Saturday, January 31, 2009

More Atlanta Soul

Images above:

Open book with photo of Sam Cooke is "Honkers & Shouters" by Arnold Shaw. Buddy Skipper of Jetty Jumper fame recommended this book to me . I have really enjoyed it so far. It is very detailed, includes a great deal about the record companies as well as stories of how some of our favorite R& B groups evolved. It appears that Mr. Shaw may have left a few artists out but it is certainly an interesting and entertaining retrospective.

Also pictured is the cover of "One Hit Wonders" by Wayne Jancik. There were many Beach Music bands and artists included in the book. The fact is that many of the all-time greats of Beach Music bands and groups never attained the status as high as "One Hit Wonder," as defined by Billboard Magazine. Many of those included in the book will surprise you. I have referred back to the book through the years because of its detailed information on some of the bands.

Finally, The image of the liner notes from the CD illustrate what we talk about below. It is laid over a copy of The Hey Baby Days, illustrating that you will need to get your microscope out to read the very interesting article about Atlanta's Unacknowledged Master of Soul Music, Bill Haney.

We will relate some of the more interesting connections between these publications and The Hey Baby Days over the next few weeks

Recently, a gentleman (Buddy L.) called me and asked for some assistance in evaluating a first edition of Gone With The Wind. Seems he was the beneficiary of his great aunt’s estate which included a couple of early editions of the book including the Limited Edition set published in 1939. I have been a collector and seller of rare books for almost 15 years, an illness that I caught from my brother who has never met a book he didn’t like.

The whole point of this posting is to relate how one things leads to another and to illustrate how many unconnected dots still remain out there as it relates to the production of R&B music of the 60s.

Buddy L. grew up in Atlanta and is about my age. The critique of the book wandered from what appears to be his genuine May 1936 printing of the book signed by Margaret Mitchell on the ffep to bands he enjoyed back in the 60s. After, he went through a litany of nationally known acts, I asked about local Atlanta area soul bands. The first band out of his mouth was the Soul-Jers. I should have known. When I asked about Wayne Logiudice and Kommotion, he smiled. Yea, he knew and liked them too. He mentioned another band that won a battle of bands called the Four out of Twelve or something like that. He also mentioned a friend of his Tommy Dean who lived right down the street from where our office is located. It’s hard to imagine living and growing up on Piedmont Road near Peachtree in Atlanta. Anyway, his friend has a band that currently plays around Atlanta called the League of Decency, which I remember seeing at a company party at least 10 years ago. They were very good… had the required horns. I looked up the band on the web and they are still pounding it out with a play list that will take you several minutes just to scan. Only thing I didn’t see in the list was a Tams’ song. Interestingly, their apparent booking agent is Pat Andrews who took over on drums when Ervin Hicks left the Pieces of Eight. More indication of all the unconnected dots.

Anyway, back to books, I am going to post a little later today an image of a pile of books and other material that I continue to pour through gleaning for overlooked or unexplored tidbits. One of the more interesting pieces is the liner notes from one of two CDs sent to me from a gentleman across the big pond, Ady Croasdell. “Bill Haney’s Atlanta Soul Brotherhood” produced by Kent is exceptional for its notes and especially the music. And to think I thought Soul music had completely died in 1969. Bill Haney was still producing it in fairly good quantities here in Atlanta and in Muscle Shoals. Ady sent this to me prior to the publication of the Hey Baby Days but I never took the time to read the notes thoroughly… but then again I never seemed to have a microscope at the right time.

The notes are great but most people who would have the most interest are my age or older and there is NO WAY MOST OF THEM HAVE EYES GOOD ENOUGH TO READ THE SMALL FONT. That is why we used large font in the Hey Baby Days.

Regardless of the size of the font, the material is very good, the music is great and Bill Lowery’s name is spelled Lawry several times. Maybe I should not have pointed that out because we misspelled a few names in the Hey Baby Days. There are several items in the liner notes and about the music that interested me which I point out later. Until I played the CD when Ady sent it to me back years ago, I had never heard most of the music but I did hear distinctive parts of several of the songs that reminded me of several well known performers of the Hey Baby Days including Willie Tee and the Tams.

More Later…

Tuesday, January 27, 2009

Bands that played the Myrtle Beach Pavilion

One of the biggest draws ever at the Pavilion was Harry Deal & The Galaxies who put on vinyl the party classic "39-21-40 shape/ Hey, Baby"

The Myrtle Beach Pavilion no longer stands but its memory lives forever in the minds and hearts of those who love the music Image courtesy of Mickey Bradford The Imperial Combo featured on the Marquee.

ABOVE: The Catalinas in the studio; read about their first trip to the MBP in the book.

More bands that played the MBP Pavilion will be added soon.

Hello My friend:

I saw your book & website...hey it's great!! I found an old photo of my group (Ed). We played a lot @ the Myrtle Beach Pavilion in the 1960's It's a bit grainy but here it is.We had a record out in 1966.."Brandy Wine Blues"
Also, I found a photo of Dick Holler & Merlin Jones & Don Smith(wrote "Double Shot" ) Thanks. You have permission to publish my old Picture


Ed Baggett


Thanks. We will publish it to the blog and start adding photos of the many other bands that played the famous venue. The photo is a bit grainy but it's from the 60s so it and others from the 60s will always get our attention. I know we have an excellent photo of the MBP that was used in the book that we'll place at the top. In the interim, the Dimensions will lead off what should be a long list of bands and performers.

We previously published the Dick Holler photo back in either November or December. What we would like to do is a blog interview with Dick. What great memories he could probably share !



Monday, January 26, 2009

Who was in the band ? When & Where is their next gig?

Upcoming appearances of members of the Never Gonna Give It Up Club: ( We'll be adding others as soon as possible)Support these bands !!!!!!!!!!!!!

