somebody owed him some money.  Instead of the guy paying money, his father gave him an old set of drums.  So that's what started him thinking "Hey, let's play drums."  I started playing the drums, too.

About a month later, I decided I'd get a paper route and start collecting Coke bottles, and I bought a guitar from Sears and Roebuck.  It was a Silvertone.  It came in the case with the amp.  It all came in one piece.  It was cool.  I bought that for sixty bucks, I think.  It seems like it took me five years to pay for it.

Quotegary rossington

"We never got popular in Jacksonville until we made it everywhere else.  "

leon wilkeson

"We tried to do a lot for the town.  Any group of musicians who went independent on their own, wrote their own music, and strove to make it as a band were considered desperadoes in Jacksonville."

Quote from: sheclown on March 17, 2013, 09:05:45 AM

Quotegary rossington


"Any group of musicians who went independent on their own, wrote their own music, and strove to make it as a band were considered desperadoes in Jacksonville."

from: "Lynyrd Skynyrd:  An Oral History

Quote

gary rossington

We needed another guitar player, because I didn't know barre chords real good, and I didn't have a good amp.  that little Silverone wouldn't cut it.

We knew this skinny little Allen Collins played with the Mods and he had a big amp and he knew barre chords.  He was good, you know.  So we went looking for him, and he had a little bicycle all souped up and was riding down the road.  He saw Ronnie and, like I said, Ronnie was a redneck, kinda, sorta, and had a bad reputation.  He used to get into fights and stuff.  We pulled up in Ronnie's car, me and Bob and Ronnie, alongside Allen, who was riding his bike down the street, to ask him, "Hey, you wanna come talk to us about playing in a band that's starting? We know you got a guitar and amp."

He thought Ronnie was gonna beat him up, so he hauled ass.  He went through some woods and threw his bike down and he had to chase him on foot, and we finally caught him.  We went, "Allen, we ain't gonna hurt you, we just wanna play." So that's how it all started.

Quote from: Adam W on March 17, 2013, 09:30:29 AM

Quote from: sheclown on March 17, 2013, 09:05:45 AM

Quotegary rossington


"Any group of musicians who went independent on their own, wrote their own music, and strove to make it as a band were considered desperadoes in Jacksonville."

from: "Lynyrd Skynyrd:  An Oral History

So, basically, not .38 Special!

I was very surprised to learn that every one of their hit singles was co-written with professional songwriters. Those guys probably never would've scored a hit if not for a) where they were from, b) who they were related to and c) the ringers they brought in to write the songs for them.

Quote from: stephendare on March 17, 2013, 11:09:47 AM
I mean honestly.  Do you think that Elvis wasnt really a rock n roll musician because his first platinum hit was written by Jville 'professional' songwriter, Mae Axton?

Im pretty sure he didnt write 'amazing grace' either. ;)

Its just absurd.

Quote from: sheclown on March 17, 2013, 12:01:56 PM
For me the larger issue is that J'ville seems oblivious to its glory -- be it any of the Van Zants, Gary Rossington, Allen Collins, Dave Hlubek, Tim Lindsey...you name it.  Not to mention the other genres of musical greatness.

Where's the SOUTHERN ROCK HALL OF FAME?  Where's the recognition that greatest comes from this city?

No where.

Quote from: Adam W on March 17, 2013, 12:10:32 PM

Quote from: sheclown on March 17, 2013, 12:01:56 PM
For me the larger issue is that J'ville seems oblivious to its glory -- be it any of the Van Zants, Gary Rossington, Allen Collins, Dave Hlubek, Tim Lindsey...you name it.  Not to mention the other genres of musical greatness.

Where's the SOUTHERN ROCK HALL OF FAME?  Where's the recognition that greatest comes from this city?

No where.

Well, we certainly don't have a Southern Rock Hall of Fame. But I wouldn't think the city is oblivious to it's history in this regard - or at least I disagree with you there. I think the city is mired in its past in that regard. You can't escape Lynyrd Skynyrd in Jacksonville. Second-rate bands like Molly Hatchet and Blackfoot are lionized by locals.

Obviously it all comes down to personal opinion (as far as whether or not bands like Molly Hatchet and Blackfoot are any good). But Jax is a city that is aware of it's history, as far as Southern rock goes. So much so that other rock music (and other types of music) created in the city tends to get overlooked as a result.

Lots of great local bands existed in Jax during the 80s and 90s. But they struggled to get coverage in the Florida Times-Union and on local TV channels - but whatever abomination that was masquerading as the latest incarnation of Lynyrd Skynyrd would get plenty of column inches for it's latest abortion of a record (Lynyrd Skynyrd 1991, The Last Rebel, etc).

I'm not saying we shouldn't embrace our Southern Rock past - we most certainly should. But I think we do already. I think Jax is a proud Southern Rock town.

Quote from: stephendare on March 17, 2013, 12:04:51 PM

Quote from: Adam W on March 17, 2013, 11:14:38 AM

Quote from: stephendare on March 17, 2013, 11:09:47 AM
I mean honestly.  Do you think that Elvis wasnt really a rock n roll musician because his first platinum hit was written by Jville 'professional' songwriter, Mae Axton?

Im pretty sure he didnt write 'amazing grace' either. ;)

Its just absurd.

There's a difference, though, between rock'n'roll singers/performers (especially those from that time period) and rock bands (hard rock bands, even) from the post-Beatles era.

Rock bands work on the principle that they write and perform their own music. That's why Aerosmith got kind of lame when they started recording Diane Warren hits.

It's all fine from a music standpoint, sure. If you like it, fine. But taking it back to the quote that was posted from Gary Rossington - he made a big deal about bands writing their own music. So clearly it was an issue for the people a guy who were was one of their peers.

;)

Quote from: Tacachale on March 17, 2013, 12:20:21 PM

Quote from: Adam W on March 17, 2013, 12:10:32 PM

Quote from: sheclown on March 17, 2013, 12:01:56 PM
For me the larger issue is that J'ville seems oblivious to its glory -- be it any of the Van Zants, Gary Rossington, Allen Collins, Dave Hlubek, Tim Lindsey...you name it.  Not to mention the other genres of musical greatness.

Where's the SOUTHERN ROCK HALL OF FAME?  Where's the recognition that greatest comes from this city?

No where.

Well, we certainly don't have a Southern Rock Hall of Fame. But I wouldn't think the city is oblivious to it's history in this regard - or at least I disagree with you there. I think the city is mired in its past in that regard. You can't escape Lynyrd Skynyrd in Jacksonville. Second-rate bands like Molly Hatchet and Blackfoot are lionized by locals.

Obviously it all comes down to personal opinion (as far as whether or not bands like Molly Hatchet and Blackfoot are any good). But Jax is a city that is aware of it's history, as far as Southern rock goes. So much so that other rock music (and other types of music) created in the city tends to get overlooked as a result.

Lots of great local bands existed in Jax during the 80s and 90s. But they struggled to get coverage in the Florida Times-Union and on local TV channels - but whatever abomination that was masquerading as the latest incarnation of Lynyrd Skynyrd would get plenty of column inches for it's latest abortion of a record (Lynyrd Skynyrd 1991, The Last Rebel, etc).

I'm not saying we shouldn't embrace our Southern Rock past - we most certainly should. But I think we do already. I think Jax is a proud Southern Rock town.

