Tremendous job on this webcast. I loved every word. Both of these bands meant a lot to me as they were the soundtrack of my life. Chris, you’ve lived quite the blessed life
I was a lighting tech with you guys on the rock and roll shootout tour with Foghat, Outlaws, Toy Caldwell, Joey Molland, Leslie West and Blue Cheer. That was a great time in my life. I remember going to Niagara Falls on a day off. I also remember getting on the bus and going to a Charlie Daniels show with you, BB, Toy, and Frank was the bus driver. Thank you for the great memories. Stump.
Chris, thank you. One of my favorite music memories was the tribute to Hughie that you and MTB with Ean Evans did on the Simple Man Cruise. RIP Hughie and Ean
WOW...man I could listen to your storys of the road for hours 👍👍 really enjoying your channel southern rock is in my soul so glad to find someone who shares that
Chris it’s funny that you mentioned the story of your equipment being stolen. I saw you guys play the night after it happened. It was at a club in the Poconos called Pop Pops. You guys were late, and Huey apologized and told the story of how some A-hole stole your equipment truck. It was a great show, you guys killed it as usual.
Thank You Chris so much of this history will go away if no one tells it. I grew up playing guitar to these guys played in bands and still have all my axes.
I was at the Old Post Office show on Hilton Head, SC April 1989. My first Outlaws show , 20 years old. I can't believe you were there too. That was Billy Yates first show and Nino Catazarro on bass. WOW. I enjoyed this a lot. You should do more of this. Just saw you Once and Outlaw in Bluffton- another awesome show many years later from that 1989 show.
Thank you so much Chris for these important and amazing memories from what we consider a second Golden Era for the Outlaws! You guys were awesome! Especially the perfect team you created with Hughie. But I have a question, since you guys have rocked more than 200 shows per year, is there any video footage or other live bootlegs from the period? I don't know like Radio Shows or other occasions? Because it's seems weird to have so many shows played, but not even the 2% were recorded? I would love to hear more of this era, and I'm pretty sure that many love that blues feelings that Chris add to the Outlaws! It would be amazing for all the fans to have more to listen
PCB - Club La Vela 1990...Chris Hicks with The Outlaws! Yes Sir baby! We had a great time! The next night ARS played at Spinnaker's. The Outlaws and I went to that concert. Ronnie Hammond (RIP) invited The Outlaws onstage to jam with them! There's more to the story, but I'll leave it at that. Let's just say, we had an unforgettable time and the shows were killer! Just another adventure with Chris, lol. Thanks Chris and Tim
Hey Chris, love the show! My band warmed up for you guys on the Diablo Canyon tour in 93’ I believe. I remember Hughie liked us because we did a Skynyrd/Southern Rock tribute. A combination of cover tunes and songs I had written. We’re still doing it I just changed the name to Southern Soul Band. I talked off and on with HT over the years. I road to one of HTs last Skynyrd shows. I was on the bus with HT and Billy Powell. Can’t believe there both gone. I had a copy of Vision the band Billy and Leon played in after the crash and I gave him the album because he didn’t have a copy! I love them both. HT gave me a lot of advice over the years about how to be an original player! I hold it dear to my heart! Love you guys ! Have a Merry Christmas Brother🎸🎼
I was floored right away by the first Outlaws album as a juniorin high school. When Lady In Waiting came out I was further cemented into loving The Outlaws. I loved their guitar interplay and fantastic vocal harmonies. They were also very powerful, as powerful as a hard rock heavy band with the juxtaposition of having something country, even bluegrass. I think they bent the ear of record heavy weights like Clive Davis which is huge. Though I wasn't on the journalism staff at my high school I submitted a review of Hurry Sundown which made the cut and appeared in the final spring 1977 edition of our school newspaper. Of course I gave it a positive review even though there were changes afoot with Harvey Dalton Arnold. I remember going to see the band prior to Henry Pauls exit at Birmingham, Alabama's Boutwell Auditorium. They opened for Bad Company. Though I did like Bad Company I went to see The Outlaws. They were fantastic I thought. I only remember Bad Company for the fact they elevated the volume so much that it was uncomfortable over their performance. For me "Playing To Win" was the last proper original album by The Outlaws. Side one (yeah, I'm talking about a 33&1/3rd LP) sounded true to the original Outlaws with side 2 being a Mutt Lange mostly influenced departure. After that Bringing It Back Alive was too tilted to hard rock for these ears even if it had some stellar moments. My interest faded. So, I'm glad to come to this video. It fills in a lot of stuff I would have never read or known before. Great stuff. I grew up on Southern Rock and The Outlaws held a special place. I even remember buying a steer head The Outlaws belt buckle instead of a T-shirt at the concert I attended. We had a shoe store with a shoe repair shop and sold lots of boots and belts. I had a western belt with "THE OUTLAWS" embossed on the middle back I wore for a couple of years to compliment the buckle. That probably tells you how much I loved the band.
