Donnie McCormick & Eric Quincy Tate

Eric Quincy Tate was the first band I saw perform in a club when I was old enough for admission. But before ever hearing Eric Quincy Tate [EQT], I visited Donnie McCormick's Atlanta apartment on Greenwood with my cousin, his friend. Entering Donnie's home was a total immersion in artwork. Creations and found objects adorned each and every wall and surface. Central to the living room was a large wooden cable spool used as a coffee table. It was not uncommon in its use as furniture, but in Donnie's case the central spool had a few slats removed and electricity was wired into the inside space created. (I wish I'd photographed it.) The small interior was furnished as a tiny room with an overhead light. In the center was a old crone doll seated in a little rocking chair. In her lap was a miniature airplane liquor bottle. She was The Whiskey Woman.

Donnie McCormick's Greenwood Avenue apartment in Atlanta;
the undersea mural (below, right) covered all walls of a bedroom;
other two photos are living room walls. [personal photos]

Donnie commandeered the living room from an antique wooden wheelchair. Pabst Blue Ribbon was the beverage of choice. When it was time for another he wheeled into the kitchen to fetch a fresh cold one. When EQT's 1972 Capricorn Records LP Drinking Man's Friend was released, the music fit perfectly in context with Donnie's visual art. "Whiskey Woman Blues" was storytelling with an insider twist.

Eric Quincy Tate
(clockwise from bottom left) Joe Rogers, Donnie McCormick, 

Wayne "Bear" Sauls, Tommy Carlisle, David Cantonwine

A simple Google search leads to much online documentation about Donnie McCormick and Eric Quincy Tate. Capricorn Records producer Paul Hornsby said:

"Donnie was a star waiting to happen in the '70s. Eric Quincy Tate was the greatest bar band I ever heard. Donnie blew me away every time, as a drummer and as a singer."

Like too many posts, this one also closes with a passing. Donnie's health failed over a long period of time. He succumbed to chronic pulmonary disease and congestive heart failure on January 11, 2009, at age 64. He was loved by many and lived a life of art and music all his days (and nights.) The mold was broken.

Sources:
"Donnie McCormick: Soul Survivor Beats to a Different Drum," by Candice Dyer, GeorgiaMusic.org, July 29, 2005
"Donald Eugene 'Donnie' McCormick," by Holly Crenshaw, The Atlanta Constitution, January 18, 2009

Stonehenge, Mose Jones & Al Kooper

I kept crossing paths with Jimmy O'Neill over a twenty year period. The last time I saw him he was handling sound for a small independent film we were both working on in Atlanta. That was around 1994-95. Before then, while I still worked for Turner, we'd run into each other in the TBS studio. (I believe he was freelancing, probably sound engineering.) He worked on a CNN project I was art directing, a VHS series on Desert Storm, the first Gulf War (1991.) It was always a treat to see Jimmy. He was talented, funny, and unfailingly had something good to say. He excelled at many things, but first and foremost, he was a superb musician.

(L-R) Bryan Cole, Jimmy O'Neill, Randy Lewis, Clay Watkins

During 1972, I met Jimmy when he was guitarist for Stonehenge, a popular rock band originally from Florida that had moved to Atlanta in 1970. [Stonehenge lineup: Bryan Cole/drums/vocals, Jimmy O'Neill/guitar/vocals, Randy Lewis/bass/vocals, Clay Watkins/keyboards.] I first heard them play live at Funochio's. They maintained a faithful following in the city, were well-respected by their peers, and clubs were always packed when they played. Funochio's was also where producer/musician Al Kooper met the band. As covered in earlier posts, Kooper descended upon Atlanta in summer 1972, scouting bands to launch his Sounds of the South label. (He had secured a distribution deal with MCA Records.) In late July, he extended a contract offer to Lynyrd Skynyrd after his Funochio's encounter with them. During his lengthy wait for a response from Skynyrd's manager, Kooper latched on to Stonehenge during their week at the same club in August. The band changed their name to Mose Jones (in honor of Mose Allison and a family dog) and signed with Kooper, making their group the first on his new label. They were also the first into the studio (i.e., Studio One in Doraville), and theirs was the first album released on Sounds of the South. While Mose Jones was working on Get Right, that first album, keyboardist Clay Watkins left and was replaced by the band's longtime friend Steve McRay, who had just completed a tour-of-duty with the US Army in Vietnam.

