The Confederate Charge

We found some of Joyce's treasure Diamonds

It seemed like we were living on the edge of the world… Last night we were at the Pancake Man in Nashville when our crew which included Billy Ray Reynolds, Johnny Darrell and Curtis Buck decides to go pay visitation and tribute to some long deceased Confederate Generals at the Carnton Cemetery in Franklin. This involved a two car procession, 2 bottles of tequila and a couple of hand guns. Curtis led the ceremony. He had been awake for at least two days and had spoken a word that didn't rhyme in that amount of time. We shared a bottle of tequila with some dead officers and drank the second. We spent extra time at the gravesite of Nathan Bedford Forrest one Curtis' favorites.

As the sun rose, we stopped in Brentwood and picked up Jill. She, Curtis and I headed for Memphis in our 47 chevy. Seems like we had to stop and pay tribute somewhere along the way, once again to Nathan Bedford Forrest. Curtis was carrying a homemade weapons sack which included 2 swords of different lengths, a Bowie knife, Bow and arrows and some various sticks. We finally arrive in the Bluff city at writer Stanley Booth's house where we were met also by Jim Dickinson and Bill Eggleston. On one of our previous trips to Memphis Egg had photographed McGill and presented him with that photo. Curtis promptly thanked Bill in rhyme and folded the photo in quarters and stuffed it into his weapons bag. Next stop Hueys in Midtown..Tucker and Madison.. This was our songwriting headquarters in Memphis.. others were there when we arrived, Danny Graflund, Hal Newman, Sherry Fortune… we sat on the Tucker Street porch and sang songs and drew a crowd from inside Hueys… Buck, much like a minister of the gospel preaching in his never ending rhythmic pentameter ended up on the roof of Hueys with sword drawn screaming "Charge".  He had transformed into Curtis Bedford Forrest.. 

Is Anybody Singing Allelelu?

              God Speed Danny

                                                      1969 England at the Palace

Goodbye Norma Jean 

I heard Maxwell before I ever met him. 

Back in the older days when people used to actually interact, Jill and I were at Jim Dickinson’s house in Collierville when he played us a demo tape of Mason and Max. He had prefaced the recording with some unusual stories about Max being in a Mississippi band who went to Europe, and ended up stranded in Holland. After their thatch hut and belongings were burned to the the ground, Maxwell shaved his head and joined the Hare Kristnas to get enough money for a plane ticket home. I’m sure Dickinson might have embellished or gotten some of the facts wrong but “Hot Dice”, “The Band Played Maybelline”’ and “Dixie Boy” were the songs on the tape.. 

from “Dixie Boy”  

I was born a white boy              way down in the south

Look away, look away Dixie Boy

Your color does not matter        when you got a catfish on the line

Look away, look away Dixie Boy

I wish I was in Dixie whooray….. alright….. etc.

I got Max’s number from Jim … met him at a drugstore… out on Clinton Blvd 

and we have been friends and compadres since. This has been over 40 years ago.

Maxwell was an intuitive songwriter.  We wrote songs together. Jill and Max wrote a lot of songs. Mainly misunderstood and sometimes hard to put into perspective, Max always knew what was good and what might make things better. It was an innate musical sense. He had the ability to understand complex ideas and situations and then be able to break them down to the least common denominator. Jill and I have used “Maxwell-isms” in our daily speech for years and I’m sure we will continue to. 

Max was a true guitar player. The sound he made came out of his fingers not out of the instrument.. There are simply no notes for this kind of player. He was not held hostage by traditional western music but only bound by the limits of what he felt… and when it felt right, it was always great. 

It’s always a blow to the living when yet another person who can call your name is gone.. for us, Max was a member of our family.. even the grand kids knew Max. We will miss being able to work together but Maxwell will never be gone from us for he lives on… in the music.

Jim Lancaster

aka Jerry McGill

 A McGill testimonial from Ronald Rich.. his drummer in the Topcats in 1959

Jim

Good to have your background and connection with the upcoming movie.  I had no idea you were involved.  Based on the clips I saw, it looks really interesting.  I would love to hear the music tracks.  Not sure where it might play where I live in Southern California

Here is some more info on Jerry McGill you might find interesting.  Jerry might not even remember some of these names.

I played drums with Eddie Cash and The Madcaps, Dickie Lee, Mac Davis, Jerry Reed, Ray Stevens, The Marvels, Jerry McGill and The Topcoats, and a few other Memphis groups plus my Sun sessions. I knew George Klein, Elvis, Sam Phillips, and a few of the other Memphis music influencers.  