Yeah, I can see that. I certainly wish we'd celebrate other local music as much as we do Southern Rock bands from the 60s and 70s.

Quote from: Adam W on March 17, 2013, 12:10:32 PM

Quote from: sheclown on March 17, 2013, 12:01:56 PM
For me the larger issue is that J'ville seems oblivious to its glory -- be it any of the Van Zants, Gary Rossington, Allen Collins, Dave Hlubek, Tim Lindsey...you name it.  Not to mention the other genres of musical greatness.

Where's the SOUTHERN ROCK HALL OF FAME?  Where's the recognition that greatest comes from this city?

No where.

Well, we certainly don't have a Southern Rock Hall of Fame. But I wouldn't think the city is oblivious to it's history in this regard - or at least I disagree with you there. I think the city is mired in its past in that regard. You can't escape Lynyrd Skynyrd in Jacksonville. Second-rate bands like Molly Hatchet and Blackfoot are lionized by locals.

QuoteWhen Frank O. Gehry began designing EMP, he was inspired to create a structure that evoked the rock ‘n’ roll experience without being too literal. He purchased several electric guitars, sliced them into pieces, and used them as building blocks for an early model design.

A fusion of textures and myriad colors, EMP’s exterior conveys all the energy and fluidity of music. Three-thousand panels, made up of 21 thousand individually cut and shaped stainless steel and painted aluminum shingles, encase the outside of the building. Their individual finishes respond to different light conditions and appear to change when viewed from different angles, reminding audiences that music and culture is constantly evolving.

ARCHITECT
Frank O. Gehry and Associates, Santa Monica, California

EMP is the first commercial project Gehry has designed in the Pacific Northwest.

ASSOCIATE ARCHITECT
LMN Architects, Seattle

BUILDING STATISTICS
140,000 total square feet; footprint, 35,000 square feet
Highest point: 85 feet at Sky Church
Widest point: 210 feet at West Harrison Street
Length: 360 feet at 5th Avenue N

QuoteGregg Allman Biopic Planned by 'CBGB' Filmmakers
Rocker sold rights to his memoir 'My Cross to Bear'

Gregg Allman has sold the rights to his memoir My Cross to Bear for a biopic by the filmmakers behind the forthcoming rock & roll movie CBGB.

Randall Miller and Jody Savin plan to work directly with Allman and his manager, Michael Lehman, on a movie adaptation of the singer's life, and Allman and Lehman will be executive producers on the project, according to The Hollywood Reporter.

Allman Brothers Finish March Run at the Beacon Minus Gregg but in High Gear

Miller and Savin plan to explore two major aspects of Allman's life: his rise to stardom with the Allman Brothers Band as a young man, and a look at an older, more experienced Allman at age 64. "We knew it was a great story but didn't know how great it was until we read the book," Miller said. "That journey and coming out the other side is not the normal falling-into-hell story that rock & roll often is."

Read more: http://www.rollingstone.com/music/news/gregg-allman-biopic-planned-by-cbgb-filmmakers-20130410#ixzz2Q9iArWkw
Follow us: @rollingstone on Twitter | RollingStone on Facebook

QuoteDanny Joe Brown, (August 24, 1951 â€" March 10, 2005)[1] was the original lead singer of the Southern rock group Molly Hatchet, and co-writer of the band's biggest hits from the late 1970s.

He was born in Jacksonville, Florida in 1951 and graduated from Terry Parker High School in 1969.[2] Shortly after graduating, he enlisted in the U.S. Coast Guard and was stationed in New York for two years.[2] Once he left the Coast Guard, Brown's focus turned solely to music and he joined Molly Hatchet in 1974.

He is best known for writing and singing on such songs as "Flirtin' with Disaster" and "Whiskey Man." He was also the vocalist on "Dreams I'll Never See," a faster-tempoed cover of the Allman Brothers song. The band's sound was immediately recognizable by Brown's distinct voice: a deep, raspy, throaty growl.[2]

Brown left Molly Hatchet in 1980 because of chronic diabetes and pancreatic problems, but soon started his own band, The Danny Joe Brown Band, which released a single studio album in 1981.[3] He later rejoined Molly Hatchet in 1982, only to leave again in 1995 after suffering a stroke. He died at his mother's home in Davie, Florida in March, 2005, at the age of 53. His obituary attributed his death to renal failure, a complication of the diabetes he had since age 19.[1]

Quote from: Cheshire Cat on April 13, 2013, 06:00:28 PM
Gloria and all the music fans out there.  Check this out.  The fellow will be presenting at One Spark.

http://www.beonespark.com/discover/creator_projects/635

Quote from: stephendare on October 29, 2012, 09:32:24 AM
The earliest published record.  And of course, if you do a little digging and exploring you will find that Ma Rainey and the earliest blues musicians were already performing in la villa in 1902, right after the Great Fire.

La Villa was one of the cradles of 20th century african american music.  And several other art forms.  For example the first truly multi media performance was in La Villa.  It combined early projected film, music and theatre performances.

Quote"It is male, blue-collar poetry, singing songs of loss and struggle. 

The words are simple, straightforward, the emotional weight carried by the non-verbal guitar which can whine and cry without damaging any tough southern man's ego.

And it is as distinctively regional as Southern Literature.  In this age of cultural consolidation, where every town has a Walmart and cookie cutter subdivisions, Southern Rock gives us something other locations can only dream of...a sense of home.

Teaming with life, with its dirty dishes and meatloaf in the oven, this is Southern Rock. 

This is Jacksonville."

SHECLOWN

Quote from: I-10east on August 11, 2013, 04:49:59 PM
Of course. As soon as I saw this thread, I knew that the referencing of Sweet Home Alabama not being played at Everbank Field anymore was gonna be mentioned. Too typical....

QuoteIn popular culture

    "Sweet Home Alabama" appears on the soundtrack of the 1994 film Forrest Gump, as the title character dances with his beloved friend Jenny in the living room of his Alabama home during a rainstorm.
    In the 1997 film Con Air, the song is played as the list of main characters is seen in the end credits. During the film, it is also played on the plane as some of the convicts dance, prompting Garland Greene (Steve Buscemi) to comment on the irony of "a bunch of idiots dancing on a plane, to a song made famous by a band that died in a plane crash."
    The song (in edited form) is also heard at the beginning of the film Despicable Me (2010). The song also appears in the 1995 film Crimson Tide. As the ballistic missile submarine USS Alabama sets sail, the crew in the enlisted mens mess are playing the song on a portable stereo.
    The song is also used in the opening to the film Joe Dirt (2001) and features David Spade lip syncing the opening "turn it up" lyric.
    The song is used in the 2002 Reese Witherspoon / Patrick Dempsey movie of the same name.
    The song is discussed in the documentary film Twenty Feet From Stardom (2013), a documentary film about the background vocalists in R&B, pop, and rock history.
    The song is often heard at U.S. Cellular Field whenever Chicago White Sox ace Jake Peavy is pitching. Peavy was born in Mobile, Alabama.
    As of 2009, the State of Alabama has begun using the phrase "Sweet Home Alabama" as an official slogan on license plates for motor vehicles, with Governor Bob Riley noting that Lynyrd Skynyrd's anthem is the third most-played song referring to a specific destination.[13] (This is also the second Alabama license plate in a row to make reference to a popular song, with the state's previous plate having featured "Stars Fell on Alabama".)
    The song is played at Yankee Stadium for David Roberston's field entranceWorld Wrestling Federation (WWF) used Sweet Home Alabama as the theme song for their pay-per-view Armaggeddon in 2000.
    The song has been used in multiple advertising campaigns. In September 2007, Alabama Governor Bob Riley announced the phrase "Sweet Home Alabama" would be used to promote Alabama state tourism in a multi million dollar ad campaign. No indication has been given if the song itself will be included in the campaign.[14]
    The song was used as the theme song to the 2001 EA Sports video game NASCAR Thunder 2002
    The song is played at every home football game for the University of Alabama with the phrase "Roll Tide Roll" following the title lyrics, and was also played after the Crimson Tide's BCS National Championship victories in 2010, 2012, and 2013.