Chris, saw you guys so many times during your run with the Outlaws at clubs in CT like Toads and the Sting... Portland CT fairgrounds in '93, some of the clubs you played aren't even around anymore. I continue to follow your career with MTB as well. I'm a huge fan of yours, anytime you're in CT you're always nice enough to talk to me and make me feel welcome. Sorry some of your bandmates like Hughie and Stu have passed on, and most recently Jeff Howell. Your loyal fan from CT, my name is Chris also. Love these videos Chris 👏👍
I sure could really dig it you all would make an attempt to tell the history of that demon drumming, banshee screeching and singer South Texan, Donnie McCormick and his songwriting partner alsofrom South Texas , slide fills guitarist Tommy Carlyle (last I heard was still alive and teaching guitar lessons in Marietta Georgia), both ib the Texas garage band, The Kings, who released 3 or 4 singles , one "The L.C.B (Liquor Control Board)" reached #1 in Texas a very huge geographical State and in also in Ontario, Canada, the band played from 1962-1966 while of the momentum which The San Antonio music producers and industry could muster to break Donnie McCormick nationally, Uncle Sam interrupted with draft notices and Donnie McCormick and Tommy Carlyle along with 2 other musicians joined the US Navy on the Buddy Plan and all four served on the USS Essex aircraft carrier in the Mediterranean Sea and along the Spanish, French, Belgium, the Netherlands and the Norwegian Coastlines, but a very high ranking officer who had a big band jump jazz band who were popular enough that the USS Essex also carried a bus to travel to regular gigs as well as a large ro of the aircraft carrier to practice in. This officer was impressed enough with Donnie and his musical crew that quarters were allowed to have Donnie and company to practice. Slowly Donnie McCormick and Tommy Carlyle and friends giged anywhere and played regularly in several Greek Islands and the mainland, the beautiful longtime British Colony of Malta, the French and Spanish Gold Coasts, Barcelona, Valencia, Gibraltar, Lisbon, Cherbourg, Normandy, and Norway. I am not sure but it is possible that the little Texan band played in Iceland but not sure. I spent time on this because this is where the leg
I slipped and hit the post button. The Kings recorded in San Antonio Wirth producer Abe Epstein. I was beginning to tell that Tonny Carlyle and Donnie McCormick came up with the legend of the concept of Donnie McCormick and his Original Eric Quincy Tate Group and to approach Atlantic Records and possibly Jerry Wexler to produce EQT. They rearranged the popular tunes in EQT fashion and with most of the sane Texas, Memphis, Oklahoma, Arkansas, Mississippi, Missouri, Louisiana, Alabama, Tennessee, and Georgia inspirations many were becoming hits by The Animals, the Beatles, the Rolling Stones, John Mayall, Led Zeppelin, Jimi Hendrix, ZZ Top, the Allman Brothers Band, Delaney and Bonnie Bramlett and Friends, and so many more. But upon release from the US Navy Donnie McCormick purchased a chitlin circuit live music hall ib San Antonio. Thru the friendship of Tommy Carlyle and Donnie McCormick with Tony Joe White who was managed by Phil Walden from 1969 to 1971 composing "Rainy Night in Georgia" which was a hit on Atlantic Records for Brooks Benton and also "Poke Salad Annie" on Monument Records by Tony Joe White and the Dixie Flyers with also the Memphis Horns on the album. But Tony Joe White convinced Donnie McCormick and Tommy Carlyle that he would assist Eric Quincy Tate to get a record contract first trying to be Atlantic Records but that Phil Walden from Macon Georgia was putting together an empire of studios, management, publishing, warehousibg, booking agents, clothing, new, used,, and trade of music equipment and supplies, used trucks, busses, and cars, a travel agency. All with major financing from Atlantic Records along with their promotional assistance, etc. Phil Walden and Alan Walden were going to utilize their decade plus experience in booking and management of rhythm and blues, blues, and soul but mostly black acts achieving the highest with the Otis Redding and "Sitting On the Dock of the Bay." Otis Redding and the Walden Brothers had started Red-Wal Nusic with a studio and publishing operation set up so that Otis Redding could locate and produce artists. Alan Walden had also as well. Prior to this they used many studios and session musicians in Memphis, as well as several studios in Muscle Shoals, and at several Lowery Studios ib Atlanta. Or if a budget could pay the costs to New York City or Miami. There were decent studios in New Orleans. So the Eric Quincy Tate Group at the suggestion of Tony Joe White was ro hire the best bass guitarist and also keyboardist that they could locate ib their circuit. Keyboard wizard Joseph Rodgers played