Swingin' Medallions February 12, 2009 Martinez GA Savannah Rapids Pavilion 3300 Evans to Locke Road

Tyn Tymes February 14 7:00 PM Gadsden City Foundation/ Gadsden Convention Center, Gadsden, Alabama

Fantastic Shakers January 29 8:00 pm-12:00 am Raleigh, NC-TJ's
4801 Leigh Drive

Pieces of Eight April 25 Cliff & Carolyn Ellis Foundation/ Dunes Golf Resort/ Myrtle Beach , SC Tickets Available at Cliff & Carolyn Ellis Foundation

Embers Thursday, January 29, 2009 Carolina Lounge Wilmington NC


Jesters March 7 Calabash Cotillion, Alpharetta, Georgia

The Legends of Beach
Friday, March 27, 2009 8:00 pm
LOB with NC Symphony - Blue Skies Golden Sands
Progress Energy Center Meymandi Concert Hall, 2E. South Street, Raleigh, NC (MAP)
For ticket info log onto

Band of Oz Thursday, January 29 Old Town Civic Peterburg, Va. 8:00 PM

Ron Moody & The Centaurs
February 14 ACCA Valentine Dance Richmond, Virginia

Hack Bartley & Shuffle March 7 Sports Break, Greenwood, Sc

Tams ( with Charles Pope) January 31, Rascals, Lake Park, Georgia

Tams ( with Robert Smith) February 14 Grand Ole Opry Nashville with Little Anthony and Little Richard

more to come... check back often

Who was in the band ? That depends. When are you talking about 1964 or 1984 or maybe even 2004 or even last Saturday night. We tried to accumulate as much of this information as possible. Julian Fowler accumulated many names of the members of band from the Carolinas and others helped with other states.

The listing of members of various bands can be found at We will be doing a major overhaul of the listings in February when corrections and additions will be made, Captain Craig will do an encore performance as he helps us make all the updates.

Many of the bands that were featured in the book still have a version of the band still playing today with varying numbers of band members from the 1960s aka “The Hey Baby Days of Beach Music." Many more of the bands have periodic reunions when members from all decades show up to play. Any of the musicians included in the book that are still playing today were inducted into a special club that we refer to as The Never Gonna Give It Up Club. We broke it down in that section of the book first listing bands still playing under the same name with at least one member from their 60s band. We then included other bands or performers still performing but not necessarily in their original band from the Hey Baby Days. We have also referred to this part of The Hey Baby Days project as “a work in process”; it is still in process. So check out our directories and let us know who was left out that was in the band. We will be adding other bands and other directories as well.

Want to know where and what members of the Hey Baby Days bands are doing now ? Check out the directories. If we don’t have the answer, check back at the end of February when the directories have been updated.

Wednesday, January 21, 2009

So I was Wrong, "Ain't No Big Thing"

Photos from Top:

Tip Tops
In-Men Ltd.
Pieces of Eight
Calvin Lindsay & Hysterics
Scotty Todd

Above: A few of the bands from the Heeey Baby Days of Beach Music that have recorded their version of “Ain’t No Big Thing” We'll add others soon.

Many moons ago, I was talking with Marion Carter of Ripete Records about cover versions of the classic Beach Music songs. I felt pretty sure that the Tams’, "I’ve Been Hurt" was the most covered of all the classics but he said it was “Ain’t No Big Thing.” We put on the web site, a link called “MOST COVERED songs and listed the various highly covered songs of “The Hey Baby Days of Beach Music. “ I wasn’t just wrong about it not being “I’ve Been Hurt”, I was wrong about "I've Been Hurt" being the most covered song originally recorded by the Tams. It appears that “Dancing Mood”, an early Tams 'recording written by Ray Whitley was the most covered Tams song. It seems that there are many reggae versions of the Tams classic.

As far as “Ain’t No Big Thing” is concerned, at least 22 versions have been recorded including the original by the Radiants. Most of the cover versions were by bands that are included in the book.

A sound clip of the Tip Tops version of the song can be heard at:

Click on The Tip Tops “Ain’t No Big Thing”

Here’s the list we have compiled:

Tip Tops
Scotty Todd
Calvin Lindsay & Hysterics
In-Men Ltd.
Holiday Band
Soul Inc.
The Fabulous Flares
Pieces of Eight
Medium Cool
The Electrons
Jimmy James & The Vagabonds
The Jordan Brothers
The East Coast Band
Angel Rissoff
Dirk & Tony (added)
Bob Marshall & the Crystals (added)
Little Joe & The Latinaires (added )
Rickey Vee & The Stardusters (added)

Know any more, let us know… We are up to 24 !

As for the Radiants, they have several more great songs that belong on any Beach Music juke box including:

“Voice Your Choice”
“Don't It Make You Feel Kinda Bad”

Tuesday, January 20, 2009

Mark VII Beach Music Yesterday & Today


I just joined the hey baby days blog today. I am not very proficient at blogging. Anyway, I grew up in Summerville, Georgia and graduated from high school there in 1971. I had the great opportunity during the late 60's or early 70's to see the Mark VII play and it could have been at Prom in Summerville in 1970 or 1971. I had wondered what had happened to that band for years because I do remember them playing "beach music" and other great dancing tunes. It looks like you had put together some book on beach music and bravo to you!!! Good luck in your endeavors. (Summerville is about 24 miles north of Rome)

Dave Hotchkiss


The stretch between Summerville and Ft. Payne, Alabama is one of the most scenic in the state. I have gone through there many times over the last couple of years on business. Regarding Mark VII, it was not too long before we went to press with the book that I finally able to find a member of the Mark VII, Gary Coley, and he graciously sent us a photo of the band that was used in the book. We worked for five years trying to locate the Mark VII type bands and were lucky enough to find a majority of them but there were still some that we missed.

I saw the band perform one time and liked them. They had three or four horns and played the great party music of the times. They were one of the Swingin' Medallion knock off bands that were very popular in the mid to late 60s. I booked them to play for a sorority at Valdosta State and got great reviews. They recorded at least one single which I have and will try to add to the blog later. One visitor to the site indicated that they had recorded an album. If there is an album by the Mark VII from back in that period, my expectation is that there will be at least two or three covers of the Tams.



Thanks Greg,

One question is beach music still alive and kicking in Myrtle Beach?
Secondly, do you think there is a market for old and maybe some "new" beach music?



Yes and Yes ! Beach Music is very much alive in Myrtle Beach and there is a world wide market for Beach Music. I think Ripete Records ships quite a few of their many compilations all over the world.