Recognition and awards

    In May 2006, National Review ranked the song #4 on its list of "50 greatest conservative rock songs".[15]
    In July 2006, CMT ranked it #1 of the "20 Greatest Southern Rock songs".
    In 2004, the song was ranked #398 on Rolling Stone's list of "the 500 Greatest Songs of All Time".
    In 2007, the song was used in the Top Gear Greatest Driving Songs album.

Quote from: I-10east on August 11, 2013, 06:24:12 PM


http://profootballtalk.nbcsports.com/2012/10/27/you-know-who-wanted-tebow-in-jacksonville-lynyrd-skynyrd-did/

Quote from: DDC on August 11, 2013, 07:31:11 PM

Quote from: I-10east on August 11, 2013, 06:24:12 PM


http://profootballtalk.nbcsports.com/2012/10/27/you-know-who-wanted-tebow-in-jacksonville-lynyrd-skynyrd-did/

Not sure about the rest of it but I am down with this part....

"Water would be turned into Jack Daniels. And there would be a three-hour wait for a table at the Waffle House after the game."

;D

QuoteLinda Ronstadt: Parkinson's disease took my singing voice away

LOS ANGELES Linda Ronstadt says she suffers from Parkinson's disease, which has robbed her ability to sing.

The 67-year-old music legend tells AARP Magazine, in an article posted online Friday, that she was diagnosed eight months ago and "can't sing a note."

Ronstadt says she began to show symptoms as long as eight years ago, but attributed her inability to sing then to a tick disease. When her hands began to tremble, Ronstadt said she thought the shaking was the result of a shoulder operation.

She said she was "completely shocked" when she finally saw a neurologist and was diagnosed with Parkinson's disease. "I wouldn't have suspected that in a million, billion years.

"No one can sing with Parkinson's disease," Ronstadt told AARP music writer Alanna Nash. "No matter how hard you try."

Ronstadt sold tens of millions of records starting in the 1970s with pop hits like "You're No Good" and "When Will I Be Loved." But she also segued into country, pop standards and mariachi music, among other genres.

In addition, the singer was known for her romances with California Gov. Jerry Brown and filmmaker George Lucas.

Ronstadt now uses poles to walk on uneven ground and a wheelchair when traveling, the AARP story said.

Her autobiography will be released next month, but makes no mention of Parkinson's or the loss of her voice, according to AARP.

The singer's New York-based managers did not immediately respond to requests from The Associated Press for comment.

QuoteGregg Allman; A Blues Scholar With A Lifetime of Rock Royalty
By
Matt Marshall
– June 19, 2013Posted in:
Gregg Allman lovingly pets his dog, Otis, named after blues master Otis Rush (or Otis Spann)



Gregory Allman casually inspects the Georgia bayou as a warm summer rain unexpectedly sweeps across ancient oak and cypress trees, leaving miles of Spanish moss to glisten in the afternoon sun. "Look at that!" he proclaims with a touch of southern lore. "The devil's beating his wife: the sun's out and it's rainin'. Look at that." The rock legend rolls a giant, mysterious skull ring back and forth in his fingers.

Down the road, signs for fresh peaches adorn dozens of roadside fruit stands, billboards, and shop windows for miles. A short drive through the Georgia pines is the town of Statesboro, first sang about by bluesman Blind Willie McTell and made world famous by The Allman Brothers Band in 1971, thanks largely to the jaw dropping slide work of Gregg's brother, Duane Allman, who tragically died in a motorcycle accident later that year. A further drive through the pines is The Allman Brothers Museum, located at what was known as The Big House in ABB lore, a place band members lived in the Brothers' early successes in Macon, Georgia. Duane is buried less than two miles away in the same cemetery that bandmates went to for inspiration.

"Come here, Otis!" Gregg brushes his long blonde locks of hair, seemingly unfazed by time and age, from his face and calls for his Yorkie Poodle. "Named him after Otis Rush," he fondly recalls of the blues guitar legend who suffered a debilitating stroke in 2004. "Otis played his last gig with The Allman Brothers... it was one of the Fillmores or The Beacon. It must've been at the Beacon."

The Allman Brothers Band are no strangers to The Beacon Theater in New York, or the infamous Fillmores, east and west. They cut their teeth playing legendary rock venues, often known to jam until beyond the break of day. The blues-based rock that the band pioneered in places like The Fillmore made them a household name. One of their breakout, platinum-selling albums, often hailed as one of the greatest live albums of all time, was recorded At Fillmore East. Even now, The Allman Brothers have had a famed annual series of dates at The Beacon in New York since the late 1980s — becoming a pilgrimage of sorts for thousands of fans.

Gregory is both a blues man and a blues scholar. As he talks about the blues music influences he holds dear, his eyes light up; he perks up in his chair — a feeling many blues junkies can all-too-easily relate to. "I listen to country blues, I listen to texas blues... a lot of Bobby "Blue" Bland. Lots of Muddy. Muddy and the Wolf, and Sonny Boy." His high cheeks raise to form a big southern smile. "My iPod, it's got a nice collection of Jimmy Smith, so you can count on one of those about every eighteen tunes or so."

His bookshelf is filled with titles familiar to music and blues aficionados. Among them, Chasin' That Devil Music by Gayle Dean Wardlow, Really the Blues, an insightful autobiography by Jazz legend Mezz Mezzrow, Can't Be Satisfied, a biography on Muddy Waters by Robert Gordon, The Big Book of Blues by Robert Santelli, and a half-dozen box sets, including Ray Charles, Miles Davis, The Band, Otis Redding.

"So many different people that I have learned from... So many teachers. So many. Otis Redding, Marvin Gaye for god's sake. The guy never sang a note off key. Never. I've searched. Like Ray Charles, some people just don't do it." He pauses and quietly ponders the stunning feat of his idols before adding, "I'll never be accused of singing totally on key."

"I went in Stax," he reminisced of the legendary Memphis soul label and movie-theater-turned-studio that churned out hit after soul-soaked hit from Otis Redding, Albert King, Isaac Hayes, Sam Cooke, and many more. "I'll never forget, we walked in the front door of Stax and the floor started going downhill and it was dark! I said to my brother, I said 'hey man! We're walking downhill!' And he looked at me like I was Mo from the three stooges. 'Numbskull. It's a movie theater!' Rufus Thomas was in there cuttin', 'SISTERS GOT A GIRLFRIEND!'" he lets out a long laugh after an interpretation of the 'funky chicken'. "I don't know if they ever released that; I've never heard it since! The band had already left... I reckon it was Dunn and Cropper and them. Neat Place. All they had was One Track Scully's. That was it. Very impressive at the time!"