I played with Jerry McGill (the only name I knew him by) when he was starting out as a singer and until The Topcoats finally disbanded. Honestly, I don't remember why we disbanded but I went away to Georgia Tech for college and that's all I can remember. Jerry was a really great guy and very friendly to me. The girls were all over him whenever he played live. He had a musical soul and was destined to do well.  At the time, I was doing session work playing drums at Sun Studios at the age of 17.  If you recall the drums in Lovestruck, you know my work.

The musicians playing on Lovestruck and I wanna Make Sweet Love were Charlie Rich on piano (I think), Bill Black on bass, Martin Willis on sax, and I think Brad Suggs on guitar.  The session ran about 3 hours as far as I can recall.  None of Jerry's other band members played on the actual record.  For some reason, they wanted me on both A and B sides.    I remember giving Charlie Rich (no relation) a ride after a recording session to the Holiday Inn in Memphis one night and this might have been the one, but this was over 50 years ago. Charlie was not big yet but very talented. 

I definitely remember Martin Willis, a Sun powerhouse, playing sax with me on Jerry's only Sun record. The backup singers on Lovestruck were Opal Green, Twila Taylor, Nanci Drake and Carolyn Maharrey. All of the girls were juniors at Treadwell. Jerry McGill was very talented and was really great to his entire band. 

Jerry was totally dedicated at the time to making it in the music business.  I understand after I moved away he became very involved in producing records as well but I lost touch with him.

Here are the names of all the Topcoat musicians who played with Jerry McGill on all live performances around Memphis. You may remember some of them. The group was tight and put out an amazing sound for a garage type band in 1959.   Jim King was lead guitar and band manager, Ronnie Rich on drums, Frank Thomas on bass and keyboards, Bobby Scott rhythm guitar, Dwayne Fowler sax. 

Jim King ran the band very well and kept us really booked. Some of the live appearances got "quite lively." including an occasional fight in the parking lot. There is a Commercial Appeal newspaper photo of the Topcoats playing at the National Guard Armory with Jerry standing on a round stage but I don't know how to get it posted. George Klein cooked up this huge "dance" at the Armory to promote a teenage dance club according to what I heard and Barney Sellers did the photography for the newspaper promotion. 

Unfortunately, the entire band never got in the photo since Jerry was the real focal point. By the way, the girls backing Jerry on Lovestruck are also on the Jerry Lee Lewis song "Let's Talk About It." Not sure what happened to all the Topcoats. Jim King is alive and well and living in Texas. No idea what happened to the others. If you are out there, let us know. Most people assume J M Van Eaton played on Jerry's session but that is not true.  I stopped by to see JM Van Eaton in Memphis a couple of years ago during a visit from California. He was working out in Germantown for an investment company and gave me some new drumsticks from his line of JMVanEaton drum products. What a great guy! He has a wonderful history with Sun and should be in the Rock and Roll Hall of Fame in my opinion. JM is the only session drummer that actually has his picture on the Sun Studios wall and it is certainly earned. Jimmy Lott was another Sun session drummer I knew. He also went to East High while I was a student there. I understand Jimmy died.  We had a few "battle of the drums" on stage for the kids which was always fun. I think I won. And he thinks he won. The one that really won was the student...they had great fun.

I still have the original Love Struck 45rpm in my collection. It is one of my prized possessions. If Jerry sees this message, I wish him continued success with his new music coming out.  I live in San Diego and have been in California since 1968.  Don't know if Very Extremely Dangerous will ever get a viewing out here but if it does, I'll be the first in line.  Wish I could get my hands on a DVD if one comes out.

Glad to hear Jerry is alive and hanging in there.  He may remember me.  It has been 53 years since we cut his only Sun Record but maybe he will.  I had no idea he would take the path he did with crime and all the other crazy stuff but it sounds like he finally came back to his roots and love of music which is really his calling in life in my opinion.  If you ever see or talk with him, please tell him Ronnie Rich, his old drummer from the Topcoats said hello.  And let him know his guitar player, Jim King,  asks about him as well.

Ronnie Rich

 

 Another page in the Jerry McGill  saga

 

Good Day,

 

Every once in awhile and it's been a long while I do a search on Curtis Buck a/k/a Jerry McGill.  This morning I heard a little voice in my head telling me to do it again.  And to my surprise I found your Blog.  WoW!  Are memories flashing back in my head today now!