There’s both “new” Beach Music and “eternal” Beach Music. I enjoy a blend of the standards along with newly crafted music still being made by the pioneers bands plus many new very good ones that have come on the scene.

I get emails from many of the different groups and would be happy to send you their links. Also, we have linked many of the bands that are still performing to the Bands page at Click on the little website icon under a certain band if they have a web site, it will take you directly to their site. You may be surprised that many of these bands have current CDs or ones made in recent years. The music as a whole is quite remarkable.



What's all the Kommotion about ?

What’s all the Kommotion about? That what we are trying to determine! Sometimes 1+1 does not equal 2 but rather 3. Again, I refer to Marvin Taylor’s comment, “If you remember the 60s, you weren’t there." Wayne Logiudice was there but in a conversation with him yesterday, he indicated that some of the items we had related on the blog were out of sequence and that he did not play drums on the session that produced “Yessiree, Yessirree.’ He said it was probably Tommy South, brother of Joe South but he was not positive. We are not sure how we came to the conclusion that Wayne played the drums on the Vee Jay recording by Ray Whitley but It was incorrect.

As to “Little Black Egg”, Wayne Logiudice and the Kommotions recorded their version in Atlanta at Lefevre Studios. It was produced by WQXI deejay Pat Hughes. It was engineered by Chips Moman and was released on the Bell label. At this time, we are not sure what participation Larry Utah had in the production but his name is also associated with the session, which took place on Ellsworth Industrial Drive in Atlanta, Georgia. This may have also been the same studio where several Bang releases were also recorded. Many Bell releases came out of Chip Moman’s American Studios in Memphis so the logical conclusion that the Kommotions’ ”Little Black Egg With the Little White Speck” engineered by Chips Moman and on the Bell label was recorded in Memphis proved not to be so logical.

It was C.J. Bryant, business manager and husband of Sarah Vaughn who first got Wayne & The Kommotions an audition at Amateur Night at The Apollo theatre in December of 1965 and a three day paying gig the following week on the Jackie Wilson Percy Sledge show at Pickens Theatre in Brooklyn. Then the next week, they were back at the Apollo on the Otis Redding show whose back up band at that time (pre Bar Kays) consisted of musicians who ultimately formed the Winstons.

1966 was a year of transformation for the Kommotions . Rick Bear, the drummer was drafted, Joe South drafted Emory Gordy Jr. to Lowery Music and Master Sound and John Ivey wandered off to Europe to play for Stevie Wonder,

So if you are still wondering what all the Kommotion is about, here’s the executive summary;

A band was formed in the early 60s in Atlanta, Georgia. It had a lead singer by the name of Wayne Logiudice who could sing, dance and do most all the microphone stand tricks made popular by Joe Tex. The musicians in the band were nonpareil. (That’s French for damn good) Many of the musicians that played as the Kommotions went on to play on world stages backing and playing with such acts as the King, Stevie Wonder, The Atlanta Rhythm Section and who knows whom else. This unique and talented band has remained under the radar screen long enough. Hopefully we can continue to update and add to the story that we tentatively title.” Lost Soul: The Story of Wayne Logiudice and The Kommotions.’ Wayne has promised photos so let’s hope that comes to fruition.

Here's a story too good not to pass on: During the first trip to New York, the band was parked outside Carnegie Hall with C.J Bryant. A man with longer hair and a ponytail stood alone outside on the sidewalk. "Hey, I know that guy, he's from Atlanta", Rick Bear remarked according to Wayne.
But he was not from Atlanta, he was from Wales, it was Tom Jones.

Monday, January 19, 2009

Cruising with Clifford Curry down I -16

Top Photo: Clifford with the Five Royals (early 60s)

Bottom Photo: Clifford at The Beach Club, backed by the Caravelles (mid 60s)

Nora Marion and I were returning yesterday afternoon from Savannah to Atlanta. It was raining and sort of all around dreary when the cell rang. It was area code 615 which is Nashville. On the other end was a bit of sunshine, Mr. Clifford Curry. Anyone who knows Clifford knows what a great sincere person he is ... always wishing everyone well. He was calling to wish Nora and I a happy New Year. This is not anything out of character for Clifford. He sent us a post card once thanking us for including him in The Heeey Baby Days of Beach Music. Of course, that was all backwards because we should have sent him a post card thanking him for his contributions to the book and for all the good times he has provided so many people for so long beginning back in the Hey Baby Days.

Clifford has a new song song coming out on a compilation CD that Jerry Goodman is set to release. He also indicated that he was finalizing a song being co written by Salty Miller of Monzas', "Hey, I Know You" fame. Clifford is not slowing down much for someone who has been entertaining for a half century.

Here's an interesting tidbit that I am not sure we have in the book or not but it involves Clifford Curry's first appearance at the Beach Club in Myrtle Beach, South Carolina.

During the course of accumulating information, photos, etc. for the book, two of our main contributors, Tommie James and Sonny Long told about the time that their bands backed up Clifford Curry for his first appearance at the Beach Club. The problem with that I thought was that Tommie was a member of the Caravelles and Sonny was with the In-Men Ltd. One of them must be mistaken I thought. Maybe it was actually two different times and one thought that it was Clifford's first appearance when it was really not. Both of these guys are stand-up types and would never intentionally mislead so I wrote it off as a mistake of fact.

Sometime thereafter, I ran into Clifford at an event and sort of laughingly told him the story of how two different bands hold the distinction of backing him up on his first trip to the famed Beach Club. He smiled and said, "They're both right!" There was a period of time that Cecil Corbett operated two Beach Clubs, both in close proximity of one another and that particular night, Clifford appeared at both clubs, one where the Caravelles were performing and the other where the In-Men Ltd. were performing, both backing the Master of shooting the hole in the soul.

I encouraged Clifford to write his memoirs because it would be of great interest to all those who love the music of "The Hey Baby Days." I plan to follow up with Clifford over the next few days, so if you're reading this posting and want to recall a memory of Clifford Curry, send it on.