piano o during dinners and hired out bur he was astonishing with the sounds that he created with a Hammond B-3 Organ and the honky tonk of an upright tack piano. Then they nabbed a rock and roll%psychedelic bass guitarist who oftentimes played lead bass in harmony with the guitars. The demos were cut by EQT during the summer of 1969 and signed a management contract shortly thereafter with Phil Walden. This was after the signing of Duane Allman and eventually the rest of the Allman Brothers Band, Martin Mull, Cowboy who had played with the Allman Joys and the Hour Glass Band with Duane and Greg Allman. The black guitarist, Johnny Jenkins, who found Otis Redding was an early signor to Capricorn Records. Tony Joe White was signed ro Monument Records but was managed by Phil Walden ib 1969-1971, of course Donnie McCormick and EQT. The band later renown as Jimmy Hall and Wet Willy, White Witch and Captain Beyond were early to join Capricorn Records. Folks Ingersoll Jonathan Edwards, Livingston Taylor, qnd Alex Taylor were signed but though Phil and Frank Fenter thought that the whole family 👪 was a sure signing to the label but Beatles George Harrison and Paul McCartney sweet talked James Taylor who had already cut many tunes with the Original Flying Machine which of course was rejected but James signed a record deal with the Beatles's Apple Records 🍎. While Sister Kate signed a long term record contract with Columbia Records so Capricorn Records came close. Paul Hornsby produced an LP by Sundown which was quickly leased to Ampex Records. Then Maxane, Freddie Jones Band, Duke Williams and the Extremes and Eddie Henderson round out the early acts. Eric Quincy Tate's first Album was recorded partially in Memphis at Sounds of Memphis Studio with Tony Joe White producing and Stan Kessler engineering with Tommy Carlyle and Donnie McCormick and Tony Joe White and the Dixie Flyers playing on the recordings. When Phil Walden signed the act to Jerry Wexler, he tool over and moved everybody to Miami to Criteria Studio to complete the 11 tunes released with the old style of 1960s label design and the simpleton title "Eric Quincy Tate" and a single released of A Side of "Try a Little Harder" b/w "Ain't It a Bummer?" with a missed opportunity of entitled possibility of "Stonehead Blues Band" which had a James Brown feel which could have been a lead single. To the best of my knowledge 25,000 units were pressed and it was finanalized with the assition of the Memphis Horns on nuclear of the LP which resulted in a slicker Memphis styling. I was a freshman in college with a very large record collection and I put it up against anything recorded ibb1969 and released in January of 1970. Also producer credits include Tom Dowd. The whole arrangement was an Oak Grove Music Productions and Publishing which was a partnership of Tony Joe White and whoever. Tony Joe White switched his management and booking agency in 1971 so any further deal with Eric Quincy Tate and Jerry Wexler concluded. But by this time there were some areas where bookings for EQT were strong like near Memphis, New Orleans and Louisiana, the Southern Mexican Gulf Coast of Texas, Georgia and Florida. So Phil Walden assigned Paul Hornsby the task to work with Donnie McCormick's Original Eric Quincy Tate Group while the new studio was under construction they used the 8 track Red-Wal Studio which Paul Hornsby is alive and could probably research at the Capricorn at Mercer University files which I noted Tony Joe White had some boxes from 1969-1971 which could bring more to light. There are also at least a half a dozen of boxes of Records pertaining to Eric Quincy Tate including some tapes. In my collection I have 4 or 5 cutouts from the Atlantic/Cotillian Records sessions. I understand that EQT recorded or videotaped a Pabst Blue Ribbon Beer commercial. The song could have been a single. I am not a musician or poet just a historian but: I've been playing around in nightclubs for ten or fifteen years. And we want to tell you about one of our favorite beers. It's the Drinking Man's Friend all around this old country. It's got that old smooth flavor, Blue Ribbon Beer, Blue Ribbon Beer. I can't recall the rest but it was a cross between "Texas Sand" B Side of the 1972 single and from the first LP, "The Bream Are Still Biting In Ferriday." I have copies of at least 15 rejected songs by Capricorn. This includes an early "No Rolling Boogie" which in 1975 reached #44 with a bullet the week of the GRC Records collapse and fiasco. David Cantonwine, bass guitarist, lives near North Augusta , South Carolina and Joseph Rodgers lives near Jackson Mississippi. Dead are Donnie McCormick, Wayne The Bear Sauls, Congo Jerome Josephs, and Memphis Max Mosley harmonica. It could take 4 or 5 of your shows to tell orally the history of EQT. Wexker must have
Thanks for making us smile throughout the years!