 

Waylon & Curtis found me at the Playroom in Atlanta and asked me if I wanted to go on the road.  I said no.  I was only rock n roll way back then.  They called again, and I had since found out who 'they' were and said yes.  Was told to meet them in Vegas where they were playing the Golden Nugget.  And to check into the 4 Queens Hotel across the street.  I got off the bus from the airport, looked at all of those lights and said "Fuck I'm in Showbiz!" 

 

What a wild ride it was for a 21 year old!  :)  I drove the limo and kept the books from 1968-71 off and on.  When Curtis got busted in Canada he told me that I had to be the road manager now for him and to count the heads at the door.  A bittersweet memory, and most likely not so good of a one for him as he was taken away. 

 

After my road days I moved to LA and worked in recording studios and then later on in Film as a Production Accountant.  I'm in Florida now taking care of my Mom, when she passes I will be moving back to Sedona, AZ.

 

A funny story about Curtis.  We were all staying at the Hyatt House on Sunset Blvd in LA and I did not go down for rehearsals that day. And I got a phone call from Curtis telling me to call this phone number and ask for Pat Paulsen and say "Picky~Picky~Picky" and then hang up.  I did not want to do it, after asking me several times and then he just said DO IT!  I did.  And my voice was shacking so much that it went up several octaves and I did his request.  Later that evening he told me that he was down the hallway at CBS having his shoes shined and had to get up from the chair and walk over to the pay phone to hear me say "Picky~Picky~Picky" and hang up.  Curtis laughed so very much at Pat Paulsen's expression while he was listening to me on the phone.

 

So Please share with Jerry that I have enjoyed thinking about him today, listening to his music and reading about his escapades in your Blog.  It makes me want to take my Takamine out of it's case and practice now.  My Fender metallic purple Jazz Bass is in Tucson.  And one day when God takes another Blues Slinger on Home, we'll all meet for the grandest pickin' party that there ever was!  Amen.

 

And share this too ...

 

"YUT-TA-HEY HOSS!"  You take care now, hear!  And be kind to yourself.  You brought a lot of Joy to me on those "On The Road Again" days.

 

With Love,

Squirley

BIgWater

We included some songs from the Playground Catalogs that we re-recorded and available for licensing as well as the originals. We included a couple of Jill Songs, a Great Dan Penn Biker song called “Tiny Hineys and Hogs”. We’ve worked with Dan over the years and has been a great inspiration. WE have included other songs that we like and perform from time to time. There are standout performances by Clayton Lancaster as he leads us through all of his songs with ease, style and headroom. “Sweet Daddy”, sung and written by Jill was recorded in Nashville many years ago and features Hal Newman on piano! “Clever Devils” written by Mason Arnold is one of our favs for all reasons. My old friend and compadre Mississippi Bobby Maxwell is playing and singing with me and Jill.. we recorded it slick in Nashville with all of the heroes but ended up using the track from the garage. You should be able to buy this here
www.playgroundrecordingstudio.com

SOUTHERN AMERICANA MUSIC

License Music from the 60's, 70's to 2015 to current

representing Chu-Fin Music BMI and

Southern Americana Tunes BMI

When the best and the most expensive are not

synonyms.

Known Felons in Drag

While in the process of trying to explain the existence of Jerry McGill aka Curtis Buck aka many more, to the music world.. I came across the poster from "Confederation" days in Memphis. This was a concert that we did at the coliseum, Yeah the same spot where King Jerry Lawler and Andy Kaufman duked it out. Even though McGill's picture is on the poster.. he didn't perform. He was in attendance however. It seems the federales were looking for him but they were not looking for a female.. thus "Known Felons in Drag" which later became the title of the first Mudboy album

Noteworthy

The Playground Team (Jim and Jill) took off on Saturday April 2nd and drove to Memphis to attend the unveiling ceremony of Jim Dickinson's Brass Note on Beale Street.

The ceremony was held on April 3rd in front of the New Daisy.

John Fry from Ardent studio opened remarks. His first was that Jim was the first independent record producer he had ever worked with. John and Jim were contemporaries and basically the same age, but it occurred to me that Dickinson was one of the first independent producers anywhere. John continued with well deserved endearing remarks.

Knox Phillips followed John. Channeling some of his Dad's revival spirit he told studio war stories of unique situations involving Dickinson sessions which included known felons in drag, Harleys playing to Gene Chrisman's beat on a Dan Penn track. firearms and mojo charms. We very much enjoyed Knox's genuine heartfelt presentation. There were other speakers including Congressman Steve Cohen, wife Mary Lindsay, sons Luther and Cody. All in all it was a moving ceremony and we were able to visit with many an old friend and compadre. We were spiritually uplifted.


