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About King Mojo Records

A new generation of young fans began filling outdoor Blues-Rock festivals in 2004, and King Mojo Records was started by record promoter Dick Wooley in support of the movement's up and coming artists.

Promoting new artists into successful headliners is nothing new for Dick, he's been doing it since 1968, and he adds "Promoting emerging artists is the most challenging work in the music business, it's also the most rewarding."


The Back Story...

A
fter launching several indie label hit singles in 1968 Atlantic Records recruited Dick Wooley to head their Southeast and Midwest promotions. Dick helped launch many of Atlantic's legendary Rhythm & Blues and Rock artists and many are inductees in the "Rock and Roll Hall of Fame". ~ Dick's job at Atlantic included helping "Capricorn Productions" and this association led to his becoming Vice President of Promotions for Capricorn Records in its debut with Warner Brothers. At Capricorn, Dick promoted several emerging artists into a tidal wave of hits, establishing the new label, which originated the genre of "Southern Rock". ~ In 1976, Dick Wooley Associates partnered with Atlantic Records to open Rabbit Records and charted several new artists. Following Rabbit's success, Dick Wooley Associates promoted other labels new artists into gold and platinum sales. ~ In 2004, following an extended hiatus away from the music business, Dick returned to open King Mojo Records and showcase contemporary Blues and Rock artists.

Additional information; click the blue history links...
Atlantic Records | Capricorn Records | The Start-Up's  | King Mojo Records | Making Music

Check out great photos from the Historic Atlanta-Macon music scene by:
Carter Tomassi click
- Phillip Rauls  click


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CHAPTER ONE

 

Selections from
"South Rock"
by
Kiki Lee


Dick Wooley

"Music Promoter"

Atlantic Records: Making Music Legends
 
In 1968, Dick Wooley was managing bands in Atlanta, and promoting records in the Carolina's with F & F Arnold distributors. Dick had started several hit records, including some for Atlantic Records, when Atlantic's Miami based super-promo man Dickey Kline introduced Dick to Jerry Greenberg at a convention resort in the Bahamas. Jerry Greenberg was in line to be president of Atlantic Records and Jerry invited Dick onboard the company as regional promotion executive for the Southeast and Midwest. Dick welcomed the opportunity and shortly thereafter opened the Atlantic promotional office in Cincinnati, Ohio.

Record promotion was not easy back in the halcyon days of vinyl records, this was long before competition of the Interstate highway system and Dick would regularly drive fifteen-hundred miles a week on two-lane black top roads through the Midwest and Southeast to promote Atlantic Records to Top 40 Rock and R & B stations. Building personal relationships with radio programmers was Atlantic Record's strength, it paid off when stations added a
new record, it was more likely they'd select ones from the promoters that were their close friends.

It was challenging work because at that time Atlantic/Atco was in fact a small indy label with only six full-time promotion men covering every radio stations, show promoter and record distributor in America. This small gang of six guys headed by new Atlantic President
Jerry Greenberg included Dickey Kline, Leroy Little, Bob Greenberg, Vince Faracci and Dick Wooley could sometimes perform miracles getting Atlantic records to the top of the charts. Dick reflected, "It was a privilege to be part of that group and it was a once in a lifetime experience being able to work with music geniuses like Ahmet Ertegun, Jerry Wexler and Tom Dowd."

Atlantic Records established many of their greatest R & B legends and "Rock and Roll Hall Of Fame" artists in the 1960's, including; Percy Sledge,
Otis Redding, Wilson Pickett, Aretha Franklin, Joe Tex, The Young Rascals, King Curtis, Sam & Dave, Crosby, Stills, Nash and Young, Buffalo Springfield, Cream, Eric Clapton, Delaney and Bonnie, Led Zeppelin, YES, Emerson, Lake and Palmer, Derek And The Dominos.

It was exciting in the sixties, being in the music business and especially with Atlantic Records as we tore down old music barriers and young people marched on Washington protesting the Vietnam war. All across the nation protesters were uniting in protest and they were routinely beaten and arrested by the government, some at the time called it a Police State.

Atlantic had signed many leading voices of this movement and when Dick called on radio stations around the country to promote these socially active artist, he found many programmers withering in a paranoia of attracting FCC government retaliation if they played Atlantic's progressive music. These programmers instead of exposing socially aware artists music (today the songs are considered classics) these market dominating AM stations chose instead to play the mindless "bubble-gum songs" they called safe. Our country was ready for new progressive music and you can't keep an idea down who's time has come.