Tremendous job on this webcast. I loved every word. Both of these bands meant a lot to me as they were the soundtrack of my life. Chris, you’ve lived quite the blessed life
Glad I got to see them front row in 81
I was a lighting tech with you guys on the rock and roll shootout tour with Foghat, Outlaws, Toy Caldwell, Joey Molland, Leslie West and Blue Cheer. That was a great time in my life. I remember going to Niagara Falls on a day off. I also remember getting on the bus and going to a Charlie Daniels show with you, BB, Toy, and Frank was the bus driver. Thank you for the great memories. Stump.
Chris, thank you. One of my favorite music memories was the tribute to Hughie that you and MTB with Ean Evans did on the Simple Man Cruise. RIP Hughie and Ean
And of course Billy
WOW...man I could listen to your storys of the road for hours 👍👍 really enjoying your channel southern rock is in my soul so glad to find someone who shares that
Nice MTB album spread in the background!!!
Thanks for your mention of Billy Jones. He was a truly unique singer, songwriter and guitarist!
Wow! A real retrospective of Southern Rock. Like a history lesson.
Chris it’s funny that you mentioned the story of your equipment being stolen. I saw you guys play the night after it happened. It was at a club in the Poconos called Pop Pops. You guys were late, and Huey apologized and told the story of how some A-hole stole your equipment truck. It was a great show, you guys killed it as usual.
Thank You Chris so much of this history will go away if no one tells it. I grew up playing guitar to these guys played in bands and still have all my axes.
Indianapolis Indiana Loves the Outlaws! Thanks so much!
✌️
I was at the Old Post Office show on Hilton Head, SC April 1989. My first Outlaws show , 20 years old. I can't believe you were there too. That was Billy Yates first show and Nino Catazarro on bass. WOW. I enjoyed this a lot. You should do more of this. Just saw you Once and Outlaw in Bluffton- another awesome show many years later from that 1989 show.
Thanks for putting these out CH I really enjoy listening to them and learning anything I can about HT and MT and the outlaws 👍❤️🎼🎸
Awesome Chris really enjoyed this. Thanks for sharing!!
Thanks Chris for doing this
This is awesome!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I could listen to this stuff all day!!!!!!!!!!!!!!!!!!
Thank you so much Chris for these important and amazing memories from what we consider a second Golden Era for the Outlaws! You guys were awesome! Especially the perfect team you created with Hughie. But I have a question, since you guys have rocked more than 200 shows per year, is there any video footage or other live bootlegs from the period? I don't know like Radio Shows or other occasions? Because it's seems weird to have so many shows played, but not even the 2% were recorded? I would love to hear more of this era, and I'm pretty sure that many love that blues feelings that Chris add to the Outlaws! It would be amazing for all the fans to have more to listen
PCB - Club La Vela 1990...Chris Hicks with The Outlaws! Yes Sir baby! We had a great time! The next night ARS played at Spinnaker's. The Outlaws and I went to that concert. Ronnie Hammond (RIP) invited The Outlaws onstage to jam with them! There's more to the story, but I'll leave it at that. Let's just say, we had an unforgettable time and the shows were killer! Just another adventure with Chris, lol. Thanks Chris and Tim
Fascinating segment. Cool dude.
luv tha storiez 👍🏼
You never mentioned the great whistler yall had on Mr Cowboy. Love ya brother.