There was an impromptu jam session following the ceremony across the street at the Old Daisy. Jill and I played gigs and events with Jim and MudBoy and the Neutrons at both Daisys. Jim's 3 day 50th birthday celebration was at the New Daisy.





On the trip back to Playground, Jill made me stop in Jackson to visit the site of Ace Records where I grew some teeth in the record biz with Johnny Vincent back in the 70's. This is the Mississippi Blues Trail Marker that now stands in front of the old studio site. A special thanks to Jim O'Neal for including me on the sign.. I can send my grandchildren there sometime in the future

Lots of memories were remembered and experiences relived. A special thanks to the Turley's who hosted us in Memphis



Photo from the Mississippi Blues Trail Marker of a record I recorded for Johnny.
Ace 2028 Genuine Mississippi Blues.. I believe they are still available for purchase
Chief

With Sabres In Our Hands

http://soundcloud.com/playgroundrecording/with-sabres-in-our-hands

Excerpt from Robert Gordon to accompany the song
This was 1974, and the divergent forces in Memphis music came together that night at the post-Elvis studio built by the master around the corner from Sun. It was a session for Jerry McGill, whose Topcoats were the South Memphis hoods that East Memphis mamas were too scared to hire in the late 1950s. McGill's one released recording had been for Phillips some twenty-five years earlier. Jim Dickinson was producing the session, using demo money he'd wrangled from Warner Brothers. Those present included Danny Graflund, Campbell Kensinger, Marcia Hare, and another of the Mud Boy dancers. Impresario Jim Blake was there, as was writer Stanley Booth. Knox Phillips, Sam's elder son, was engineering the session.
Campbell sat in the control room drinking Wild Turkey from a fifth, bouncing the bottom of the glass bottle on the floor as he listened to other people tell stories. "You ever think of 'the Law' as a whole fucking table?" Campbell asked. And he picked up a coffee table, put the corner in his mouth, tried to bite it off.
Stanley Booth, who was practiced in the martial arts, leapt up and karate chopped a decorative wooden shingle into two pieces. Campbell was extremely unimpressed. Blake remembers Campbell saying, "These guys in my gang walk around with these guns and knives and shit and they think they're tough. I'll show you tough," and Campbell whipped his noonchuks from his back pocket and started hitting himself on the left side of the head. "About twenty times," says Blake, "stuff that would have not only disabled me or you, but would have given us permanent brain damage. And he said, 'Now that's tough.' Hey, nobody could disagree with that."
Knox and Dickinson, who was thinly slicing hog tranquilizer for sustenance, kept their attention on McGill, who was overdubbing the vocal. Knox remembers that he was singing "Desperados Waiting for a Train," but Dickinson believes it was a Civil War song called "With Sabres in My Hand." In the latter number, there is a line that upset McGill every time, a line at the end of the song in which the Southern narrator refers to "the lost cause." Dickinson leaned to Knox to confirm that he'd frisked McGill before the session.
"Yes," said Knox, "I got his gun."
"Gun?" said Dickinson. "Guns!"
At that moment, Eggleston was entering the studio floor with his video camera, and McGill's fuse lit. It was bad enough admitting defeat on audio tape, but to have it chronicled on video was too much. Eggleston crept closer as the song neared its climax. The camera was on top of McGill when he said the scurrilous words. The goddamn line sung, the final notes fading, McGill reached into his jacket and stated, "Lost cause my ass," unloading his six gun into the ceiling. Instinctively, everyone in the control room ducked. When Dickinson looked up, Knox was still at the board.
"What're you doing?" he hissed.
Stated the ace engineer, "The gun needs mo' echo."

Death Day...August 16 1977

Ok..33 years ago, Jill and I are living at 100 North Main in Memphis... Lowenstein Towers 20th floor over looking the Mighty Mississippi.

The previous night we had played and engagement with MudBoy at an old porn theatre on Madison that had been converted into a Rock and Roll Joint.. I believe it was called the Ritz... A couple of years earlier, I had seen "Behind the Green Door" there.


Knox Phillips on death day

Following the performance, Dickinson and I were talking to Herbie O'Mell. Herbie said that he had earlier heard from Joe Espsito at Graceland and Elvis had not come down from upstairs in 2 days or so and everyone was getting worried. We collect our fifty bucks or whatever and go on home. The following day is my birthday.. Jill and I are lounging around the apt.. I actually was on some pretty heavy pain meds at the time as Pat Rainer and I had been in a pretty serious auto accident over by the Pink Palace just a few days earlier.. so I had a big patch on my face where some glass had cut me during the accident.