Today the downside for those paranoid radio programmers is social guilt, because they missed out on a once in a lifetime opportunity to shape our politics by music and not exposing the legendary social artists of the time, people like; "Janice Joplin, Bob Dillon, Jimi Hendrix, Led Zeppelin, Eric Clapton" and many others. Some of these timid programmers "and us record guys know who they are" have recently claimed in their accounts of the time that they were onboard the 60's music revolution from the start... not.

Thses were tough times on record promoters who's jobs depended on getting new records on the radio and every week it was a battle royal at stations to get new or progressive records aired. Here's one account of the "Big Brother" era; "Dick Wooley was
invited to Miami's Criteria Studios by Tom Dowd, Atlantic's legendary producer while he was recording "Layla" with Eric Clapton, Duane Allman, Bobby Whitlock, Jim Gordon and Carl Radle, AKA "Dreck and the Dominos". Ahmet Ertegun, owner of  Atlantic Records was also there for most of the recording sessions and Dick recalled "the music in the studio was magic". Later, understandably Ahmet's expectations for airplay was big, but when the album was released, most of the market dominate AM stations refused to play it, citing the same tired excuses as before, too progressive. Dick said, "for me... this was the last straw in dealing with these timid programmers," "They sold airtime as Rock and Roll stations! So I reasoned, they should play progressive rock... Rock and Roll is about new music... right? Wrong! - "In my mind I knew there had to be a better way to get mass audience exposure for these great new emerging artists".

Dick's plans changed suddenly  in 1971 when he had a freak motorcycle accident that caused him reconsider everything, including his future. As he recalled, "I'd been working non-stop with Atlantic for many years and the timing was right for a vacation... a very long one." Dick took the rest of the year off and traveled with his wife and young son Christian on the road less traveled. They took narrow roads in the Atlas Mountains through North Africa, staying in exotic and seedy French hotels inside the ancient walled cities of Morocco. We'd stay in small villages in each countr for a day or a week and took time to experience their culture. After our great experience in North African we traveled by train across Europe and the United Kingdom, it was a fun filled few months, but it seemed to go by in an instant.

"After a months living in other cultures, out of your comfort zone, your mind opens to new a potential and all the possibilities. For me, it was the experience of a lifetime, and I never once thought about the music business or getting a record on the charts."
   


ATLANTIC RECORDS
1960's-1970's

ATCO RECORDS

1960's-1970's

    
*footnote:
Subsequent from Dick's leaving Atlantic Records, it took their great promotion staff, that included Phillip Rauls and Mario Medius a year of hard work and promotion to get "Layla" on these stubborn radio programmers playlists. By the way, Layla was recently voted the number one song in Rock History! 

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Capricorn Records: The start-up

The timing for Dick's extended hiatus was perfect, because back in the USA in 1972 the tide had turned in rock radio and when he came home to Atlanta he found many old friends programming the independent FM stations, playing progressive rock and they were driving the once market dominate AM stations out of business. Hooray... at last, Bubble Gum music was dead and good relevant music was being played on the radio. Dick reflected, "For me, it was great to get away and with the FM stations turned the radio markets upside down that was a total bonus, but leaving Atlantic Records had been hard, like leaving family."
  
Newly energized after months of traveling, Dick was full of ideas and ready for a challenge. In early 1972, Frank Fenter who knew Dick from Atlantic Records called and invited Dick to a meeting in Macon, Georgia with he and his partner, artist manager Phil Walden. Dick shared band information with Frank from time to time at Atlantic, Frank ran the European operation from the London office. Frank was a brilliant and highly respected record man who had surprised everyone in 1969 by moving from London to Macon to help Phil Walden start a production company. Frank had been behind the scene pulling the deal together with Atlantic to finance their Capricorn productions that was to distributed with their production credit on the Atco label. Mentor Jerry Wexler helped Phil and Frank start up by giving them their first Top 10 hit record called "Sunshine" by "Johnathan Edwards".