These are awesome! Had the absolute please of seeing you with the Outlaws a few times in small clubs on both occasions in NC. Unbelievable shows.
Thanks for sharing. Glad I found this site.
Hey Chris, love the show! My band warmed up for you guys on the Diablo Canyon tour in 93’ I believe. I remember Hughie liked us because we did a Skynyrd/Southern Rock tribute. A combination of cover tunes and songs I had written. We’re still doing it I just changed the name to Southern Soul Band. I talked off and on with HT over the years. I road to one of HTs last Skynyrd shows. I was on the bus with HT and Billy Powell. Can’t believe there both gone. I had a copy of Vision the band Billy and Leon played in after the crash and I gave him the album because he didn’t have a copy! I love them both. HT gave me a lot of advice over the years about how to be an original player! I hold it dear to my heart! Love you guys ! Have a Merry Christmas Brother🎸🎼
I was floored right away by the first Outlaws album as a juniorin high school. When Lady In Waiting came out I was further cemented into loving The Outlaws. I loved their guitar interplay and fantastic vocal harmonies. They were also very powerful, as powerful as a hard rock heavy band with the juxtaposition of having something country, even bluegrass. I think they bent the ear of record heavy weights like Clive Davis which is huge. Though I wasn't on the journalism staff at my high school I submitted a review of Hurry Sundown which made the cut and appeared in the final spring 1977 edition of our school newspaper. Of course I gave it a positive review even though there were changes afoot with Harvey Dalton Arnold. I remember going to see the band prior to Henry Pauls exit at Birmingham, Alabama's Boutwell Auditorium. They opened for Bad Company. Though I did like Bad Company I went to see The Outlaws. They were fantastic I thought. I only remember Bad Company for the fact they elevated the volume so much that it was uncomfortable over their performance. For me "Playing To Win" was the last proper original album by The Outlaws. Side one (yeah, I'm talking about a 33&1/3rd LP) sounded true to the original Outlaws with side 2 being a Mutt Lange mostly influenced departure. After that Bringing It Back Alive was too tilted to hard rock for these ears even if it had some stellar moments. My interest faded. So, I'm glad to come to this video. It fills in a lot of stuff I would have never read or known before. Great stuff. I grew up on Southern Rock and The Outlaws held a special place. I even remember buying a steer head The Outlaws belt buckle instead of a T-shirt at the concert I attended. We had a shoe store with a shoe repair shop and sold lots of boots and belts. I had a western belt with "THE OUTLAWS" embossed on the middle back I wore for a couple of years to compliment the buckle. That probably tells you how much I loved the band.
Chris, saw you guys so many times during your run with the Outlaws at clubs in CT like Toads and the Sting... Portland CT fairgrounds in '93, some of the clubs you played aren't even around anymore. I continue to follow your career with MTB as well. I'm a huge fan of yours, anytime you're in CT you're always nice enough to talk to me and make me feel welcome. Sorry some of your bandmates like Hughie and Stu have passed on, and most recently Jeff Howell. Your loyal fan from CT, my name is Chris also. Love these videos Chris 👏👍
Great to hear about your time with the Outlaws :)
Diablo was a Great Album
I really enjoy these memories. Thanks for putting these shows together amigo.
Hey Chris do you know Gino here twins from burgettstown Randy's friends great video love you
Wow... Buffalo Rose... Colorado.... great freaking show. How the hell is that almost 30 years ago? Your playing was excellent.
Thanks for these videos Chris. How did I not know you did these? Hope to see you again at one of Scott's gigs....soon
The wheel a great song of Diablo canyon.
Dog Eat Dog is a great tune Mr. Hicks.. I have decent video of it if you ever wanna take a look..
What a great video. Thank you Mr Hicks!