Dickinson call up about 1:30pm and asks if we had heard the news. About 30 minutes later, while still on the phone the news flash came across the TV. Dickinson said he was headed into town. We all meet up at Phillips Recording... where the phone is ringing off the hook. Knox and Ricky were there. Robert Palmer calls at some point and says he'll be in Memphis in 3 hours. Robert, from the "Insect Trust" band had become a senior music writer at the NY Times
Robert Palmer and Randall Lyon Death Day 1977

Palmer arrives a few hours later via taxi (which cost him a fortune as there were few taxis available and hotel rooms were really hard to get). I end up driving Robert to Graceland. It was a madhouse. The picture below is Palmer outside the gates of Graceland on this day 33 years ago. I also took photos at the funeral a few days later. If you'll remember, there were at least two Elvis fans hanging outside the gate that were killed by passing motorists.

I thought it might be appropriate to publish these pictures, or let them escape on this day in 2010..
almost to the minute of when this saga began.

Other folks who showed up at Phillips during this 3 day period were Tav Falco, Charles Rateri, Randall Lyon, Pat Rainer and several of the Sun artists who had recorded concentrically with Elvis..



Robert Palmer NY Times at Graceland on Death Day

The Tucker Street Raid

Finley Duncan and Shelby Singleton at Playground site in Valparaiso

Flashback


So.. In Late 72 or so, on this same farm in Brentwood, I had a two track recording set-up. We had different musicians and songwriters in and out. It was adequate for song demos and the like. Jimmy Louis was a friend from Florida who ironically happened to record at Playground and had a record out on Shelby Singleton's Plantation label. He and his wife came to Nashville to visit us in a Lime Green 68 Caddy. Word got out that Shelby had a film projector and was going to have a showing of "Deep Throat" at his studio. (Gotta remember this was before VHS). So Louis and I attend the event and meet David Alan Coe, who was signed to Shelby also at the time but had cut his first LP down in Valparaiso which came out on Shelby's label called "Penitentiary Blues" that was co-produced by Teddy Paige.

Coe ends up coming back to the farm and staying 3 days.. we sang, wrote and recorded night and day for about 3 days.Within a month Coe had signed with Columbia and we went along as his backing band. The first album that he recorded for Colombia "The Mysterious Rhinestone Cowboy" was largely a result of the farm sessions. As Columbia, started promoting the Coe product.. we played gigs and did TV shows, even played the Ryman. However, we missed Memphis and would make regular trips on the weekend back to the Bluff City to hang with our rock and roll buds. Before Coe was signed to CBS he wrote for Pete Drake.. we did a lot of hangin out at Pete's Place on 17th Ave. There was a set of apartments across the street.,Dottie West had one, Linda Hargrove had one and McGill, for short time had 2. McGill would end up making alot of those weekend trips to Memphis with us. For a time perspective. this was during the time Eggelston was shooting "Stranded in Canton". As Coe started to gain recognition, different sidekicks, road managers etc. began to appear..



The Tucker Street Raid
The first manager made the mistake of giving me a ride from Nashville to Memphis in his little MG. We docked at Hal Newman's apt. behind Huey's on Madison Ave. Hal had a perpetual tab at Huey's and we could literally receive food and beer through the window.. Hal had a baby grand in the front room so there was always lots of songwriting and singing going on there. On the day of our arrival I stashed the road manager on Hal's sofa.. and we went about the task of making music in Memphis. Jerry was there speaking in rhyme. He had embodied the spirit of Confederate General Nathan Beauregard Forrest... he was toting around a homemade weapons bag that included swords, bows and arrows and knives, however every word he spoke was in rhyme.

site of the Tucker Street Raid

Campbell Kinsinger was the king of Midtown. Nothing happened in midtown that wasn't truly sanctioned by him and his crew. We did a lot of strange and bizarre stuff in Midtown in the 70's.. most of which couldn't have occurred if Campbell hadn't been in control of the streets. Campbell is another story worthy of recognition. .



So the road manager is asleep on Hal's sofa.. Campbell drops by a couple of times and tells us all that no one should leave.. goodies were arriving at 10:00pm. The cast of characters at the time included McGill, Halito, Scary Sherry (who eventually married Bernard), Judy Avanzi, Celia Yancey could have been there, I can't remember and possibly Pat and Sabue and a couple of Midtown stragglers.