Some three years had passed since then, and Dick was anxious to hear what he thought these guys had in mind as he flew south to Macon for the meeting. Having lunch with Phil and Frank's was an eye opener, their favorite meal consisted of "Hoppin' John (black-eyed peas, rice and fatback) washed down with three to four double Vodka Martinis". "I couldn't keep up with those guys drinking and my head was swimming that day as this dynamic pair began selling me on the idea of moving to Macon to help them launch a full service record company from their, "yet to be profitable" production company". Phil and Frank admittedly were not record promoters and they needed Dick to get national airplay. Dick had reservations about Phil due to his well known eccentric personality, but it never affected their relationship when working with Phil and his brother Alan Walden when they managed Otis Redding. Toward the end of the lunch meeting, Phil, Frank and Dick began to hash out the duties each would perform in the new venture, Frank naturally would manage the record company production side, Phil would manage the artists and Dick's would manage getting Capricorn records national airplay.

Dick had other offers on the table and several friends advised him against a move to Macon, because he'd gamble his hard earned reputation on an unknown start-up label.  Also, the industry gossips was Capricorn's most well known of the artist, the Allman Brothers Band, would never recover from the untimely death of their leader Duane Allman. But in reality, the biggest obstacle in 1972 was that the Allman Brothers had only sold a few thousand albums in a single oriented business. Dick knew the numbers because he had promoted the Allman Brother and Wet Willie releases when they were on the Atco label, their sales progress was hindered in the "Bubble Gum" singles era when the AM stations had refused to play progressive rock. Dick had to consider all this before move his family to Macon, "the redneck capitol of Georgia" just to help a start-up record company.

But, behind the scene
Johnny Sandlin played Dick the raw tracks from the ABB's yet to be released "Eat A Peach" and after listening to the new Allman Brothers tracks Dick said "yes" to Phil and Frank's offer. So, in early 1972 Capricorn Records had their third man onboard for the new record company adventure.

Frank Fenter just finalized the deal that separated Capricorn from their mentors at Atlantic Records and to the yet unproven Warner Brothers family for distribution, it gave Capricorn Records their name in the label and kept the young production company with WEA distribution so all corporate concerns were happy. However, on the street, conventional wisdom said, "the WB deal was the kiss of death for the new label". Dick recalled hearing all this and said, "That didn't bother me, when you're the underdog, you just suck it up and go. I'd fought in karate tournaments, winning my share, got my ass kicked a few times too and it couldn't possibly be more painful or humiliating than that."

Dick, Frank and Phil shared two small rooms that had been the late Otis Redding's office. Dick recalled, "it didn't matter that we shared cramped quarters, we were seasoned professionals, we had calculated the odds in winning and understood what each man had to do under the new Warner Brothers pact, and we knew that we'd have to work like never before to make this new Capricorn Records label a success.

Dick discovered early on it was going to be an up-hill battle after calling radio stations around the country and they'd ask, "Capri'-what? Allman-who? Macon-where?"  Dick soon decided instead of dialing stations he didn't know, he'd be better off targeting old friends at the progressive FM radio and a few friends still at the AM stations, calling in old favors to play the new Allman Brothers album "Eat A Peach". Although Southern Jam Rock was not the type of music these stations were accustomed to playing, several of his radio pals in Atlanta, Boston and Los Angeles were soon onboard and were shocked by the great response from listeners on the new sounds of the Allman Brothers band on their album "Eat A Peach"... and so the ride began.

Once "Eat A Peach" started inching up the charts, Dick went to work on conservative middle-American radio markets. The ABB album was added by more and more stations, gathered momentum and early in the next year it went gold and was the Allman Brothers Band's first Gold, and later multi-Platinum album. 
   


The Allman Brothers Band 1972


Capricorn's Macon offices
after a redesign in 1976


Frank Fenter, Dick Wooley, Phil Walden
(Photos, Courtesy Rob Durner-Fenter, 1972)

Quick to take advantage of the "Eat a Peach" success, Dick had a radical idea and enlisting the help of Atlanta radio-man Bill Sherard to promote a "Southern Rock" radio show for the 1973 new year. It was an unproven idea for rock radio, because it had never been done. Betting it all on strength in numbers Dick lined up dozens of independent AM and FM radio stations across the South, cobbled them together, bought time on AT&T telephone long distance lines and called it a "radio network". The shocker was, it had only cost $700 and Dick gave the show free to his affiliated stations, provided they'd play his ABB and Wet Willie albums in heavy rotation in the weeks prior to the broadcast, and give Capricorn advertising spots during the broadcast.