I sure could really dig it you all would make an attempt to tell the history of that demon drumming, banshee screeching and singer South Texan, Donnie McCormick and his songwriting partner alsofrom South Texas , slide fills guitarist Tommy Carlyle (last I heard was still alive and teaching guitar lessons in Marietta Georgia), both ib the Texas garage band, The Kings, who released 3 or 4 singles , one "The L.C.B (Liquor Control Board)" reached #1 in Texas a very huge geographical State and in also in Ontario, Canada, the band played from 1962-1966 while of the momentum which The San Antonio music producers and industry could muster to break Donnie McCormick nationally, Uncle Sam interrupted with draft notices and Donnie McCormick and Tommy Carlyle along with 2 other musicians joined the US Navy on the Buddy Plan and all four served on the USS Essex aircraft carrier in the Mediterranean Sea and along the Spanish, French, Belgium, the Netherlands and the Norwegian Coastlines, but a very high ranking officer who had a big band jump jazz band who were popular enough that the USS Essex also carried a bus to travel to regular gigs as well as a large ro of the aircraft carrier to practice in. This officer was impressed enough with Donnie and his musical crew that quarters were allowed to have Donnie and company to practice. Slowly Donnie McCormick and Tommy Carlyle and friends giged anywhere and played regularly in several Greek Islands and the mainland, the beautiful longtime British Colony of Malta, the French and Spanish Gold Coasts, Barcelona, Valencia, Gibraltar, Lisbon, Cherbourg, Normandy, and Norway. I am not sure but it is possible that the little Texan band played in Iceland but not sure.
I spent time on this because this is where the leg
I slipped and hit the post button. The Kings recorded in San Antonio Wirth producer Abe Epstein.
I was beginning to tell that Tonny Carlyle and Donnie McCormick came up with the legend of the concept of Donnie McCormick and his Original Eric Quincy Tate Group and to approach Atlantic Records and possibly Jerry Wexler to produce EQT. They rearranged the popular tunes in EQT fashion and with most of the sane Texas, Memphis, Oklahoma, Arkansas, Mississippi, Missouri, Louisiana, Alabama, Tennessee, and Georgia inspirations many were becoming hits by The Animals, the Beatles, the Rolling Stones, John Mayall, Led Zeppelin, Jimi Hendrix, ZZ Top, the Allman Brothers Band, Delaney and Bonnie Bramlett and Friends, and so many more.
But upon release from the US Navy Donnie McCormick purchased a chitlin circuit live music hall ib San Antonio. Thru the friendship of Tommy Carlyle and Donnie McCormick with Tony Joe White who was managed by Phil Walden from 1969 to 1971 composing "Rainy Night in Georgia" which was a hit on Atlantic Records for Brooks Benton and also "Poke Salad Annie" on Monument Records by Tony Joe White and the Dixie Flyers with also the Memphis Horns on the album. But Tony Joe White convinced Donnie McCormick and Tommy Carlyle that he would assist Eric Quincy Tate to get a record contract first trying to be Atlantic Records but that Phil Walden from Macon Georgia was putting together an empire of studios, management, publishing, warehousibg, booking agents, clothing, new, used,, and trade of music equipment and supplies, used trucks, busses, and cars, a travel agency. All with major financing from Atlantic Records along with their promotional assistance, etc. Phil Walden and Alan Walden were going to utilize their decade plus experience in booking and management of rhythm and blues, blues, and soul but mostly black acts achieving the highest with the Otis Redding and "Sitting On the Dock of the Bay." Otis Redding and the Walden Brothers had started Red-Wal Nusic with a studio and publishing operation set up so that Otis Redding could locate and produce artists. Alan Walden had also as well. Prior to this they used many studios and session musicians in Memphis, as well as several studios in Muscle Shoals, and at several Lowery Studios ib Atlanta. Or if a budget could pay the costs to New York City or Miami.
There were decent studios in New Orleans.
So the Eric Quincy Tate Group at the suggestion of Tony Joe White was ro hire the best bass guitarist and also keyboardist that they could locate ib their circuit. Keyboard wizard Joseph Rodgers played piano o during dinners and hired out bur he was astonishing with the sounds that he created with a Hammond B-3 Organ and the honky tonk of an upright tack piano.
Then they nabbed a rock and roll%psychedelic bass guitarist who oftentimes played lead bass in harmony with the guitars.