Saturday, January 17, 2009

The Hots Spots of The Hey Baby Days of Beach Music

The two venues shown above were two of the hottest clubs of the 60s where great R&B/Beach Music was being played. The top photo of the Collegiates was taken next to the marquee sign out front of Cecil Corbett's Beach Club in Myrtle Beach, South Carolina. The next photo shows the Ember's van parked outside of the Ember's Club in Raleigh, North Carolina. We'll add more photos of great 60s party venues in the coming days. Got a photo of your favorite 60s good time band venue. It doen't have to be a club... there were all types of places where these bands played...National Guard Amories, VFW's, Frat Houses, etc. etc. Inside band stand photos work too. Keep following this posting for more places of the Hey Baby Days.

Wednesday, January 14, 2009

Did The Seros, Mouse, Willie Tee or some other great band play at your frat's parties in the 60s?

L-R: Eddie Middleton, Joe Pope, and Bobby Joyner

Listen to a clip of a recent recording by Eddie Middleton with The In-Men Ltd. on the book page at (Look for the CD Cover)

Mike Mclaughlin in CBRE’s Chicago office loaned out his copy of the book to a friend and got the email below:

Mike - This book is terrific. I am having so much fun seeing the names of some of the old groups. The Embers played at my homecoming dance when I was a sophomore in HS. I especially enjoyed seeing Eddie Middleton featured so prominently. Eddie was a lead singer for the Seros and later for King David and the Slaves. We attended Albany High School and played BBall together. I remember him singing in the back of the bus on road trips and trying to harmonize with some of us who could not sing quite so well.
Some of the groups I remember hearing in high school or at Univ of Ga ATO frat parties included: Mouse and Boys with Brass (multiple times), Pieces of Eight, The Jesters, The Ga Prophets, The Catalinas, Willie T, Maurice Williams, Clifford Curry, Doug Clark and the Hot Nuts, The Righteous Bros, The Candymen (High School Jr./Sr Prom), The Platters, Jerry Butler (college concert), James Brown (my first concert...Macon Colliseum.-1968..I was the only white boy in the group of 8,000), Bill Deal and the Rhondels, The Castaways, The Epics, The Bushman (another HS Prom) , The Rubber Band, Ray Whitley (we used to drive 2 hours from Athens, Ga to Atlanta on a school night to hear him play at a small bar in Buckhead. He wrote many of the songs made famous by the Tams..."I Been Hurt", "What Kind of Fool", "Hey Girl Don't Bother Me" and others) ...and the two most famous bands in my day...the Tams and the Swing Medallions!

I am about only about 20% thru the book and having a ball! Thanks so much for sharing it. I will take good care of it.


Note: The email to Mike is a good resume of some of the bands playing the ATO house at UGA during the Hey Baby Days… but there were over 20 other party-active fraternities so maybe we’ll get a few more fraternity lists from UGA and the other party schools. Throughout the South, there had to be a good 1000 parties going on every Friday and Saturday night in the 60s featuring some of the great R&B bands, many that are in the book and some that should have been. If you are reading this posting and want to recall some of the bands playing for your parties in the 60s, drop us a note. Not restricted to frats ! If you have a story, so much the better.

Monday, January 12, 2009

Georgia Prophets' Billy Walker, Ray Whitley's "Yessiree, Yessiree", and the Soul-Jers' cover, Northern Soul and Beach Music,

Above Images:

(Top) L-R :Billy and Barbara Scott and Billy Walker

(Middle) record label : "Yessiree, Yessiree" recorded in 1962 by prolific song composer for the Tams, Ray Whitley, with Wayne Logiudice on drums

(Bottom) At Last ! The magazine cover of Atlanta Magazine in January 1967 featuring the Soul-Jers - Thank you JT

Hi Greg,

I've been having the grandest time the past few nights reading the
info on your site, listening to the downloads of the bands, reading the
blog, etc. My husband has a sinus infection and has been sleeping in
the guest suite in the back end of the house so I've been able to
stay up until the wee hours of the morning without disturbing him. Then
when he leaves in the morning driving to work in Honolulu, I get up,
turn on the computer, and start reading again. There's so much I'll
probably never catch up. My latest "find" is discovering the band,
Larry and the Loafers's recording of "Panama City Blues" (recorded in
1960.). What a treat to find that it was available for download.
Somehow I got a lead reading some of the information on your site. I
got an idea to download the Heeey Baby Days Beach music to my iPod so
I could listen to it on my jog every day. I had been purchasing
downloads and they started declining my charges. When I called
American Express they said they were worried that someone else might
have been using my card because there were 42 downloads @ 99 cents
each. I laughed and said it really was me and that they usually check
on charges in the hundreds of $$. Go figure. But I guess I should be
glad that they are on top of things. I can't wait until I get the
book. Now that I will have two copies I won't be so concerned
for other people to look at it, worrying that they might "bend the
pages". Hey, that might be a good "sales gimmick". Tell everybody they need two
copies - one to read and one to save.

About the blog when you went to Liverpool - I recently within the
last year discovered what Northern Soul is. All this time I thought it was
soul music by Northern artists in the US. I discovered it when I was
doing research on Barbara Lewis, my favorite female singer from the
60's. I found a fairly recent recording of Ms. Lewis singing "The
Stars" on YouTube and contacted Ian Levine, who had posted it. Come
to find out, he is a record producer in England and had done a
documentary on Northern Soul, which took years to complete. Through him and his
site, I learned all about Northern Soul and that a lot of the artists from the US went to Europe to perform when the Heeey Baby Beach Days music was over, taken over by hard rock and heavy metal. (Artists like Ms. Lewis and Percy Sledge). I thought it was very interesting how it all evolved. (And I know that there is a difference in Northern Soul
and HBDB music, but when you think about the lines are kind of
blurred there because Barbara Lewis' "Hello Stranger", "Baby, I'm Yours" and
even "Think A Little Sugar" (the flip side of "Hello Stranger") was
always playing on the juke box at the Hang Out at Panama City Beach.

I can remember it like it was yesterday. Perhaps you could write a
chapter in your next book about both NS and HBDB music. I know your
book is dedicated to the "garage bands" but music like Barbara Lewis'
was and still is played at various beaches in the South (especially
the Carolinas) and considered to be "beach music". Did you know that she
was inducted into the Carolina Beach Music Hall Of Fame in 2003?