Mose Jones with Al Kooper and friends, 1973
(Jimmy O'Neill, far left; Bryan Cole, center, in jacket, kneeling; 
Al Kooper fourth from right, in white jacket;
 Steve McRay, second from right; Randy Lewis, far right)

The "firsts" continued. Atlanta rock club Richards opened its doors February 1, 1973, and Mose Jones was the first band to anoint the room with live music. They opened for Elephant's Memory, John Lennon's backup band at the time. Get Right dropped in May, while Skynryd's first LP was in the pipeline for an August release. Kooper hosted his Sounds of the South launch party at Richards July 29, 1973, showcasing the two bands to radio and music industry honchos, along with the press.
Sheer luck and timing landed Lynyrd Skynyrd the opening slot on The Who's 1973 American tour. Mose Jones traveled extensively, playing gigs such as Max's Kansas City in NYC. Their second album Mose Knows was released in 1974. Large-scale success was elusive. The band's career fell into the shadow of Lynyrd Skynyrd's trajectory, and by 1975 Mose Jones splintered, then disbanded.
I had left Atlanta by the time a second incarnation of Mose Jones was formed in 1977. Randy and Steve reunited and brought in two new players. Meanwhile, Jimmy and Bryan had moved to Nashville to work as songwriters for a music publisher. They subsequently joined the Vassar Clements Band, recording and touring. Google reveals much more about the various paths of the original Mose Jones members. My own research discovered the sad passings of Randy, Jimmy, and Bryan since the turn of the century, all way too young.

IMHO:
It's sometimes hard to pinpoint why one talent soars while another falters. There are a multitude of factors. With Mose Jones, online recollections of their Sounds of the South studio sessions reflect some dissatisfaction with the experience. Al Kooper had a "product" in mind which perhaps did not reflect the true musical goals of the band. Like most stories there are two or more sides to consider. With Kooper, too, it may have been a matter of focus. He traveled on The Who tour (1973) to mix sound for Skynyrd, perhaps micromanaging while other label members fell off his personal radar. Sounds of the South signed only two other groups: Elijah, a horn band from (technically Southern) California, and Kooper's early band The Blues Project, from nowhere near the South. In 1974, Kooper moved from Atlanta and relocated to Los Angeles. After Skynyrd's second album (recorded at the Record Plant in LA) was released, Kooper's relationship with MCA began disintegrating. MCA Records ultimately absorbed Sounds of the South. It ended badly and is a story well told in Kooper's aptly titled autobiography Backstage Passes and Backstabbing Bastards. Supremely talented, visionary, and productive, Al Kooper might these days be diagnosed with ADD. Just a guess. He left an extraordinary trail of projects in midstream (e.g., The Blues Project; Blood, Sweat & Tears; Sounds of the South) some which continued to thrive, some not so much. Nevertheless, he remained a savvy businessman, always on the prowl for the next new thing, and resolute about doing things his way. No disrespect.

Sources:
Remembering Mose Jones, www.java-monkey.com
In Memoriam: Bryan Cole, by Scott Freeman, www.artsatl.com, January 11, 2013
Backstage Passes and Backstabbing Bastards, by Al Kooper, published by Billboard Books, 1998, and Backbeat Books, 2008
Mose Jones Interview with Bryan Cole, by Luc Brunot, Sweet Home Music, www.sweethomemusic.fr

The Film Forum

• 1544 Piedmont Avenue NE, Atlanta GA
• Managers: George Ellis, Michael Ellis
• Capacity: One screen, 174 seats

Take a right from Seal Place onto Monroe Drive, and it's a short ride to Ansley Mall at the intersection of Monroe and Piedmont. These days the shopping center is homogenized with the likes of Publix, Starbucks, Panera, etc. In the 1970s, it was full of unique shops, and a small, narrow theater was tucked near the middle.
The Film Forum, opened in 1971,* was loved by locals not only for its dedication to independent, obscure, and foreign films, but also for the father/son team that ran it: George and Michael Ellis. The Ellises were devoted to fans, like themselves, who appreciated movies outside the mainstream. The smell of freshly popped corn welcomed you, along with a hello from George and/or Michael. You almost always ran into other folks you knew. It was a friendly, cozy, comfortable place, like an extension of your living room.