The New Year's Concert from New Orleans was a great rocking live show with the Allman Brothers Band and Wet Willie. The radio program was broadcast in only eight states but got national attention, it was a success for the bands, the promoters, the radio stations and Capricorn Records. And not in the least, Capricorn got several great tracks to use in later ABB projects and the classic Wet Willie live album, "Drippin Wet" was produced that night by Johnny Sandlin.

The success of a regional New Years show proved to Dick that without spending a lot of money, or hiring expensive promoters, there was a better way to get exposure for new artists. It was the artist launching tool he'd been looking for; "assemble an event, add multiple radio stations and syndicate." This was a big deal for Dick because he was the only person promoting Capricorn's records to radio stations, and up until then, just like every record promoter Dick called on programmers one-at-a-time to convince them to give his new records airplay. This was an arduous, time consuming task before the 1973 New Year broadcast, but after the broadcast the radio programmers were calling Dick seeking exclusive rights to broadcast his next show, whoever it was to be and whenever it might be. This put Dick in the proverbial "catbird seat" for promoting his new bands records by using the New Years show as leverage...Eureka!

With national airplay momentum gathering behind him, Dick began planning the next New Years show, he added (150) stations to the Network
, now called CapCom and acquired two national sponsors, creating the first vertically integrated national Rock & Roll promotion. The upcoming 1974 show was planned on a much larger scale, first it would be broadcast live from San Francisco's (15,000) seat "Cow Palace" and Bill Graham the legendary Fillmore East/West owner was onboard as the promoter. Bill invited San Francisco's FM radio pioneer Tom Donahue to be the show MC and Tom, in turn he asked several of his San Francisco friends, members of the Grateful Dead, Boz Scaggs and others to sit in on the show and add a few surprises.

Dick didn't know Bill Graham well, they'd met before at clubs and shows, but Dick knew he was a showman and Bill proved it during the sold-out show when he descended from the highest balcony of the hall inside a giant Plexiglas hour-glass onto the stage at midnight and dressed with a flowing white beard as "Old Father Time". The Allman Brothers stopped briefly at the sight and to hail the new year, then picked up on the jam where they'd left off... it was truly a fun and magical New Year show. The "first of its kind" radio broadcast was a coast-to-coast event, and without other programming that night Armed Forces Radio picked up the show and broadcast all over the world live to an estimated (40) million listeners. (as far as we know, it's still the largest audience ever for a radio show)

Album sales results from the world wide radio show were immediate... The ABB's Warner Brothers album and Atlantic Records catalog albums began selling through the roof. By design, the show also launched the career of another group Dick and Frank had brought to Capricorn, "The Marshall Tucker Band" and the debut album by the Marshall Tucker's sold (250) thousand copies within a couple of months and became their first gold and later a platinum album.

The New Year's broadcast was a headline grabbing monster, the following week, the event was splashed across the front page of every entertainment trade paper, banner headlines in Billboard, Radio & Records, Cashbox. Later, in July of 1975, the prestigious business magazine Fortune ramped up a major article on the rise of Macon Georgia's Capricorn Records, with group and individual items on Phil, Frank and Dick.

     


Dick in Fortune Magazine

ABB First Platinum

40 Mil. Listeners Headlines

Dick & Chuck Leavell
  
Check out some great photos of the Historic 70's - 80's - 90's Atlanta-Macon music scene
by;
Carter Tomassi click here - Phillip Rauls
  click here

By 1976 the hard earned success for Capricorn was overwhelming, all the ventures had all paid off big time.

Capricorn had signed Elvin Bishop in a production deal and one day in his office Frank Fenter played Dick a track he thought it was a great song, and he played it over and over knowing Dick would hear it in his office next door -- this was Frank's usual "not so subtle" way of letting Dick know what songs he thought should be promoted next. After a full day of Frank's good natured brainwashing Dick admitted he liked the song too, but told Frank it needed editing because it just wasn't ready for radio play as it was structured.