About mine and my friends memories of the Hang Out and Panama City
Beach, I've recently discovered that J. D. Weeks is writing a book,
"Memories About Panama City Beach" and submitted my story.
( I got an email from him today saying he hopes to
get it to the publisher sometime this summer. He said you used some of
his post cards in the HBDB book. So look for my story about the Hang Out
and Panama City Beach.

When you have time, check out my MySpace dedicated to Barbara Lewis - and let me know what you think. I
talk about the Hang Out and Panama City Beach there too. Hey, I'm a huge
HBDB music fan and only listen to the "oldies" radio stations. But I
do love Melinda Doolittle's music. She finished third on American
Idol, Season 6. I never watched AI but stopped in my tracks when I
heard her for the first time. Not since Barbara Lewis has any female
singer "knocked my socks off". I actually flew to Franklin, TN (a
suburb of Nashville) to see her first solo performance. I am a member
of her support group, Melinda's Backups. (She used to be a backup
singer.) She attended the afterparty at our hotel, spending the
entire evening with us. So I know her personally. She has received four
flower leis from the Backups (which I took care of) at various
performances. Melinda's debut CD/album, "Coming Back to You" will be
released Feb. 3. made a snafu and accidentally made the
entire album available for download when they were only supposed to
release the single, "It's Your Love". I was one of a very few who was
able to download it before they realized their snafu. It's absolutely
incredible. Didn't mean to get off on that, but as I said, she is the
first female since Barbara Lewis to "blow me away".

Well, my husband just got home so I'd better go and fix dinner. Feel
free to post any of my emails on your blog. I've got to figure out
to register.

I look forward to hearing back from you.

Fond Aloha,
Ann Adams


Thanks for your email... lots of good discussion points. Downloading the Music of The Heeey Baby Days of Beach Music to an ipod and listening to any of those 44 cuts you bought is a great way to enjoy a jog. When you get the entire collection you ordered, you are going to have several marathons of enjoyment.

Responding to some of the items you brought up:

Larry & The Loafers: Other than a mention in the book, that is all we were able to do before book’s publication; hopefully a lot more is now available on the Internet and others will respond. Their name came up several times but at the time we did not have a contact. Maybe we'll be able to post some photos and do a bio on the band at the blog.

Northern Soul: As the soulful 60s were taking a back seat to the 70s new rock sound, much of it promoted by former soulies, there was an area of England and a particular group that refused to let the sound die, and thanks to them, much of the "below the radar screen" music is still available. "Below The Radar Screen" in this connotation means that songs that got to be very big Northern Soul songs but never made the American Top Forty. The British “record collectors" have done much to popularize and keep that sound alive. A tip of the hat to them! As to why it’s called Northern Soul…
Here’s two answers from two different sources:

Northern soul is a type of mid-tempo and uptempo heavy-beat soul music (of mainly African American origin) that was popularized in Northern England from the mid 1960s onwards. The term also refers to the associated dance styles and fashions that emanated from the Twisted Wheel club in Manchester and spread to other dancehalls and nightclubs, such as the Golden Torch (in Stoke-upon-Trent), the Highland Rooms at the Blackpool Mecca and the Wigan Casino. Northern soul dancing was usually athletic, resembling the later dance styles of disco and break dancing. Featuring spins, flips, and backdrops, the northern soul dancing style was inspired by the stage performances of visiting American soul acts such as Little Anthony & The Imperials and Jackie Wilson

Northern soul to me is mostly up tempo soul music with a continuous backbeat that is not unlike Motown. I did and still do like 99% of the records played in the mid seventies Northern soul venues but there was a few records I did not really class as "Northern Soul" although they were popular (Mal -Martin Stevens is one of them) I Do think these records were really a part of the Northern soul scene at the time, even though I didn't like them as I think most people had their own ideas as to what northern Soul really was.

When I was in the U.K. for the book tour, I asked a few of those attending the event “What is the significance of “Northern” in soul ?” and I got the same type of varying responses you get when you ask someone, ”What is Beach Music.?”

The consensus answer is that early on, they associated American Soul Music with Motown and Detroit which is in the “Northern” part of the U.S. This was primarily a result of the fact that for the most part, Soul music that made the big charts and heard around the world had a blue Motown label. In time, I think they learned that the style of soul music they liked was also being made in other areas of the U.S.

I have compared the listing in the book of the Greatest 100 songs of the Heeey Baby Days with a list I found of The 100 greatest songs of Northern Soul and surprisingly there were only 4 or 5 that were common. (BTW: Both "Hello Stranger" and "Think A Little Sugar" are on my list) I too really like Barbara Lewis and she is mentioned several times in the book and there is a photo of her with one of the beach bands. I rarely use the term "garage bands" to describe the R&B bands (Hey Baby Days bands) of the 60s because many many of them made it well beyond their garage.

As to the list of North Soul Songs and Beach Music Songs, the sounds in each list are very similar and include many of the same artists but generally are not the most well known by the particular artist. I have always thought that Northern soulie are the champions of the "b" sides. The Hey Baby Days list was confined to records made in the 60s which made for some of the differences in the two lists.

I enjoyed my trip to the U.K. and especially enjoyed the enthusiasm these people have for American Soul Music aka R&B, Beach Music, Motown, Philly, etc. Many of the big Northern Soul songs are up-tempo, which I like. Also, The Northern Soulies are dancers or "twirlers" as my wife Nora puts it...

There are other distinctions Northern Soul and Beach Music that are worth noting: Beach Music, especially as it relates to The Hey Baby Days is more focused to band performances of the same or similar music that the Northern soulies insist on playing on the original 45s. Beach band parties of the 60s hardly left room to dance while the All-nighters of the 70s in the U.K were all night dance marathons conducted by a succession of popular dee jays. That’s not to say that many of the R&B performers were not successful performing live in the U.K. e.g. Percy Sledge, Barbara Lewis, Major Lance… In fact the resurrection of the Tams’ song, “Hey Girl Don’t Bother Me” in 1971 (7 years after its US release) and the Tams’ subsequent tour of the U.K. is a great example of how strong the Northern Soul movement was at the time... is something that sounds like a script for Frank Capra. In many cases the Northern Soul clubs were playing the then current music of the American R&B greats who had decided that they would go to where their music was playing.