Poster for the Film Forum,
photo of George and Michael Ellis by Joe DeCasseres,
silkscreen print by Grace Zabriskie

Manager George Ellis was known and beloved by many. As evidenced in my 1/15 post about Grace Zabriskie, he acted in Atlanta theater productions. He also worked in film and television, and was probably most recognized as "Bestoink Dooley," a character he created to host various programs, mostly movie presentations, for the Atlanta CBS affiliate.

Favorite films often played the Film Forum for weeks on end. George initiated a $1 midnight show seven nights a week. I must have seen Harold and Maude a dozen times or more. The midnight showings were profitable, perhaps even more so than their regular features.
By 1974, the Film Forum was "solidly–if not spectacularly–solvent." On November 18 that year, property owner Louis Osteen entered the theater with a locksmith, evicted the Ellises, and changed the locks on them, upending their 50/50 business arrangement which had been sealed with only a handshake (admittedly "naive" per Michael Ellis.) Osteen wanted 100% of the profits. He did not foresee the fierce backlash. The Great Speckled Bird took an immediate stand:

"This paper will carry no Film Forum ads and run no Film Forum reviews until George and Mike are back at the theatre, or safely installed somewhere else. Creative Loafing, one of our competitors, has also pulled their ad this week. Other papers, despite hard times and low ads, may join. There is talk of phone campaigns, pickets, and legal action. By this time next week, some or all of these should be underway. If you are interested in helping George and Mike, call us here at 875-8301; we'll plug you into whatever is happening... The Ellis's have given to the Atlanta community for years. Now let's help them back."

The news spread like wildfire. Loyal fans picketed and boycotted the theater. Osteen threatened to take both The Bird and the Ellises to court. Movie attendance dropped nearly 90%. Osteen closed the theater. He negotiated with the Ellises and achieved a signed contract January 7, 1975, with terms honoring their previous 50/50 verbal arrangement.
George and Michael returned to the helm of the Film Forum and the fans rejoiced. Power to the people, right on.

*The space had previously operated as the Ansley Mall Mini Cinema, which opened in 1968.

Sources:
CinemaTreasures.org
"Shutout at the Film Forum," by Jon Jacobs, The Great Speckled Bird, Vol. 7 No. 48, November 28, 1974
"Film Forum Manager Ellis Fired," by Farnum Gray, The Atlanta Constitution, November 29, 1974
"BOYCOTT!... until George & Mike are back," by J.D. Cale, The Great Speckled Bird, Vol. 7 No. 49, December 5, 1974
 "Film Forum / They're Back," by Jon Jacobs, The Great Speckled Bird, Vol. 8 No. 2, January 9, 1975

The Marshall Tucker Band

Living on Seal Place, I spent a large amount of time at Richards around the corner on Monroe Drive. I didn't work there, but was sort of a family member, friends with many of the club's team. In retrospect, I might have driven them a bit crazy. The club was closed during the day. They kept a grand piano at the far left side of the stage, and sometimes I'd carry my stack of sheet music from the house over to practice my mediocre musical skills during the afternoon. A bit of Mozart, Bach, Debussy, mixed with lame attempts at Procol Harum. My apologies to anyone who had to listen, and thanks to those who indulged me. I digress.
Richards launched on February 1, 1973. February 12-16, Spartanburg SC's Marshall Tucker Band opened for Bo Diddley. When Marshall Tucker returned to the club for another week in mid-April, they were the headliners.

The Marshall Tucker Band in 1972;
(L-R) Toy Caldwell, George McCorkle, Jerry Eubanks, 
Doug Gray, Paul Riddle, Tommy Caldwell

My disjointed spiel about piano practice leads here: sometimes I was asked by day manager Diane to handle the phones as they attended to other business. The one call that has stuck in my head for these past decades is when I picked up the receiver and Doug Gray* was on the other end of the line. The Marshall Tucker Band's eponymous debut album had been released by Phil Walden's Capricorn Records only a couple of weeks prior. It was getting massive radio-play, particularly their first single "Can't You See," as well as "Take the Highway." Doug was positively giddy. He kept saying "I can't believe it!," "We worked so hard!," talking a mile a minute, and was simply blown away by their accelerating success. It remains one of the most insanely unbounded enthusiastic celebratory phone conversations I've ever experienced. We were all thrilled for them, and the band received a hero's welcome when they returned to Richards the next week. Beginning in June that same year, the band went on tour with the Allman Brothers. In 1974, MTB continued to tour, the album went platinum, and they earned top billing.
Fast-forward forty years, and Doug Gray is still humbly amazed at Marshall Tucker's success. In 2014, contestant Patrick Thomson performed "Can't You See" on NBC's The Voice. A contestant on American Idol also covered the song. Doug spoke with Billboard:

"When Toy Caldwell wrote that song, none of us knew that it was going to be as popular forty years later. We had no idea that any of us would make it past the weekend. So, to watch those guys do it, and all the emails and calls, was amazing."

In 1973, it was the wonderful circumstance of truly great things happening to truly good people (who realized their talents and knew the value of hard work.) In the many years since, Doug Gray has held the band together throughout its losses and changes. The Marshall Tucker Band continues to tour and retains a devoted fanbase while bringing their music to new generations. Good on them. As their friend Gregg sings, "the road goes on forever." Check out MarshallTucker.com for details on their history, evolution, discography, tour dates, and other information.

*Doug Gray was, and still is, founding member and lead singer of The Marshall Tucker Band.

Sources:
Billboard.com, Artists, The Marshall Tucker Band
Billboard.com, "Marshall Tucker Feels the Love on Both 'The Voice' and 'American Idol,'" by Chuck Dauphin, April 21, 2014

Ma Hull's Boarding House

In the early 1970s, all walks of life found their way to the covered porch at 122 Hurt Street, ready to take a seat at Ma Hull's table. Politicians, students, policemen, retirees, rock stars. They all got hungry for some Southern homecooking, and Ma Hull could cook like no one else.

Ma Hull's Boarding House
122 Hurt Street, Atlanta GA

In the early 1900s, this house, pictured above, in Atlanta's Inman Park neighborhood was known as the Candler Cottage. It had been home to Asa Candler's sister Florence Harris. (Candler was Atlanta mayor 1916-1919 and a Coca-Cola tycoon.) Mrs Vernon Daisy Grizzle Hull, aka "Ma Hull," and her husband Ross moved into the historic home around 1968 and took in boarders. Word-of-mouth about her delicious meals spread from the boarders to friends and went viral from there. People started showing up on the porch at mealtimes with mighty appetites. Food was served family-style, "pass the yams, please," and Ma Hull did not approve of leftovers. Ma [everyone called her "Ma"] would not let anyone leave the table until all the food had been consumed. I remember her threatening to spoon the rest of the banana pudding into someone's pants unless they went for seconds, even thirds. It wasn't difficult to comply, no matter how full we became. The spread included ham, ribs, roast beef, chicken, dressing, beans (string and butter), yams, greens, casseroles, cornbread, biscuits, and desserts. Oh god, the desserts: most famously her banana pudding, also various cakes and pies. We all felt like we might die by dinner's end, but it was nevertheless bliss. A recovery period relaxing on the porch or in the yard was required after every meal.

Ma Hull's dining table, 1974,
photo by Roger Allen Grigg, 
The Great Speckled Bird, Vol. 7 No. 13, April 1, 1974

Ma Hull's Boarding House became a pilgrimage destination as her reputation grew. Management at midtown rock club Richards often made sure their out-of-town acts experienced meals at the boarding house. I recall tagging along with Flo and Eddie, also Sopwith Camel, with a friend from the club. Ma's stalwart fanbase grew to include touring musicians such as Little Feat (pictured below), even Mick Jagger and Keith Richards.

Little Feat, friends, and family gathered around Ma Hull (seated, holding baby.)
Lowell George, in center, stands behind her.

Ma Hull, by 1974, had cut back to serving only one meal daily at suppertime. Her health was deteriorating. She suffered from diabetes and heart disease. Born in 1909, she died in May 1979 at the age of 69. Decades later, I have yet to encounter any dining experience that comes close to the boisterous family feast Ma Hull served up for so many of us. Incomparable.

Sources:
Inman Park, by Christine V. Marr and Sharon Foster, Arcadia Publishing, 2008
The Great Speckled Bird, Vol. 7 No. 13, April 1, 1974, "A Conversation with Ma Hull," by David Dyar Massey