The demos were cut by EQT during the summer of 1969 and signed a management contract shortly thereafter with Phil Walden. This was after the signing of Duane Allman and eventually the rest of the Allman Brothers Band, Martin Mull, Cowboy who had played with the Allman Joys and the Hour Glass Band with Duane and Greg Allman. The black guitarist, Johnny Jenkins, who found Otis Redding was an early signor to Capricorn Records.
Tony Joe White was signed ro Monument Records but was managed by Phil Walden ib 1969-1971, of course Donnie McCormick and EQT. The band later renown as Jimmy Hall and Wet Willy,
White Witch and Captain Beyond were early to join Capricorn Records.
Folks Ingersoll Jonathan Edwards, Livingston Taylor, qnd Alex Taylor were signed but though Phil and Frank Fenter thought that the whole family 👪 was a sure signing to the label but Beatles George Harrison and Paul McCartney sweet talked James Taylor who had already cut many tunes with the Original Flying Machine which of course was rejected but James signed a record deal with the Beatles's Apple Records 🍎. While Sister Kate signed a long term record contract with Columbia Records so Capricorn Records came close. Paul Hornsby produced an LP by Sundown which was quickly leased to Ampex Records. Then Maxane, Freddie Jones Band, Duke Williams and the Extremes and Eddie Henderson round out the early acts.
Eric Quincy Tate's first Album was recorded partially in Memphis at Sounds of Memphis Studio with Tony Joe White producing and Stan Kessler engineering with Tommy Carlyle and Donnie McCormick and Tony Joe White and the Dixie Flyers playing on the recordings. When Phil Walden signed the act to Jerry Wexler, he tool over and moved everybody to Miami to Criteria Studio to complete the 11 tunes released with the old style of 1960s label design and the simpleton title "Eric Quincy Tate" and a single released of A Side of "Try a Little Harder" b/w "Ain't It a Bummer?" with a missed opportunity of entitled possibility of "Stonehead Blues Band" which had a James Brown feel which could have been a lead single.
To the best of my knowledge 25,000 units were pressed and it was finanalized with the assition of the Memphis Horns on nuclear of the LP which resulted in a slicker Memphis styling. I was a freshman in college with a very large record collection and I put it up against anything recorded ibb1969 and released in January of 1970.
Also producer credits include Tom Dowd. The whole arrangement was an Oak Grove Music Productions and Publishing which was a partnership of Tony Joe White and whoever. Tony Joe White switched his management and booking agency in 1971 so any further deal with Eric Quincy Tate and Jerry Wexler concluded. But by this time there were some areas where bookings for EQT were strong like near Memphis, New Orleans and Louisiana, the Southern Mexican Gulf Coast of Texas, Georgia and Florida. So Phil Walden assigned Paul Hornsby the task to work with Donnie McCormick's Original Eric Quincy Tate Group while the new studio was under construction they used the 8 track Red-Wal Studio which Paul Hornsby is alive and could probably research at the Capricorn at Mercer University files which I noted Tony Joe White had some boxes from 1969-1971 which could bring more to light. There are also at least a half a dozen of boxes of Records pertaining to Eric Quincy Tate including some tapes. In my collection I have 4 or 5 cutouts from the Atlantic/Cotillian Records sessions. I understand that EQT recorded or videotaped a Pabst Blue Ribbon Beer commercial. The song could have been a single. I am not a musician or poet just a historian but:
I've been playing around in nightclubs for ten or fifteen years.
And we want to tell you about one of our favorite beers.
It's the Drinking Man's Friend all around this old country.
It's got that old smooth flavor, Blue Ribbon Beer, Blue Ribbon Beer.
I can't recall the rest but it was a cross between "Texas Sand" B Side of the 1972 single and from the first LP, "The Bream Are Still Biting In Ferriday."
I have copies of at least 15 rejected songs by Capricorn.
This includes an early "No Rolling Boogie" which in 1975 reached #44 with a bullet the week of the GRC Records collapse and fiasco.
David Cantonwine, bass guitarist, lives near North Augusta , South Carolina and Joseph Rodgers lives near Jackson Mississippi.
Dead are Donnie McCormick, Wayne The Bear Sauls, Congo Jerome Josephs, and Memphis Max Mosley harmonica.
It could take 4 or 5 of your shows to tell orally the history of EQT.
Wexker must have
Hey Chris, are you from Chattanooga? Were you in the Austin Nichols band? Did you know the Pugh girls?my name is Jay by the way.