I understand now why they were not that interested in playing one of the two CD that are in the book when I was over there. It is part of their preservation culture that I certainly admire.

Here's something that happened last week that puts into perspective the psychological differences of Northern Soul versus Beach Music: I decided to try to find Frank Bray, the lead singer for the Metros and Liberation in the late 60s through the mid 70s.I located Frank and we started talking about the old days. I always thought that when the Metros left the Tams and started Liberation, the name change was somewhat symbolic. Frank confirmed that I was right about that.

The thing I was most interested in was any possibility that Liberation would have a reunion performance. He said that they got together and talked about it about a year ago. Most of the guys are still around; the main missing ingredient would be Bobby McCrary who died of throat cancer a few years back. It's hard to forget Bobby as he was certainly a great entertainer as was the entire band. Liberation had several releases in the 70s and there was excellent but never really made the charts that were then dominated by a different sound. When you get the complete set of the music from the Heeey Baby Days , listen to "Love Looks Good On You."
rank said he was contacted by a fellow from the U.K. not too long ago looking for an original copy of "Love Looks Good On You" on the 123 Redbird label. Frank had one but said his son persuaded him not to sell the record. I am not sure what Frank was offered for his copy but I noticed that a copy is available on the Internet for $800.00. Frank learned for the first time that Liberation was popular in the Northern Soul movement and could have been successful on tour over there even at the time the band broke up. I have heard that same or similar story several times now as it relates to many of those southern bands of the late 60s and early 70s.

The gentleman from the U.K. was primarily interested in obtaining the record while my interest would have been in seeing Liberation perform again. However, I will now be on the lookout at Atlanta Antique malls for the record..

Your email brought up a lot of things for discussion and I tried to touch on as many as possible and by the way, I did check out Melinda. Wow!




It was such a treat to stumble unto your site. I was married to Billy Walker of the Georgia Prophets for 17 years. He died in 1988 in an automobile accident at the age of 48. It was such a sad shame for us. Billy & I had a son and a daughter. His son, Joshua, is a percussion teacher for several high schools in Charlotte, North Carolina where he lives. He also plays with the Charlotte Symphony occasionally. He performs around Charlotte with different bands and really enjoys music....just like his father.

I used to have pictures and even a promotional pic of Billy with The Golden Era group he formed after he left Georgia's Best. However, I have no clue to where it is now. If I ever find it, I will share it with you. It has really been many, many years but sometimes it seems like only yesterday. I am sure you understand just what I mean.


Billie Walker Narron

p.s. Yes, We were Billy and Billie Walker back when we were


Thank you for contacting us. I love the story that Jerry McElveen told about the time Billy was cured of stage fright prior to his first appearance at the Beach Club in Myrtle Beach. It was updated and republished in the book. His cover version (with Georgia's Best) of Jerry Butler's, "Never Give You Up" is included on Disk 10 of the Heeey Baby Days of Beach Music series. He really had a great voice and is well remembered by those who saw him perform from back in the day.


Greg Haynes

Sunday, January 11, 2009

More from The Perrin Gleaton Medallion Scrapbook

Perrin Gleaton joined the Swingin' Medallions in 1964 replacing Cubby Cubertson the guitar player who had heard Dick Holler and The Holidays perform "Double Shot" at the Army Navy club in Columbia and thought that the band should put it in their repertoire and so they did. Gleaton joined the band as they headed for a gig in Panama City at the Old Hickory . It was in the Summer of 1964 that the band accidentally expanded to a five man horn section, which was highly unusual for a total eight piece band but with John McElrath covering the bass from the keyboards, it was possible. Trumpeter Carroll Bledsoe and Saxophone player Brent Fortson had to return to Greenwood for school obligations and Rick Godwin and Fred Pugh were there to replace them. However, before Bledsoe and Fortson left, Godwin and Pugh were there to observe the routines so that the transition would be smooth. But when all five horn players were on the Old Hickory stage at one time, the crowds would go wild. Therapists were brought in to deal with the crowd hysteria but it was to no avail. The sound of five horns on many of the band's core songs was a huge crowd favorite and from the Summer of 1964 on... the Medallions employed a five man horn section on many of their songs which pleased the crowds.
Today's band also has the five man horn capability which occasionally swells to 8 or 9 when some of the old guys show up for reunions. Perrin Gleaton remained with the Medallions for most of 1965 and played lead guitar on"I Want To Be Your Guy," a song written by Bob Meyer (of Rivieras fame) and Harry Karras (producer for Double Shot). Gleaton returned to school and was replaced by Jim Doares. During Gleaton's tenure as guitarist, he saved photos and newspaper clippings and other memorabilia that he graciously shared for the book. Some of the photos also appear in "The Heeey Baby Days of Beach Music" but many of the ones that are included in this post are being published for the first time.

The black and white photos below were taken in November 1964 shortly after the newspaper article above appeared. Per the newspaper article the band was already popular throughout the Southeast and was playing "Double Shot" numerous plus times at its gigs although they did not record the song until a year later.

Photos Below:

(1.) We think this is Steve Caldwell but could be most any of the horn players

(2.) Freddie Pugh tries a new technique

(3.) The November 1964 horn section sans Carroll Bledsoe (l-r) Caldwell, Godwin, Fortson, Pugh

(4.) Perrin Gleaton

(5.) John McElrath

(6.) Joe Morris

(7) Stage Photo

(8.) stage photo

The next group of photos are from 1965 , and many were taken at the Old Hickory in Panama City, Florida

Thursday, January 8, 2009

Live from The Old Hickory in P.C. Along Came Jones

Illustration by Perrin Gleaton

And then... and then... and then... along came Jones ... slow talking Jones

Steve Caldwell holds Perrin Gleaton...Freddy Pugh with sax
a packed chockablock Old Hickory crowd looks on

Hi Greg,

While surfing the Internet for beach music I discovered your book, which I ordered
along with all the additional CD's. I just love what I've read about your book so far and loved the downloads of the music and radio ads. I'm one of those "beach
babies" and remember going to the Old Hickory in PC Beach for a
Swingin' Medallions jam session. My high school sorority hired the
James Gang and Wilbur Walton and the Webs for our dances, and I think
we might have hired the Rockin' Gibraltas also. The Debonaires always
had house parties for spring and summer break , and we "hung out" at
the hang out in Panama City Beach.