"I have an ipod and I put all my favorite stuff on there. You can dial up anything. I mostly listen to blues. That's... mostly what I listen to." One would think the lead singer of one of the most influential bands of the 70s might have a preference for vinyl. "I am if it's gonna be a formal thing, ya know? The iPod is so easy. Once you get back into the vinyl thing, you will find out just how much you enjoy a damn remote switch... You find out just how lazy your ass has become!"

Despite being one of the most celebrated rock bands in the world, his roots are still what matter to the Hammond B3 player with a knack for songwriting and belting vocals taylor-made for the blues. "I've always wanted to play the W.C. Handy Awards. I've always wanted a W.C. Handy Award [now called the Blues Music Awards.]" The accolades of the greater industry are meaningful — The Allman Brothers Band won a Grammy Lifetime Achievement Award last year for their decades of shaping and influencing modern music, but the man who's built an enormous musical legacy from his love of the blues continues to hold the genre in a higher echelon. "You get certain tones from here or there, and different songs bring different shades of — it all stays within this one space, know what I mean? It all revolves around the blues."

It was recently announced that a movie is in the works about Gregg's widely publicized, wild rockstar life on the road, based on his hit book, My Cross To Bear. "It hit me pretty hard, because, I mean first of all... it wasn't even supposed to be a book. I didn't set down to write the book. It was my journal... that got out of hand," he laughs. The question on many minds, though, is who's going to be able to fill the big-screen shoes of the venerable rocker with a legendary life and story? "Whoever does it, I have faith that the screen writer will write plenty for him to chew on and, you know, I hope he learns how to just... talk slow... and sing too, by the way! It'd sure help if he could sing!"

The news of a major motion picture places the Allman brother among the royal company of Johnny Cash and Ray Charles. "Therefore, it better not suck!" proclaims Allman, with a blunt disposition and a hearty chuckle. Between the relaxed and revealing nature of the autobiography and the fact that Gregg and his manager, Michael Lehman, will both be executive producers on the film, the movie seems destined for good things. Original Allman Brothers music will be used in the movie, and re-recordings of live Allman performances will be re-created for the film. "I gotta tell ya, I am scared out of my boots, man! Well, part of me is. And part of me feels like it's a very good challenge, you know? "

Now 65, Gregory has spent nearly his entire life making music. "I started playing when I was ten years old and by the time I was thirteen, I was playing live gigs. Just kind of playing with a band. It was a band called the 'House Rockers and the Untils'. That big pier? Out at Daytona Beach Florida? That is where I learned how to play. Right there. That's where I got most of my chops."

"Friday, Saturday, Sunday we made $6 a night," Allman fondly recalls. "And they didn't need two guitar players, so me and my brother would switch off every other night. The 'House Rockers' was the rhythm section, which was the bass, drums, guitar, piano, saxophone, and 'The Untils' was these two black dudes that stood in the front and sang. And one of those dudes was Floyd Miles, who's still on the road with me today!" The family of Allman Brothers is the stuff of legends. Those in the band have truly been a sort of lifelong brotherhood.

Was six dollars a day much money then? "Hell no! I just thought, I was proud as punch to be gettin' paid to play! There was no other place I would have rather been... Hanging with my buddies and learning some more stuff! We were playing rhythm and blues. Straight on."

It's been over fifty years of music since those days at the Daytona pier. Gregory has experienced tens of thousands of gigs, international accolades, platinum-selling albums, fame, fortune, Grammy awards, and more than his share of heartaches and losses. Through a lifetime of rock-n-roll, his single biggest accomplishment is poignant, simple, and yet endlessly complicated.  "I think the biggest [accomplishment] was not falling by the wayside after my brother died."

Otis jumps into Gregory's lap, resting a head on the musician's knee. Gregg runs his fingers through Otis' brown and silver curls and sits for a long, silent moment. "For the sake of arguing," he rises to attend to some quick business before he stops in thought. "If I named my dog after somebody, I named him just as much after Otis Span," he smiles with a reverential gleam in his eye.

Quote
Phil Everly, Half of Pioneer Rock Duo, Dies at 74

LOS ANGELES) — Phil Everly, who with his brother Don formed an influential harmony duo that touched the hearts and sparked the imaginations of rock 'n' roll singers for decades, including the Beatles and Bob Dylan, died Friday. He was 74.

Everly died of chronic obstructive pulmonary disease at a Burbank hospital, said his son Jason Everly.

Phil and Don Everly helped draw the blueprint of rock 'n' roll in the late 1950s and 1960s with a high harmony that captured the yearning and angst of a nation of teenage baby boomers looking for a way to express themselves beyond the simple platitudes of the pop music of the day.

The Beatles, early in their career, once referred to themselves as "the English Everly Brothers." And Bob Dylan once said, "We owe these guys everything. They started it all."

QuoteA MODEST ROCK STAR: THE WORLD MOURNS THE LOSS OF MOLLY HATCHET DRUMMER AND JACKSONVILLE MUSIC LEGEND

Derek Kinner

"It didn't suck."

That's how original Molly Hatchet drummer Bruce Crump jokingly described playing in front of thousands and thousands of fans in a multitude of high-profile arenas in the U.S. and around the world at the height of the Jacksonville band's fame in the late 1970s and 1980s.

But in the last decade, Crump didn't consider himself a rock star, his widow, Kristin Crump, said in an interview last week.

"I was not married to a rock star," Kristin says. "I was married to Bruce. He was just my husband; he was my best friend. He didn't feel that way [a rock star] and, quite frankly, neither did I. It was history, his past, and that was it."

more:

QuoteMore loss for Jacksonville's Lynyrd Skynyrd as former drummer dies in Georgia car crash
A former drummer of Jacksonville's Lynyrd Skynyrd has died in a car crash, according to the Atlanta Journal Constitution and WSB-TV 2 in Atlanta.

By Bill Bortzfield Sat, Apr 4, 2015 @ 10:45 am | updated Sat, Apr 4, 2015 @ 11:00 am

http://jacksonville.com/breaking-news/2015-04-04/story/more-loss-jacksonvilles-lynyrd-skynyrd-former-drummer-dies-georgia

A former drummer of Jacksonville's Lynyrd Skynyrd has died in a car crash, according to the Atlanta Journal Constitution and WSB-TV 2 in Atlanta.

The news outlets report that Robert "Bob" Lewis Burns Jr., 64, died in a single-car crash shortly before midnight Friday in Bartow County, which is northwest of Atlanta, when his car hit a mailbox and tree

more...

QuoteWell, today I'm at a loss for words, but I just remember Bob being a funny guy. He was just so funny, he used to do skits for us and make us laugh all the time, he was hilarious!
Ironically, since we played Jacksonville yesterday. Dale, my daughter and I, went by the cemetery to see some of the guys in the band and my parents grave sites. On the way back, we went by Bob Burns old house, it was there in the carport where we used to first start to practice with Skynyrd. My heart goes out to his family and God bless him and them in this sad time. He was a great great drummer.
-Gary Rossington

Quote from: FlaBoy on May 29, 2017, 12:03:36 PM
:'( :'(

With another passing of these Southern Rock greats and the resurgence of Country/Southern Rock, it is time for Jax to do a better job of embracing its roots here and honoring these guys.

