In the early 1970s, some out-of-town musicians became so ubiquitous in Atlanta that they may as well have been locals. Those who had settled in Macon (e.g.,
Allman Brothers Band,
Wet Willie,
Cowboy) were already part of the family, but others hailed from further afield. They played Atlanta clubs and concert venues frequently, and built devoted followings in the city. South Carolina's
Marshall Tucker Band and Florida's
Lynyrd Skynyrd are maybe most obvious, but these others gained an early toehold in Atlanta as well. Club venues ranging from the tiny 12th Gate to the larger Richards drew the best. Part of the draw and interaction within those clubs was the physical layout: an approachable open stage adjacent to tabled seating, devoid of extreme risers or other off-putting barriers. In contrast, a venue like Alex Cooley's Electric Ballroom, though technically a club, created a distinct division between audience and performer with a high elevated stage, seating at a distance, and a deafening* barricade of PA equipment flanking the performers. It was simply not very friendly to spontaneous, organic interaction.
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Little Feat at the 150-seat 12th Gate in 1971,
for only ONE DOLLAR. |
California's
Little Feat spent a lot of time in Atlanta early on, as their longtime fans know. In January 1971 they were playing the cozy 12th Gate on 10th Street; by October 1974 they were opening for Traffic at The Omni coliseum. In between were numerous bookings at Richards and return visits to the 12th Gate.
Country rock jamband
Goose Creek Symphony hailed from Arizona and Kentucky. After appearing with Bobbie Gentry on
The Ed Sullivan Show, they joined Jimi Hendrix and the Allman Brothers at the 1970 Atlanta International Pop Festival. They played for free in Piedmont Park, and also became familiar from bookings at the 12th Gate, The Great Southeast Music Hall, and Richards. (
Update 3/23/15: In late 1971, the band actually pulled up roots and moved to Atlanta.)
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May 1973, Cactus was booked at Richards.
Johnny Winter and Gregg Allman dropped in. |
Texas bluesman
Johnny Winter would pop up everywhere in Atlanta. He frequently was booked in the city for concerts, but he was also one who loved to jam and would just show up in clubs unannounced. It is undeniable that altered states were part of the musical chemistry of the time. I recall Winter laid out flat on his back on the stage floor of Richards late one night playing brilliantly unbounded blues solos while sitting (or lying) in. (Might have been that week in May 1973 when
Cactus–the Mike Pinera/Duane Hitchings incarnation–headlined.
Gregg Allman also sat in that week.)
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| Charlie Daniels (right) onstage with Leonard Cohen c. 1971 |
Another familiar drop-in was
Charlie Daniels, a Nashville fixture originally from North Carolina. By 1970 Daniels was already renown and respected for his songwriting and musicianship across multiple genres, especially country and bluegrass, working with the likes of Bob Dylan, Marty Robbins, The Youngbloods, Leonard Cohen, and many others. He stepped quite naturally into the arena of Southern Rock as it evolved. Anyone who's ever been around him knows the formidable presence of the man: a tall mountain brimming with big-heartedness. Like Johnny Winter, he would show up unexpectedly in a club to spontaneously jam, no matter the genre. The most interesting impromptu collaboration I ever witnessed was the time Daniels stepped onstage at Richards to jam with British rocker
Terry Reid, who appeared as surprised as everyone else. Charlie Daniels towered over elfin Reid, and brought out his fiddle to accompany Reid's reflective folk/blues/rock from his then-new
River LP that verged at times on jazz abstraction. I wish there was a photo in existence of the unlikely duo. Their strange musical mesh worked, though, and lifted the room to someplace entirely new.
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| Bonnie & Delaney Bramlett with Duane Allman |
Icing on the cake was the camaraderie of the musicians themselves. It was still a time when love of music prevailed and contract restrictions were much looser than today. Also key was that the time period was pre-handheld devices, pre-social media, and pre-paparazzi. There was more freedom of movement and more respect for privacy. The players showed up for each other, and late-set jams became the stuff of legend. Credit must be given to
Duane Allman, too. During his time as a session player in Muscle Shoals, Alabama, he drew many musicians to Georgia, including California-based
Boz Scaggs and
Delaney & Bonnie Bramlett. (Even after the spouses split in 1973,
Bonnie Bramlett, on her own, was booked frequently in Atlanta.) There was no shortage of talent, no matter which direction you turned.
*I permanently lost hearing in my right ear there during a Bill Bruford performance in August 1979 while taking photographs from stage right.