Dear Ann,

When you get the book, go immediately to Chapter 14, “The Party at P.C.” For you and all those that remember the band parties at the Old Hickory and the Old Dutch, that’s a great starting place. Chapter 9 has quite a bit about Wilbur Walton, the James Gang and the Webs.

The Swingin’ Medallion jam sessions at P.C. are very famous. Drummer Joe Morris talks about them in the book. Do you remember the “Along Came Jones” skit the Medallions did at many of their shows? That’s probably one of the funniest things I remember from back in the day.

We have some artwork and photos from the Old Hickory (courtesy of the Medallion Guitarist in 1964-1965, Perrin Gleaton) that we are going to post to the blog over the next few days. If any of your friends from high school or college have memories or photos of the P.C. scene of the mid 60s, ask them to share them with us at the blog. There were many great bands that played the P.C. strip and I am sure there are some great tales to be told. The book has many in chapter 14 but I am sure there are plenty more.

Also, was one of those Beach Babes you ran around with named Charlena?


Greg Haynes

Tuesday, January 6, 2009

Ray Whitley, Bill Lowery, Wayne Logiudice, Curtis Mayfield

It was like a five minute conversation, but it lasted slightly over an hour and it was full of rich stories from the Hey Baby Days of Beach Music. If I had connected with Wayne Logiudice prior to the publication of the book, the book would not yet be out. And if I had not connected with Rick Bear, I would have never connected with Wayne. Well maybe I would have but it might have taken a few more years.

Wayne told me stories of his musical past in such an entertaining manner that I had to focus on taking notes which is not among my greatest talents. He had just gotten the book but had already read quite a bit. He said I had gotten everything about him right and he really enjoyed reading about Ray Whitley who he fondly remembers from his early days in the business in Atlanta. In fact, Wayne played the drums on the session that produced “Yessiree, Yessiree” a single released on the Vee-Jay label by Ray Whitley in 1962. Those were two new factoids that came out in less than 10 seconds. It was such a conversation that if the phone had not started acting up, we’d still probably be talking. I did tell Wayne as we were coming unconnected that I would compile my notes and get back with him in a couple of days.

As to Ray Whitley, Wayne referred to him as a genius, a person that was always writing or thinking a song. I was with him one day and he just came out with, ”Say Wayne, what about these lyrics for a song, ‘I Feel A Hitchhike Coming On…’” Not sure if that line is any of Ray’s compositions but we are learning more everyday.

Wayne was especially complimentary of the late Bill Lowery, a person he deemed responsible for getting a lot of musical careers started in Atlanta. He also repeated what I had heard so many times over the years … how nice of people Mary Talent and Cotton Carrier were. Both were mainstays at Master Sound and Bill Lowery Talent. Wayne referred to Master Sound as “the little old school house.” It’s now buried somewhere below the Brookhaven Marta station.

Wayne said he had a lot of help getting started in the business especially as it related to playing the drums. He credits several drummers who helped him along the way: Tommy South ( Brother of Joe South), Mike Clarke (a drummer for Tommy Roe as well as the main cog at Southern Tracks ), Johnny Duncan of Randy & The Holidays and Charlie Spinks of the Nights Shadows. He also had great things to say about the Kommotions own drummer, Rick Bear. It sounded to me like Wayne Logiudice never met a drummer he didn’t like.

Note: Refer above to the comment about my note taking acumen; names and spellings subject to change)

Over the next few days, we’ll add to this posting more revelations from our second call with Wayne Logiudice. If you have memories of seeing Wayne and The Kommotions perform back in day, post a comment below.

Here is a preview of anecdotal material coming soon to this post:

(1.) More information on the session that produced “Little Black Egg.”

(2.) Curtis Mayfield invites Wayne to record a song that subsequently becomes a hit for the Impressions.

(3) Charles Brook Atkins, former Chicago Bear, and personal manager for Hank Ballard, Tommy Hunt and Wayne Logiudice (C.B. was also the husband of Sarah Vaughn)

(4.) Cured by a fox in Small’s Paradise

and much more

January 6, 2007

I had another great conversation with Wayne Logiudice tonight. The quality of his memories from the great days of R&B abound. I hope that I will be able to relate them with as much emotion as there were related to me. He is flattered to be referred to by some as the true
" white James Brown." He admired the Godfather, but he says that honor belongs solely to Wayne Cochran.

more to come ...

January 7, 2007

It would be easy to draw the inference that much of the '"stagemanship" employed by Logiudice resulted from hours of observing the Godfather because that was the case for a legion of young white male men in the early 60s. Even Jere Real's liner notes on the sleeve of "Ow ! Boogaloo" mention Wayne observing J.B. from backstage at the Apollo Theatre.

It would be virtually impossible for any inspiring young entertainer not to be affected by the main man of soul. However, before Wayne Logidice became a serious entertainer at the beginning of the 60s, he had already garnered his share of dancing awards winning multiple contests growing up in the Chattanooga area. James Brown did not have to tell Wayne that if he wanted to be on his show (like he did the Tams) he would have to learn to dance.

It would have been even easier to think that Wayne picked up the art of rocking the microphone between his feet from Brown but again, he did not. Wayne chuckles when recalling seeing an entertainer perform the "feet" for the first time. If you're curious, it was George, Curious George; that is who inspired Wayne to incorporate the rocking, moving, sliding and other manipulations of the microphone into his act. "Curious George would miss from time to time but the audience didn't care because he was such an entertainer." Update: I should learn to read my scribble better... IT WAS NOT "Curious George" but it was "Gorgeous George" aka George Odell who a record on the Stax label. He is still around Atlanta so we hope to get more info soon. Wayne took what he learned by Gorgeous George and added some tricks he learned watching Joe Tex perform.