Dick took the cassette tape to his office and played around with the arrangement for a couple of days, arranging and rearranging, trying to find the sweet combination that would fit onto the radio formats of the day. Satisfied with a final arrangement, Dick and Frank flew to LA as they'd done before when they played the Burbank brass the raw cassette tape of Marshall Tucker. The new Elvin Bishop track was played for Warner Brothers president Mo Ostin, Ed Rosenblatt and Russ Thyrett, and they loved it. Warner Brothers got behind it and "Fooled around and fell in love" hit number one on all music publication's Top 100 single charts.

Later on that year, after long hours and endless night life spent with the bands, Dick was ready for a break, the success was just not enough. It seemed life was nothing but Capricorn 24-7 especially after the Elvin Bishop single hit number one and two Allman Brothers albums high on the charts, and two Marshall Tucker albums climbing the charts right behind, the constant pressure to be bigger, better, faster was taking a toll on everybody at the company.

Also, by then Phil Walden's abuse of cocaine and alcohol was out of control, his drug addiction was evident to anyone doing business with Capricorn, local vendors, the show promoters and our bands. It was a no win situation, Frank was worn out from cleaning up tense personnel situations after each drug fueled tirade Phil would throw on almost a daily basis. Phil had alienated Frank to the point that he stayed depressed and Dick was burnt out on the drama. Dick had seen this movie before, when drugs take over the deal it dies. Dick knew the hand-writing was on the wall for Capricorn, the ride was over and it was time to move on.

The up side was, Capricorn's success was peaking with three artists at the top of the charts and there would never be a better time to start a new venture and Dick resigned from Capricorn. 

In the four years since Dick came to Macon to help Frank and Phil build Capricorn productions into Capricorn Records, the company's growth had been astonishing. Capricorn went from a small company with three guys in a two room office, to a Southern Rock Empire with sixty employees and a roster of great artists that were known and selling worldwide, and with annual company sales of $30 million. "It was a sweet ride" Dick recalls fondly.

Dick was key in launching several million-selling artists while VP of  Promotions at Capricorn, including; The Allman Brothers Band, Marshall Tucker Band and Elvin Bishop. Dick also launched other artists into the national spotlight, including; the great Southern Blues band Wet Willie, comic-singer-actor Martin Mull, venerable singer-songwriters and "Eric Clapton's favorite band"
Cowboy, the legendary Southern Rock band Grinderswitch, Bluesman John Hammond, Jr. and rising Country Music star Hank Williams, Jr.


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Rabbit Records & DWA: The start-up
 
What a wild and crazy year 1976 was, Dick had left Capricorn Records at the top of the charts, helped the
Jimmy Carter campaign's start up with free promotions and advertising and old friends at Atlantic Records wanted to back Dick's new record company concept.

In short order, Dick's attorney Eric Kronfeld struck a deal with Atlantic and the doors opened at Dick Wooley Associates and Rabbit Records in Macon. Flush with funding, Dick recruited top Warner Brothers promotion man Al Moss to his new company and asked two solid working bands to sign on. Dru Lombar's band Grinderswitch, managed by Alex Hodges, who today heads-up "Neiderlander Entertainment" and the Winters Brothers Band, managed by Charlie Daniels' then manager Joe Sullivan.

Rabbit Records mid charted both Grinderswitch and Winters Brothers albums the same year and built career momentum by working them on hundreds of tour dates opening for the Charlie Daniels Band, The Allman Brothers Band, Marshall Tucker Band and Lynyrd Skynyrd.

One day in 1977, Pat Armstrong came to Dick office to ask if he'd help launch a new band he managed, he said they were being looked at by a major producer and a record company. Dick's office in Macon was located across the street from the Pat's Armstrong Booking Agency and Pat had been Lynyrd Skynyrd's first manager, now he had an extensive roster of working bands, but was understandably upset because despite having been an early player, he hadn't participated in the Southern Rock phenomenon.

That night Dick went to see Pat's new band Molly Hatchet in a basement club of a seedy downtown Macon flop-house called the Dempsy Hotel. The Hellish venue had water an inch deep on dance floor, Dick said, "it was a miracle nobody was electrocuted." But, as bad the club was Dick saw the band's energy and said yes to working their album when it was released. Later Dick got Pat's call a month before Molly Hatchet's album released and went to work promoting it to stations. Dick added so many stations the first week Epic Records threw a pile of cash at Pat to launch a tour for Southern Rock's new "Bad Boys" and s
oon the whole world knew about Molly Hatchet.