Quote from: remc86007 on May 29, 2017, 01:24:46 PM
I think it could be a good tourist draw to have a music museum here (covering all genres, not just country/southern rock). I'm sure there is some suitable land over by the Ritz Theater for it, or maybe Shad can squeeze it into his Shipyards development.

Quote from: Adam White on May 29, 2017, 12:06:39 PM

Quote from: FlaBoy on May 29, 2017, 12:03:36 PM
:'( :'(

With another passing of these Southern Rock greats and the resurgence of Country/Southern Rock, it is time for Jax to do a better job of embracing its roots here and honoring these guys.

Growing up in Jax, I got sick to my back teeth having to hear about Lynyrd Skynyrd, etc all the time. I think Jax does more than enough. Time to stop living in the past.

Quote from: FlaBoy on May 30, 2017, 12:24:42 AM

Quote from: Adam White on May 29, 2017, 12:06:39 PM

Quote from: FlaBoy on May 29, 2017, 12:03:36 PM
:'( :'(

With another passing of these Southern Rock greats and the resurgence of Country/Southern Rock, it is time for Jax to do a better job of embracing its roots here and honoring these guys.

Growing up in Jax, I got sick to my back teeth having to hear about Lynyrd Skynyrd, etc all the time. I think Jax does more than enough. Time to stop living in the past.

Except the casual fan has no idea they are from Jax or about Jax's role in Southern Rock. Most probably think they are from Alabama. You got to embrace what organically makes you unique as a city. I am sure the folks in Seattle hate talking about Grunge Music and Nirvana but they milk it for all its worth. I don't know if anyone hates Elvis, but I am sure you would have hated Elvis and Sun Records if you grew up in Memphis and had to hear about them too  ;D ;)

Quote from: Tacachale on May 30, 2017, 01:20:13 PM

Quote from: FlaBoy on May 30, 2017, 12:24:42 AM

Quote from: Adam White on May 29, 2017, 12:06:39 PM

Quote from: FlaBoy on May 29, 2017, 12:03:36 PM
:'( :'(

With another passing of these Southern Rock greats and the resurgence of Country/Southern Rock, it is time for Jax to do a better job of embracing its roots here and honoring these guys.

Growing up in Jax, I got sick to my back teeth having to hear about Lynyrd Skynyrd, etc all the time. I think Jax does more than enough. Time to stop living in the past.

Except the casual fan has no idea they are from Jax or about Jax's role in Southern Rock. Most probably think they are from Alabama. You got to embrace what organically makes you unique as a city. I am sure the folks in Seattle hate talking about Grunge Music and Nirvana but they milk it for all its worth. I don't know if anyone hates Elvis, but I am sure you would have hated Elvis and Sun Records if you grew up in Memphis and had to hear about them too  ;D ;)

We play their music here, talk about them, and whatnot, there's no real commemoration of Skynyrd, the Allman Brothers, or Southern Rock in general around town. No statues, preserved homes, permanent exhibits, etc. In contrast, Boston has markers (http://mmone.org/boston-music-trail/) at some significant locations, such as former clubs and Aerosmith's apartment (and Aerosmith is objectively lamer than Skynyrd). Augusta has a statue of James Brown (http://www.augustamuseum.org/The-James-Brown-Statue), an arena named after the guy, and exhibits at the local museum (http://www.augustamuseum.org/JamesBrown). Macon, GA has an Allman Brothers Museum (http://www.thebighousemuseum.com/) in a house where the band once lived. There's a Ronnie Van Zant memorial park, and I think maybe a marker at the Van Zants' childhood home, but there's little else formal that would tell you that two important bands and a notable rock genre started here. And that goes beyond Southern Rock to other musicians from Jacksonville (ragtime blues guitarist Blind Blake, jazz musician Sam Jones, country performer Tim McGraw, etc.), even the Johnson brothers are criminally under-celebrated in their home town.

Quote from: Adam White on May 30, 2017, 01:43:47 PM

Quote from: Tacachale on May 30, 2017, 01:20:13 PM

Quote from: FlaBoy on May 30, 2017, 12:24:42 AM

Quote from: Adam White on May 29, 2017, 12:06:39 PM

Quote from: FlaBoy on May 29, 2017, 12:03:36 PM
:'( :'(

With another passing of these Southern Rock greats and the resurgence of Country/Southern Rock, it is time for Jax to do a better job of embracing its roots here and honoring these guys.

Growing up in Jax, I got sick to my back teeth having to hear about Lynyrd Skynyrd, etc all the time. I think Jax does more than enough. Time to stop living in the past.

Except the casual fan has no idea they are from Jax or about Jax's role in Southern Rock. Most probably think they are from Alabama. You got to embrace what organically makes you unique as a city. I am sure the folks in Seattle hate talking about Grunge Music and Nirvana but they milk it for all its worth. I don't know if anyone hates Elvis, but I am sure you would have hated Elvis and Sun Records if you grew up in Memphis and had to hear about them too  ;D ;)

We play their music here, talk about them, and whatnot, there's no real commemoration of Skynyrd, the Allman Brothers, or Southern Rock in general around town. No statues, preserved homes, permanent exhibits, etc. In contrast, Boston has markers (http://mmone.org/boston-music-trail/) at some significant locations, such as former clubs and Aerosmith's apartment (and Aerosmith is objectively lamer than Skynyrd). Augusta has a statue of James Brown (http://www.augustamuseum.org/The-James-Brown-Statue), an arena named after the guy, and exhibits at the local museum (http://www.augustamuseum.org/JamesBrown). Macon, GA has an Allman Brothers Museum (http://www.thebighousemuseum.com/) in a house where the band once lived. There's a Ronnie Van Zant memorial park, and I think maybe a marker at the Van Zants' childhood home, but there's little else formal that would tell you that two important bands and a notable rock genre started here. And that goes beyond Southern Rock to other musicians from Jacksonville (ragtime blues guitarist Blind Blake, jazz musician Sam Jones, country performer Tim McGraw, etc.), even the Johnson brothers are criminally under-celebrated in their home town.

To be fair, the Allman Brothers are more of a Macon band than a Jax band. But I am perfectly happy without any more Skynyrd crap around town.

I don't know who the Johnson Brothers are.

Quote from: Tacachale on May 30, 2017, 02:13:33 PM

Quote from: Adam White on May 30, 2017, 01:43:47 PM

Quote from: Tacachale on May 30, 2017, 01:20:13 PM

Quote from: FlaBoy on May 30, 2017, 12:24:42 AM

Quote from: Adam White on May 29, 2017, 12:06:39 PM

Quote from: FlaBoy on May 29, 2017, 12:03:36 PM
:'( :'(

With another passing of these Southern Rock greats and the resurgence of Country/Southern Rock, it is time for Jax to do a better job of embracing its roots here and honoring these guys.

Growing up in Jax, I got sick to my back teeth having to hear about Lynyrd Skynyrd, etc all the time. I think Jax does more than enough. Time to stop living in the past.