At 10:00 pm sharp.. simultaneously the front door and the back door are kicked in. Through the back door came one of Campbell's trained gals swinging nun-chuks better than Bruce Lee and Whitey, one of Campbell's lieutenants. led the charge through the front door with a nickel plated nine millimeter.. both entree's were followed by other members of Campbell's crew.. We hear someone holler "Secure" and Campbell enters through the front door. When I see McGill hit the floor and crawl under Hal's piano, I also deem this to be a good idea.. The road manager is still on the sofa. Campbell orders the guy to stand, which he did.. Campbell begins to interrogate the guy and then rips off the guy's tee shirt to inspect a tattoo he had on his arm. Seems like this tat was not one you would want to wear into Campbell's territory. The manager makes an explanation that he had received the tattoo from a cell mate in a northern prison and had no idea what it meant. (at this point it should be noted that Campbell was the undisputed leader of a regional Bike club.. and David Alan Coe and/or his supposed brother Buddha was the chief of a rival club).

Neatly tucked under the piano, we all are a bit nervous. Campbell then orders me to stand. I stood. He asks me "Lancaster, can you speak for this guy?' After a short amount of thought, the truth was "No". There are some situations where a one word reply is more than adequate, any other words would have been an excuse or a lie.

After a bit more interrogation and roughin' up, It is deemed that this guy is ok for now and everyone should get off the floor and this party should resume. Which it did. The music continued, everyone in the room, including the bikers sang a rousing version of "Why You Been Gone So Lone". Campbell insists we move the party to Peanuts.. which we do. While Furry is playing. Campbell's guys repeatedly started torturing this road manager and eventually kick his ass totally.. smashed his glasses and trashed his MG..I still don't know how he got out of Memphis. At one point during the melee, feeling as small amount of sympathy for the guy who had given me the ride, I ask McGill at the bar if there was anything we could do... he just smiled and shook his head...

Needless to say, our time with Coe had come an abrupt and interesting conclusion.. There was a phone conversation on my behalf between Campbell and Coe. As far as I know Coe never played in Memphis until after Campbell's death.. could have just been a coincidence.

Turquoise and Leather

I was born in Memphis
Youngest brother out of three
raised down in Dixie
in the south of Tennessee
My Daddy was a hustler
Momma worked most every night
In the streets I learned to do the boogie
In the joints I learned to fight

Call Me Hootchie Cootchie Man
Jerry McGill



For those reading this soap opera who may not be familiar with McGill.. there are some things you should be made aware of. Jerry was friends with Waylon early.. long before the bigger records when Waylon was playing shows at the roadhouses in the American southwest. They were all buds with Duane Eddy who was Jessi Colter's first husband. In the mid 60's Waylon was just assembling the band that would eventually play on the "Honky Tonk Heroes and Me" album, which would be the first real breakaway album from the traditional Nashville method. On trips from the west coast to Nashville, McGill started bringing back turquoise and silver jewelry that he had acquired from his native American friends. Within a very short time every country music star in Nashville was wearing this type jewelry. Turquoise became a rage for a few years. McGill was singlehandedly responsible for this.

Jerry also acquired and was wearing leather clothes from the Indians before anyone else in Nashville. Country music didn't want leather clothes.. It didn't fit the mold in 1970. When Waylon put on leather clothes the "outlaw" movement became a reality.. or at least one that Nashville execs figured they had better package and promote like Wheaties. There were country music outlaws before the movement.. always had been.. just nobody called their names.

Now I can tell you this first hand... McGill has never compromised.. It's all or nothing, always has been. If you were to hang around Jerry.. you'll do more living in three hours than you would in your normal life in 3 years. Even now at 70 years old with diabetes and half a lung he can get more out of life than you can imagine.. It would make Keith Richards' eyes spin.





This is Jerry in May 2010 at Playground

Curtis Buck.. The Saga Continues

So.. We're gonna back up a few years before we continue with the present.

When I first met McGill he wanted to kill me. I didn't know this until later. I was eighteen or nineteen and we were staying on a farm in Brentwood when Jerry shows up with a band of criminals... mostly car dealers, politicians and drug dealers that hung out in Printer's Alley. We won't mention any names to protect the not so innocent. When these guys arrived at the farm.. they had a full unopened bottle of quaaludes.. which we were supposed to keep safe until it was disposed of. There was also a shitload of little green mescaline pills.. The drugs were deposed, however not in the manner that they intended.. In a fog.. some incidents occurred after which McGill and I had an altercation.. Jill and I ended up chasing him from Brentwood all the way to Dan Penn's carriage house studio behind Ira Sachs' house.. Jill and I had a new '72 Monte Carlo.. we side swiped a couple of tractor trailer rigs on the high speed chase. At Dan's, after some tense moments (I had too much testosterone for my own good) Jerry and I resolved our differences.