Molly Hatchet's
debut album was a mega-success, first going gold, then multi-platinum. There were big smiles in both Walnut Street offices as Pat's future was brightened with his new hit artist on the roster, and Dick was happy because it was his first million selling success since leaving Capricorn. Meanwhile across town, Capricorn had been unable to launch another major artist since Dick left and was sinking into bankruptcy.
    

  

Dick, Becky Bondia, Al Moss

Rabbit Records

Rabbit Records & DWA - Macon, GA


Grinderswitch and Dick


Molly Hatchet


Winters Bros. at Farm Aid

   
In 1980 there was a big change in music, a tsunami called "Disco" swept over the country and sunk airplay for all Southern Rock, Progressive and Blues Rock. Dick had no interest in disco music and decided to sit out this dance, take time off, relax and adopt a quiet life at the nearest beach. Dick moved to Tybee Island in 1981. Tybee is a small island at the dead-end of Highway 80 off the coast of Savannah, Georgia. At the time, it was a quiet fishing village of about 1500 people and a perfect spot to relax, think, write songs for
his Cotton States Music company, learn to sail a Hobie Cat, build a beach house and look at the record business in the rear-view mirror.

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2004 King Mojo Records: The start-up

Fast-forward from 1981 to 2004... we find Dick still enjoying sunset views from the deck of his beach house, still writing songs for his publishing company and with his business partner Benchmark/Atlantic President Arthur Schultz had just finished building 500 college condos and beachfront investment condos.

Family interests brought Dick back to his home town of Atlanta after retiring, but not having a new project was boring and Dick decided to look for one. Dick had always been hooked on the process of developing new ideas, or musicians, or music and promoting them to success and began searching the local landscape for ideas. Dick was overwhelmed after watching a new generation of young fans pack fusion-blues festivals "this opened my eyes to an opportunity to serve an very under-served market." The music that attracted thousands of these young people to shows was not being played on radio! Corporate radio today only plays what's shoved down their throats by multi-national business conglomerates.

So after talking it over with a few musician friends a idea began to evolve. Start a record label, Dick reasoned if he did start a label it would have to be artists driven, they'd brand the label unique and original, not just another a cookie-cutter label. On the short list of such artists was his good friend of thirty years, guitar-gunslinger and blues rock legend Dru Lombar, Dru had been the founding leader of the great Southern Rock band "Grinderswitch". Dru and Dick soon agreed to the new plan, Dru signed on with the new label and made the start-up official.

The new label immediately gained traction behind the one guiding principle... find great music. "Get the best original
artists in contemporary blues, jazz, roots rock and fusion and showcase them using the global power of the Internet."

After a few months search revealed several great artists equal to the challenge in mid 2004 a showcased album was on target for the first Internet based release King Mojo Allstars, Vol. 1. The artists were;
Diane Durrett, She's the cutting edge of blue-eyed soul. ~  Mike Lowry, A multi-talented guitarist, singer, he's the real deal! ~ The Polk Street Blues Band, A Blues Rock Jam band. ~ The legendary Dru Lombar and the new members of Grinderswitch bring it all back home with Dru's first studio album in three decades, "Ghost train from Georgia". A surprising success, other artists were added on the second release in 2005 King Mojo Allstars, Vol. 2  - Big Shanty, who transforms Blues into Beats, tales of hard luck, hard times and hard women. ~ Beau Hall, An unstoppable force of energy, you will love. ~ Bill Stewart and the ATL, Original jazz cooked up by the very best Atlanta musicians. ~ Little Phil, A great Southern Soul singer that always entertains. ~ Dustin Sargent, A statement from a powerful new Jazz group.

Now... the next step, stay tuned...
  

    King Mojo Records
Beau Hall Big Shanty Bill Stewart
and the ATL
Diane Durett Dustin Sargent Grinderswitch Liz Melendez
ww_2006_small.jpg (12547 bytes)
Mike Lowry Little Phil Polk Street Blues Band   Russell Gulley T G Z True Believers Wet Willie Band
Editor: Guitar legend Dru Lombar dedicated the new band and new album to his late Grinderswitch bandmates Joe Dan Petty and Steven Miller. Tragically, Dru's own life was cut short on Sept. 2, 2005. Additional information about Dru Lombar is available by clicking these links; KMR's tribute to Dru and on the Grinderswitch website.

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