Except the casual fan has no idea they are from Jax or about Jax's role in Southern Rock. Most probably think they are from Alabama. You got to embrace what organically makes you unique as a city. I am sure the folks in Seattle hate talking about Grunge Music and Nirvana but they milk it for all its worth. I don't know if anyone hates Elvis, but I am sure you would have hated Elvis and Sun Records if you grew up in Memphis and had to hear about them too  ;D ;)

We play their music here, talk about them, and whatnot, there's no real commemoration of Skynyrd, the Allman Brothers, or Southern Rock in general around town. No statues, preserved homes, permanent exhibits, etc. In contrast, Boston has markers (http://mmone.org/boston-music-trail/) at some significant locations, such as former clubs and Aerosmith's apartment (and Aerosmith is objectively lamer than Skynyrd). Augusta has a statue of James Brown (http://www.augustamuseum.org/The-James-Brown-Statue), an arena named after the guy, and exhibits at the local museum (http://www.augustamuseum.org/JamesBrown). Macon, GA has an Allman Brothers Museum (http://www.thebighousemuseum.com/) in a house where the band once lived. There's a Ronnie Van Zant memorial park, and I think maybe a marker at the Van Zants' childhood home, but there's little else formal that would tell you that two important bands and a notable rock genre started here. And that goes beyond Southern Rock to other musicians from Jacksonville (ragtime blues guitarist Blind Blake, jazz musician Sam Jones, country performer Tim McGraw, etc.), even the Johnson brothers are criminally under-celebrated in their home town.

To be fair, the Allman Brothers are more of a Macon band than a Jax band. But I am perfectly happy without any more Skynyrd crap around town.

I don't know who the Johnson Brothers are.

James Weldon (https://en.wikipedia.org/wiki/James_Weldon_Johnson) and Rosamond Johnson (https://en.wikipedia.org/wiki/J._Rosamond_Johnson), who wrote "Life "Ev'ry Voice and Sing" and a number of Broadway songs in the early 20th century, among many other things.

The Macon museum exists only because people made it happen, not because the Allman Brothers are a Macon band (though Macon was obviously very important in their history). In Jacksonville, there's not even a marker at the houses they lived in here, or Willow Branch Park, where the band formed.

I'd be interested to know what "Skynyrd crap" exists that causes you such vexation; I'm not aware of any besides the park, which is in Clay County.

Quote from: FlaBoy on May 30, 2017, 03:07:30 PM

Quote from: Tacachale on May 30, 2017, 02:13:33 PM

Quote from: Adam White on May 30, 2017, 01:43:47 PM

Quote from: Tacachale on May 30, 2017, 01:20:13 PM

Quote from: FlaBoy on May 30, 2017, 12:24:42 AM

Quote from: Adam White on May 29, 2017, 12:06:39 PM

Quote from: FlaBoy on May 29, 2017, 12:03:36 PM
:'( :'(

With another passing of these Southern Rock greats and the resurgence of Country/Southern Rock, it is time for Jax to do a better job of embracing its roots here and honoring these guys.

Growing up in Jax, I got sick to my back teeth having to hear about Lynyrd Skynyrd, etc all the time. I think Jax does more than enough. Time to stop living in the past.

Except the casual fan has no idea they are from Jax or about Jax's role in Southern Rock. Most probably think they are from Alabama. You got to embrace what organically makes you unique as a city. I am sure the folks in Seattle hate talking about Grunge Music and Nirvana but they milk it for all its worth. I don't know if anyone hates Elvis, but I am sure you would have hated Elvis and Sun Records if you grew up in Memphis and had to hear about them too  ;D ;)

We play their music here, talk about them, and whatnot, there's no real commemoration of Skynyrd, the Allman Brothers, or Southern Rock in general around town. No statues, preserved homes, permanent exhibits, etc. In contrast, Boston has markers (http://mmone.org/boston-music-trail/) at some significant locations, such as former clubs and Aerosmith's apartment (and Aerosmith is objectively lamer than Skynyrd). Augusta has a statue of James Brown (http://www.augustamuseum.org/The-James-Brown-Statue), an arena named after the guy, and exhibits at the local museum (http://www.augustamuseum.org/JamesBrown). Macon, GA has an Allman Brothers Museum (http://www.thebighousemuseum.com/) in a house where the band once lived. There's a Ronnie Van Zant memorial park, and I think maybe a marker at the Van Zants' childhood home, but there's little else formal that would tell you that two important bands and a notable rock genre started here. And that goes beyond Southern Rock to other musicians from Jacksonville (ragtime blues guitarist Blind Blake, jazz musician Sam Jones, country performer Tim McGraw, etc.), even the Johnson brothers are criminally under-celebrated in their home town.

To be fair, the Allman Brothers are more of a Macon band than a Jax band. But I am perfectly happy without any more Skynyrd crap around town.

I don't know who the Johnson Brothers are.

James Weldon (https://en.wikipedia.org/wiki/James_Weldon_Johnson) and Rosamond Johnson (https://en.wikipedia.org/wiki/J._Rosamond_Johnson), who wrote "Life "Ev'ry Voice and Sing" and a number of Broadway songs in the early 20th century, among many other things.

The Macon museum exists only because people made it happen, not because the Allman Brothers are a Macon band (though Macon was obviously very important in their history). In Jacksonville, there's not even a marker at the houses they lived in here, or Willow Branch Park, where the band formed.

I'd be interested to know what "Skynyrd crap" exists that causes you such vexation; I'm not aware of any besides the park, which is in Clay County.

Exactly Tacachale. Everything you said. I have been to London, New York, Seattle, Detroit, Memphis, NOLA, etc., and all of them celebrate their native music icons. One of the top things that out of towners say about Jax is we have no unique culture...well...that's because we failed to celebrate our unique culture and market it like others have. Hell, Free Bird may be the most celebrated song from that era in the entire South. It really is one of the things that makes Jax different than anywhere else.

Quote from: Adam White on May 30, 2017, 03:12:24 PM

Quote from: FlaBoy on May 30, 2017, 03:07:30 PM

Quote from: Tacachale on May 30, 2017, 02:13:33 PM

Quote from: Adam White on May 30, 2017, 01:43:47 PM

Quote from: Tacachale on May 30, 2017, 01:20:13 PM

Quote from: FlaBoy on May 30, 2017, 12:24:42 AM

Quote from: Adam White on May 29, 2017, 12:06:39 PM

Quote from: FlaBoy on May 29, 2017, 12:03:36 PM
:'( :'(

With another passing of these Southern Rock greats and the resurgence of Country/Southern Rock, it is time for Jax to do a better job of embracing its roots here and honoring these guys.

Growing up in Jax, I got sick to my back teeth having to hear about Lynyrd Skynyrd, etc all the time. I think Jax does more than enough. Time to stop living in the past.