A couple of days later Dickinson calls up .. He says "Jerry calls me a week ago and asks me if I know you, he says he's gonna Kill you, because your an arrogant bastard. The following week he calls and says I got this new kid Lancaster, who is going to lead my band".

One of the cons talked us into trading the bruised unpaid for Monte Carlo for a pristine '47 chevy, even trade... Everyone on music row had Cadillacs.. the bad boys.. Waylon and them had Lincolns... I had the '47.. Stanley and Bernard totaled this car on the Mississippi Arkansas bridge a year or so later. Stanley's book was still not out at the time

More later
Future Episodes include:
The Tucker Street Raid
Fort Buck
Doctor Buck

Geronimo in the Panhandle

Jerry McGill aka Curtis Buck..condensed recent biography...

for our friends who don't know
Until 3 months ago.. I hadn't seen or heard from Jerry in over 35 years. Jerry surfaced in Huntsville and schedules a session in Memphis with Roland Jaynes at Phillips which included, much to Roland's dismay, more folks than antici...pated including all of the surviving members and compadres of MudBoy, Luther and Cody Dickinson..and two different films crews were in attendance. Robert Gordon and Paul Duane had been in the process of filming a documentary film on Jerry. Up until then the only way I knew he was still alive was a random post on Facebook. Within 2 weeks of the Phillips sessions.. McGill had hired a taxi to bring him down here to Valparaiso from Huntsville with all his earthly possessions as well as several other folks' possessions. We put him up at Ed Kollis' house, a couple of blocks from the studio. At this time he had already been diagnosed with lung cancer, not to mention he was in advanced stages of diabetes.. A day and a half later after a long arduous flight through volcanic ash to Huntsville, Irishman Paul Duane arrives in the same taxi with film gear in tow. It only cost $750 for the taxi ride..more later

McGill... Recent Bio... continued

We left off with Jerry and Paul Duane (Irish Filmmaker) arriving at Playground via taxis hired in Hunstville only 400 miles away)

McGill arrived first. It took them almost 20 hours to make the drive from Huntsville.. 1st there was a flat tire with no spare somewhere south of Cullman. While the taxi driver (who McGill had designated as his road manager) went looking for a tire.. Jerry was serenading on the interstate. Hiway patrols were in attendance.. after a 4 hour tire.. they got to south Alabama and had no money for fuel... there was a wait for money to be wired from the company filming the documentary.. They arrive on a Friday afternoon.
Unloading Jerry's possessions.. there was a broken plaster Elvis statue, along with a plaster angel.. a legal sawed off shotgun.. bags of medications.. and some other various folk crafted weapons.. some items that turned out to be "borrowed" and a few clothes.

We locked Jerry away in Ed's house for the night. The following day, April 24th was Saturday in the Park family day, which takes place in front of the studio and is an all day event. We are always involved with the audio portion of the event and were that day. While we were working the event McGill escapes Ed's house and begins to walk towards the sound of music. At the sight of Jerry the neighbors immediately call the police. Jerry ends up arriving at the event via female police escort. She was a big gal, goes to the passenger side of the cruiser and physically lifts McGill out of the police car, while playing "Working Girl" on the guitar and sets him on the street in front of the studio... more later

So... Saturday in the Park.. is a local festival with some family and historical oriented vendors and booths, all accompanied by school and church musical ensembles playing live. McGill goes around to each booth and does impromptu performances and gathers small crowds at each. There is a historical museum next to the studio which he visited and performed in... all the while secretly trying to score. Needless to say he was the surprise special guest of the day. We fed him and relocked him in Ed's house on Saturday night. The same evening he woke and decided to go fishing on the pier across the street. The police were again called by someone who was accusing him of being a child molester because he had asked a kid if he wanted to go fishing. Again, he talks his way out of the police situation..Sunday morning on the walk to the studio he passes a church, takes out his guitar and begins to serenade some of the parishioners. VOLCANIC ASH over Ireland keep Paul from flying out.. He arrives with camera in tow on Monday which is Jerry's vocal overdub day. By this time McGill had converted Ed's house into a fortress and had weapons, mainly shivs, stashed in every available crevice. Meanwhile Elvis' head is still broken off the statue and he's shooting insulin through his clothes. By overdub day.. he had not slept nor stopped talking.. so his voice was shot for singing.. which really didn't matter.. what did matter was how I was going to get them outta here. Jill and I resolve ourselves to driving both Paul and Jerry to Huntsville.. We did this on Tuesday.. of course after stuffing himself on herbalite smelling dog tranquilizers we couldn't find Joyce's house and she wasn't answering the telephone.. all Jerry said was "Uh Oh.. wrong rocket" Jerry was supposed to go have a lung removal operation under yet a different alias in less than 2 days. Joyce was in the shower so we placed all of his belongings on the porch and left him with Paul and Joyce.