It was the combination of vocals and swift feet that drew the audiences into Wayne Logiudice. He would render a medley of as many as twenty difference songs ( mostly ones from the top 100 of the Heeey Baby Days of Beach Music ) and he did it in a spinning jiving manner that held the attention of a crowd.

Wayne likes to credit many for inspiring him on stage, but none more than the great Jackie Wilson.

Monday, January 5, 2009

The Little Black Egg with the Little White Speck by Wayne Logiudice & The Kommotions; The Nightcrawlers; Eva; and others

APB: Searching for “The Little Black Egg with the Little White Speck" by the Kommotions ( Wayne Logiudice, Emory Gordy, Jr., Rick Al Sheppard, Barry Bailey, Rick Bear and Harry H. ) The song was apparently written by Chuck Conlon one of the Daytona Beach based Nightcrawlers … another band that should have been included in the book. We assume that they covered, “Midnight Hour”, “My, Girl”, etc, etc.) which are prerequisites .

The song was a regional hit for the Nightcrawlers of Daytona Beach , Florida 10/65 through 4/67, but it never hit in enough areas at the same time to get any higher than #85 in Billboard.

The Little Black Egg
(Chuck Conlon)

I don't care what they say
I'm gonna keep it anyway
I won't let them stretch their necks
To see my little black egg with the little white specks
I found it in a tree
Just the other day
And now it's mine, all mine
They won't take it away

Here comes Mary, here comes Lee
I'll bet what they want to see
I won't let them stretch their necks
To see my little black egg with the little white specks

Oh, goldurn, what can I do?
The little black egg's gonna tell on you
I won't let them stretch their necks
To see my little black egg with the little white specks

Help us find a copy of the record by Wayne Logiudice & The Kommotions, recorded in Atlanta in 1965 at Lefevre Studios.

Sunday, January 4, 2009

Soul-Jer ing on!

Hi Greg,

My name is Tony Wilcher, I, along with Chuck and Ray Brannon, started the Soul-Jers. Ray and I had played together in high school and when Chuck got out of the Navy we three moved to Atlanta to try to start a band. We were joined by Phil Harris (guitar) and Jim Cole (keyboard). We shortly moved to the Auburn Alabama area playing nights anywhere we could and practicing days. Chuck, Ray and I were like brothers and during that summer in Alabama we all worked very hard and also had some experiences that would fill a book.

After three months we returned to Atlanta with Ray as the front man and Chuck on drums and vocal harmony. We quickly became successful playing for WQXI radio, school proms and dances, Bikini a Go Go and other clubs. Our non stop 45 minute James Brown Show was always a big hit with Ray's voice and footwork. I saw girls pull him off stage and tear off his shirt during "Please Please Please". I probably hadn't been playing bass six months before we appeared on the cover of Atlanta Magazine.
Pat Hughes, a DJ at WQXI, became our manager and we played at his club the Stingray Club. We also played at Hugh Jarrett's teen club, Hugh Baby's Hoparooni. I didn't know at the time but Mr. Jarrett sang bass for Elvis Presley. He was then a DJ in Marietta. I don't remember him ever mentioning Elvis!

We also played some shows with Joe South and Billy Joe Royal. I remember Billy Joe's comment "Everywhere I go, that's all I hear is Soul-Jers, Soul-Jers, Soul-Jers."
We worked for Bill Lowery Agency, as most of Atlanta acts did and The Arnold Agency.
One time we had to play for a guy who had a one hit song called "She Shot a Hole in My Soul" when he showed up without a band at the Hoparooni.I'm sure a lot of bass players with a lot more experience would have loved to had my job. Jim and Phil were still going to Cross Keys High School and would tell us at practice how they were continuously being asked for autographs.

These were the original Soul-Jers who dreamed the dream and did all the work going to gigs in a 1953 Cadillac hearse, before having a van. We had some guitarist that worked with us worth mentioning: Steve Cook and John Fristo. Some time later Chuck and Ray decided to join forces with Ted Trombetta and Will Beaulware, both incredible musicians but unfortunately had personal aspirations quite different from the Soul-Jers. Although it doesn't seem possible in such a short period of time when I recollect I have as many tales of "On the Road" as Jack Kerouac.As they say "You had to be there".

Feel free to post this, if you like and if you could send me an address, I have several photographs and two business cards I would send you copies of.

Tony Wilcher of the Soul-Jers


Thank you for taking the time to talk about the Soul-Jers and some of your experiences from back in the day. It's too bad we could not have connected several years ago before the book was published as the experiences that you relate above are the essence of the Hey Baby Days. More than one of the bands in the book backed the singer you refer to who had the hit, "She Shot A Hole In My Soul." The great Clifford Curry almost always used the main band playing at a club or concert. Still does ! Clifford also had a regional hit with his cover of "We're Gonna Hate Ourselves in The Morning", an old Arthur Alexander song. It is very obvious that the Soul-Jers had a large following back in the era I call the Hey Baby Days. Did the band cover the song ? It sort of fits in well with a band that had a 45 minute James Brown show.

I would very much appreciate posting the photos that you reference. It would be a nice way of continuing to advance the rediscovery of the Soul-Jers. Thanks for mentioning the Atlanta clubs of the day. In a phone conversation recently with Wayne Logiudice, he mentioned a photo of him dancing with a young female at the Bikini-A-Go-Go Club. He plans to send it as well. It took me five years to find a real member of the Soul-Jers and five years to learn how to spell Wayne's last name. I am truly making progress.

I am sorry I couldn't use the nice background your wife used in sending your note as there is a limit to my technological expertise at this time. The note opened some other great areas for discussion as it relates to the Atlanta Soul of the 60s. First, The great Billy Joe Royal. He was not just a great singer but someone that everyone liked. Plus, he sang that catchy little high note at the start of "Be Young Be Foolish Be Happy" He should have gotten a Grammy just for that.

Hugh Jarrett's Hugh Baby's Hoparooni would be another great point of interest for many as most of the great bands and stars played there. Hugh probably has several pounds of material that he could add in remembering the Atlanta Soul of the 60s; the entire South in fact as he did travel with the King. He probably also knew the Godfather on a first name basis.

Please feel free to relate any of your "On The Road" with the Soul-Jers stories. We especially enjoying publishing those on the blog.