Except the casual fan has no idea they are from Jax or about Jax's role in Southern Rock. Most probably think they are from Alabama. You got to embrace what organically makes you unique as a city. I am sure the folks in Seattle hate talking about Grunge Music and Nirvana but they milk it for all its worth. I don't know if anyone hates Elvis, but I am sure you would have hated Elvis and Sun Records if you grew up in Memphis and had to hear about them too  ;D ;)

We play their music here, talk about them, and whatnot, there's no real commemoration of Skynyrd, the Allman Brothers, or Southern Rock in general around town. No statues, preserved homes, permanent exhibits, etc. In contrast, Boston has markers (http://mmone.org/boston-music-trail/) at some significant locations, such as former clubs and Aerosmith's apartment (and Aerosmith is objectively lamer than Skynyrd). Augusta has a statue of James Brown (http://www.augustamuseum.org/The-James-Brown-Statue), an arena named after the guy, and exhibits at the local museum (http://www.augustamuseum.org/JamesBrown). Macon, GA has an Allman Brothers Museum (http://www.thebighousemuseum.com/) in a house where the band once lived. There's a Ronnie Van Zant memorial park, and I think maybe a marker at the Van Zants' childhood home, but there's little else formal that would tell you that two important bands and a notable rock genre started here. And that goes beyond Southern Rock to other musicians from Jacksonville (ragtime blues guitarist Blind Blake, jazz musician Sam Jones, country performer Tim McGraw, etc.), even the Johnson brothers are criminally under-celebrated in their home town.

To be fair, the Allman Brothers are more of a Macon band than a Jax band. But I am perfectly happy without any more Skynyrd crap around town.

I don't know who the Johnson Brothers are.

James Weldon (https://en.wikipedia.org/wiki/James_Weldon_Johnson) and Rosamond Johnson (https://en.wikipedia.org/wiki/J._Rosamond_Johnson), who wrote "Life "Ev'ry Voice and Sing" and a number of Broadway songs in the early 20th century, among many other things.

The Macon museum exists only because people made it happen, not because the Allman Brothers are a Macon band (though Macon was obviously very important in their history). In Jacksonville, there's not even a marker at the houses they lived in here, or Willow Branch Park, where the band formed.

I'd be interested to know what "Skynyrd crap" exists that causes you such vexation; I'm not aware of any besides the park, which is in Clay County.

Exactly Tacachale. Everything you said. I have been to London, New York, Seattle, Detroit, Memphis, NOLA, etc., and all of them celebrate their native music icons. One of the top things that out of towners say about Jax is we have no unique culture...well...that's because we failed to celebrate our unique culture and market it like others have. Hell, Free Bird may be the most celebrated song from that era in the entire South. It really is one of the things that makes Jax different than anywhere else.

How does London celebrate its native music icons (just curious)? Aside from Blue Plaques, I can't think of anything. Blue Plaques are a good idea - even for Lynyrd Skynyrd and sub-par crap like Blackfoot and .38 Special. Maybe Jax should do that.

Quote from: FlaBoy on May 30, 2017, 03:21:28 PM

Quote from: Adam White on May 30, 2017, 03:12:24 PM

Quote from: FlaBoy on May 30, 2017, 03:07:30 PM

Quote from: Tacachale on May 30, 2017, 02:13:33 PM

Quote from: Adam White on May 30, 2017, 01:43:47 PM

Quote from: Tacachale on May 30, 2017, 01:20:13 PM

Quote from: FlaBoy on May 30, 2017, 12:24:42 AM

Quote from: Adam White on May 29, 2017, 12:06:39 PM

Quote from: FlaBoy on May 29, 2017, 12:03:36 PM
:'( :'(

With another passing of these Southern Rock greats and the resurgence of Country/Southern Rock, it is time for Jax to do a better job of embracing its roots here and honoring these guys.

Growing up in Jax, I got sick to my back teeth having to hear about Lynyrd Skynyrd, etc all the time. I think Jax does more than enough. Time to stop living in the past.

Except the casual fan has no idea they are from Jax or about Jax's role in Southern Rock. Most probably think they are from Alabama. You got to embrace what organically makes you unique as a city. I am sure the folks in Seattle hate talking about Grunge Music and Nirvana but they milk it for all its worth. I don't know if anyone hates Elvis, but I am sure you would have hated Elvis and Sun Records if you grew up in Memphis and had to hear about them too  ;D ;)

We play their music here, talk about them, and whatnot, there's no real commemoration of Skynyrd, the Allman Brothers, or Southern Rock in general around town. No statues, preserved homes, permanent exhibits, etc. In contrast, Boston has markers (http://mmone.org/boston-music-trail/) at some significant locations, such as former clubs and Aerosmith's apartment (and Aerosmith is objectively lamer than Skynyrd). Augusta has a statue of James Brown (http://www.augustamuseum.org/The-James-Brown-Statue), an arena named after the guy, and exhibits at the local museum (http://www.augustamuseum.org/JamesBrown). Macon, GA has an Allman Brothers Museum (http://www.thebighousemuseum.com/) in a house where the band once lived. There's a Ronnie Van Zant memorial park, and I think maybe a marker at the Van Zants' childhood home, but there's little else formal that would tell you that two important bands and a notable rock genre started here. And that goes beyond Southern Rock to other musicians from Jacksonville (ragtime blues guitarist Blind Blake, jazz musician Sam Jones, country performer Tim McGraw, etc.), even the Johnson brothers are criminally under-celebrated in their home town.

To be fair, the Allman Brothers are more of a Macon band than a Jax band. But I am perfectly happy without any more Skynyrd crap around town.

I don't know who the Johnson Brothers are.

James Weldon (https://en.wikipedia.org/wiki/James_Weldon_Johnson) and Rosamond Johnson (https://en.wikipedia.org/wiki/J._Rosamond_Johnson), who wrote "Life "Ev'ry Voice and Sing" and a number of Broadway songs in the early 20th century, among many other things.

The Macon museum exists only because people made it happen, not because the Allman Brothers are a Macon band (though Macon was obviously very important in their history). In Jacksonville, there's not even a marker at the houses they lived in here, or Willow Branch Park, where the band formed.

I'd be interested to know what "Skynyrd crap" exists that causes you such vexation; I'm not aware of any besides the park, which is in Clay County.

Exactly Tacachale. Everything you said. I have been to London, New York, Seattle, Detroit, Memphis, NOLA, etc., and all of them celebrate their native music icons. One of the top things that out of towners say about Jax is we have no unique culture...well...that's because we failed to celebrate our unique culture and market it like others have. Hell, Free Bird may be the most celebrated song from that era in the entire South. It really is one of the things that makes Jax different than anywhere else.

How does London celebrate its native music icons (just curious)? Aside from Blue Plaques, I can't think of anything. Blue Plaques are a good idea - even for Lynyrd Skynyrd and sub-par crap like Blackfoot and .38 Special. Maybe Jax should do that.

I went on a Punk Rock history tour in London lol

Quote from: Tacachale on May 30, 2017, 03:42:58 PM
I think plaques would be a good idea. Also getting collections together while people are still alive, as was done by the museum in Bakersfield, California for Bakersfield Sound musicians.

http://www.kernpioneer.org/bakersfield-sound

Quote from: Tacachale on May 30, 2017, 03:42:58 PM
I think plaques would be a good idea. Also getting collections together while people are still alive, as was done by the museum in Bakersfield, California for Bakersfield Sound musicians.

http://www.kernpioneer.org/bakersfield-sound

Quote from: FlaBoy on May 30, 2017, 04:56:09 PM

Quote from: Tacachale on May 30, 2017, 03:42:58 PM
I think plaques would be a good idea. Also getting collections together while people are still alive, as was done by the museum in Bakersfield, California for Bakersfield Sound musicians.

http://www.kernpioneer.org/bakersfield-sound

Right now would be a fantastic time with a lot of the recent losses to begin to pull together a lot of artifacts honoring these guys. I am telling you, especially with the new "country rock" sound which is an ode to Southern Rock in so many ways since these guys constantly bring up Skynyrd, and a lot of these guys like Luke Bryan, Jason Aldean, Florida-Georgia Line, Cole Swindell, etc, are all from Florida and South Georgia. You could have a pretty awesome opening here.