A couple of harrowing weeks later, while shooting a crossbow. he chopped off a finger on his fretting hand.. he had a gig scheduled for the weekend. When he calls with the news of the accident I tell him how to tune his guitar in open D and play with a slide.. he was thrilled.. however the morning of the gig bounty hunters from Cullman show up and arrest him under a different alias... still hadn't had his scheduled operation... so all of his meds were in sacks not prescription bottles and they don't exactly let sacks of drugs into the prison. So with the pain from the recently departed finger.. he screamed for a couple of days. This being a weekend there were no judges available and as it turns out the following Monday is a state holiday in Alabama.. ironically Jefferson Davis' birthday..the courthouse in Cullman is closed all week

Danny and Casey's 5th birthday Party at Lincoln Park in the Vale of Paradise at 2:00 pm.. just around the corner from the studio.. Air show will continue today as well..

The Alabama Musicians Hall of Fame induction Ceremony.. was a blast.. congrats to all inductees.. all well deserved accolades. Special kudos to Jerry Carrigan, Paul Hornsby and Buddy Buie.

PinchBottle

Citing influences, Hank Sr., Hank III, Jimmy Rodgers and the Carter Family, John Palmer "Hoss" Morton has written some pertinent material delivered in a tongue in cheek bluegrass fashion.. the words quickly transcend the genre. Accompanied by PinchBottle band members Wes on acoustic/vocals and Robert Wright on mandolin/vocals, the band delivers these songs with a "Mayberry" slant that is mature beyond their 19 years. We have recorded 3 tracks and are continuing a sprint to finish the project. Look for some "in store" performances soon.

Alex...

A local music magazine after finding out that we had played with Lx.. asked me to write a piece.. it's rather generic but will have to do


Alex Chilton 1950-2010

I met Alex Chilton in 1974 at the Mid South Coliseum in Memphis, Tennessee. My wife Jill , and I were playing a gig with our band Confederation and guest artist Jim Dickinson, along with Waylon Jennings. As we sang the Rolling Stones' "Wild Horses", a thin skiddish figure dressed in a bright yellow rain coat, with hood up and walked up to the microphone and started singing with Jill and I. At the end of the gig Dickinson, who had played on the the Stones' cut of "Wild Horses, introduced us to Alex.

For some years we had been enjoying the Boxtops and the songs they recorded. Songs like "Cry Like A Baby", "Neon Rainbow" and perhaps the most famous "The Letter", produced by the legendary Dan Penn. Alex sang "The Letter" in 1967 when he was only 16 years old. It became an immediate smash "Boxtops" hit. At first, it was hard to realize that this unassuming and quietly introspective man had already attained worldwide acclaim.

Over the next 35 years Alex would remain both a friend, a collaborator and a musical inspiration. During the same time that we became friends with Alex, he and friend Chris Bell had a newly formed group called "Big Star". Big Star went on to record 3 critically acclaimed, melodically beautiful power pop albums at the famed Ardent Recording Studio in Memphis. Big Star did not sell a lot of albums initially, however the group had a major influence on on up and coming post punk bands such as the Replacements and R.E.M. Always the innovator and "quiet rebel", Alex experimented with alternative sounds writing and recording several solo albums.

Alex moved to New Orleans in the early 80's. He continued to perform, play guitar and write until his unexpected passing. In the past few years "Big Star" has been finally gaining the recognition deserved with the release of a box set and a new revival of the band. Alex was preparing to travel to Austin, Texas to perform with the group at the SxSX music festival only a few days prior to his death.

We will always remember Alex as a friend, excellent guitarist, singer writer and a major influence on American music culture.

Jim and Jill Lancaster

Alex Chilton R.I.P

http://www.commercialappeal.com/news/2010/mar/17/memphis-musician-alex-chilton-dies/