Quote from: Adam White on May 30, 2017, 05:14:30 PM

Quote from: FlaBoy on May 30, 2017, 04:56:09 PM

Quote from: Tacachale on May 30, 2017, 03:42:58 PM
I think plaques would be a good idea. Also getting collections together while people are still alive, as was done by the museum in Bakersfield, California for Bakersfield Sound musicians.

http://www.kernpioneer.org/bakersfield-sound

Right now would be a fantastic time with a lot of the recent losses to begin to pull together a lot of artifacts honoring these guys. I am telling you, especially with the new "country rock" sound which is an ode to Southern Rock in so many ways since these guys constantly bring up Skynyrd, and a lot of these guys like Luke Bryan, Jason Aldean, Florida-Georgia Line, Cole Swindell, etc, are all from Florida and South Georgia. You could have a pretty awesome opening here.

But Jax is so much more than just Southern Rock and I'd be sad to see everything else overlooked in favor of that stuff.

(I'm not disagreeing with you, even though it might seem like I am).

Quote from: Tacachale on May 30, 2017, 05:41:19 PM

Quote from: Adam White on May 30, 2017, 05:14:30 PM

Quote from: FlaBoy on May 30, 2017, 04:56:09 PM

Quote from: Tacachale on May 30, 2017, 03:42:58 PM
I think plaques would be a good idea. Also getting collections together while people are still alive, as was done by the museum in Bakersfield, California for Bakersfield Sound musicians.

http://www.kernpioneer.org/bakersfield-sound

Right now would be a fantastic time with a lot of the recent losses to begin to pull together a lot of artifacts honoring these guys. I am telling you, especially with the new "country rock" sound which is an ode to Southern Rock in so many ways since these guys constantly bring up Skynyrd, and a lot of these guys like Luke Bryan, Jason Aldean, Florida-Georgia Line, Cole Swindell, etc, are all from Florida and South Georgia. You could have a pretty awesome opening here.

But Jax is so much more than just Southern Rock and I'd be sad to see everything else overlooked in favor of that stuff.

(I'm not disagreeing with you, even though it might seem like I am).

I don't see that as much of an issue. Everything else is mostly overlooked now, even without there being anything to commemorate Southern rock. However, I think everyone would probably get behind recognizing all musicians who came from Jax better than we do now.

Quote from: Adam White on May 30, 2017, 05:54:43 PM
Well, one thing you guys might not remember is what it was like for local musicians in the 80s. If you weren't playing Southern Rock, you couldn't get any column inches in the T-U. Dan MacDonald, for example, would happily write about Skynyrd, et al (they had that reunion, more deaths, more reunions, etc) but would avoid pretty much everything else (except, strangely, Mike Shackleford).

Kind of like the way that idiot at Folio only would write articles about his friends' bands.

Quote from: FlaBoy on May 31, 2017, 12:29:46 AM
Tacachale,

How would you describe the more rock-ish new country stars such as Luke Bryan, Jason Aldean, Florida-Georgia Line, Cole Swindell, Brantley Gilbert, Eric Church, A Thousand Horses, etc?

Are we sort of seeing a bit of renaissance of a more Southern Rock feel to some of these bands? Or is this strictly country?

QuotePaul Axtell
3 hours ago
·
I'm sad to say my brother Dave Hlubek passed away. Please keep our family in your prayers. Don't let his music be forgotten.

QuoteMolly Hatchet was founded by guitarist Dave Hlubek in 1971. The band originated and was based in Jacksonville, Florida and shared influences and inspiration with what is perhaps the most well-known act in the Southern rock genre, Lynyrd Skynyrd. Bass player Banner Thomas and Guitarist Steve Holland joined the Molly Hatchet Band in 1974, see line up. Bruce Crump would become the drummer in 1976 and guitarist Duane Roland taking his position in the band in 1975. Hlubek was the band's vocalist prior to Danny Joe Brown's entrance in early 1976. Hlubek along with Banner Thomas [1] also wrote/ Co-Wrote and co-produced many of the band's songs. Hlubek has stated that the demise of Lynyrd Skynyrd opened the door for Molly Hatchet.[2] Members of .38 Special referred the band to manager Pat Armstrong[2] who, with partner Alan Walden, had briefly been co-manager of Lynyrd Skynyrd in 1970. Ronnie Van Zant was slated to produce Molly Hatchet's first album, having helped in writing arrangements and directing rehearsals prior to his death.[citation needed] Molly Hatchet cut their first demos in Lynyrd Skynyrd's 8-track recording studio using their equipment.[2] Other demos were cut in Jacksonville's Warehouse Studios. Warner Bros. Records expressed interest in the resulting recordings from these sessions.[citation needed] However, Molly Hatchet ended up being turned down by Warner Bros who instead picked Van Halen over Molly Hatchet. After this setback, Molly Hatchet toured the Florida roadhouse and bar circuit. About six months later, Epic Records signed the band to a recording contract and, in 1977, brought Tom Werman in as producer.

Werman, known for working with straight hard rock acts such as Cheap Trick and Ted Nugent,[3] combined boogie, blues, and hard rock making Molly Hatchet's sound different from more country-influenced acts such as The Outlaws.

The band recorded and released their first album, Molly Hatchet in 1978. Its song Dreams I'll Never See got AOR airplay. Molly Hatchet was followed by Flirtin' with Disaster in 1979, with its title song another AOR hit, as was its first track, Whiskey Man, from the album. Molly Hatchet proceeded to tour behind the records building a larger fan base. Danny Joe Brown, lead singer, left the band in 1980 because of health and other reasons, only to return three years later.[4]

Quote
On Sept 2nd, 2017, the rock and especially the southern rock world suffered a devastating blow when we got the news of the passing of the iconic guitarist Dave Hlubek, Molly Hatchets leader, chief songwriter and founding member. Dave along with Bruce Crump, Banner Thomas, Danny Joe Brown, Steve Holland, and Duane Roland  burst onto the scene in 1978 with their self titled release, that immediately achieved platinum status. Later albums were also certified gold or platinum. They came onto the scene at a time when we needed them most after losing Ronnie Van Zant, Steve and Cassie Gaines and others in the Lynyrd Skynyrd plane crash in 1977. Ronnie loved Molly Hatchet and was to produce the first album. Dave Hlubek and Molly Hatchet are rock icons, southern rock royalty...legendary musicians with millions of fans around the globe, leaving us a body of work to cherish for years to come. Please help us with this campaign and for the expenses that always come at a time like this. This is the only campaign that has been approved and sanctioned by the Hlubek family. Please report any others to the family....We will miss you Dave, but we find comfort that you are back with your brothers in Rock and Roll heaven making music for the angels.  LONG LIVE MOLLY HATCHET  !!!!!  Please share this to all pages....