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One night a heckler got on my nerves-- there were many times we encouraged hecklers and made it part of the show, having learned that if you call upon a heckler for a heckle every few minutes they usually get tired of the attention and the demands and shut up-- this night, this heckler in the front got to me and I retaliated with something on mic forgetting most people behind the heckler hadn't even heard what he said. All they heard was me wailing on him. Not a great memory. Sometimes Dave got annoyed with me for a comment I'd made or the fact that sometimes I just took the talking a few beats too long or failed to set up the song as well as I could have and had in the past.

And sometimes we'd both just piss and moan about people wanting to hear fucking Jimmy Buffett all the time. And there were the times we had to play when one or more of us were sick. And there was the constant feeling that whatever came, it was never enough: I want lines out the door!! Fortunately all that stuff was pretty rare and we rarely let on to an audience if anything was bothering us although I did have the habit of answering people truthfully with details about exactly how things were going until Carol told me "All they want to hear is that things are great"and unlike some bands I played with in the late 80s, most of the time we really had alot of fun during the gig and with the last set and didn't gripe about the hour or the number of hours in the evening.

I still get wigged out when I hear musicians gripe about gig conditions, as if it's ever gonna be any different, as if playing music and getting paid for it isn't a damn sight better than couchsitting with the remote control and not getting paid. Mostly it was great. While some performers dread going up without a script, we thrived on it. Imagine, getting to create a new, spontaneous show every night, never knowing who might walk in and what that might mean. Monica Leadon would sit in with us on vocals now and then. So would a woman named Trinita who had an amazing Patsy Cline-type voice.

But we were a show band, not a jam band, so having guests in was rare. And, really, the people who came in were demanding us. Looking back, it's hard to imagine an economy and a culture where so many people would come out so many weeknights and enjoy live entertainment. This was not a fancy place in the center of the happening stuff in town, this was not the place where drugs in the bathroom was the real story; the drinks were nothing more than drinks; true, the waitresses were alluring, but there was more than that going on.

Alot of the people who came in might've been thought of as Gainesville hippies even though most of them weren't, or hadn't been in years ; alot of them were students, or faculty, or working people. Part of the fun was appealing to all of them. My favorite was appealing to the smart ones who got the clever humor and the understated but brilliant musicianship, and appealing to the women. Dave did the artwork and produced a series of these, one for each gig we played; this is the first to include include Kenny. If memory serves, it was also the last, and there were all kinds of problems getting paid. But it did give me a chance to hear some other Gainesville music: An ad for the Sunflower Music Fest benefit: During this time I remember a lead player named Waldo arrived and started playing in a band called Please.

As the Alibi started really happening, other musicians would come in, and I got into the habit of acknowledging them. Both became lifelong friends. I met them through Carol, who started coming into the Alibi to hear us and who later became my wife. Ex, for several years now. In a rare moment of justice, the Gainesville 8 were acquitted and Attorney General John Mitchell went to jail-- you might've read about it. We talked about moving to Vegas or L. We had to find something that would keep the band interesting. No one had really done an album before, at least to my knowledge.

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You had to go to a studio. You had to shell out, minimum, around three thousand dollars gainesvillw get 1, albums recorded, pressed and gzinesville. Tom was a fan, having heard us many times at the Alibi, and having seen the crowds Freee drew. But none of us gainesvilld anything, really, to qualify for the loan. Tom gave us the loan with the Mercedes as collateral. The bank book for the loan. Dave suggested that Gainfsville should have half Free casual sex in gainesville fl 32627 songs, but I passed on that. We were only playing four, and 3262 two had really gotten any response.

It was his songs that really got the most response. He drew the cover. I wrote the liner notes. Kenny had one song on the album. We recruited a Frwe Bruce O'Dowd and had him 326277 with us at the Backstage Bar to rehearse for the recording. And we recruited a sax player Chuck Duggins for a couple of Feee, and a fiddle player Ed Partridge for a couple of songs. Rawhide was the only non-original on the album. Around the same time I started devoting my efforts to sec to create a local TV show for us. Kind of like, what if the Monkees had a sketch comedy show that was also a talk show. Meanwhile, Dan Diamond, one of the managers at the Great Southern, cassual working at getting us gainesvikle road gigs.

Charles Steadham with Blade Agency was looking at us, also for road I am dating a nigerian man. Boy, it sounds like a lot was happening. Gainrsville spent most of his time with us telling us that the secret to success was appearance: Doherty, by mistake, left us out of the Alibi rotation for around gainesvillr weeks. Ssx road gigs Dan sent us on gainesvulle awful. We got fired from one gaijesville Saint Freee, Georgia after the first or second night because we didn't have a drummer and Dan had promised the club dl we did. Caasual was a horrible gig anyway, the kind where the most vocal drunk at the bar thinks the funniest thing in the world is to make hemmorhoid jokes about Johnny Cash's "Ring Of Fire".

We got fired from the steakhouse gig in Jacksonville that Blade got for us after the first night-- we skipped on the motel bill. They told him they didn't like our appearance, despite the fact that we wore vests that were all blue. We played a couple of nights at some Big Daddys somewhere-Orlando? But it was clear it was not right. There was a period when people would come up to me and say they'd played some songs for their friends in their living room and they'd ask me what it was like to play music for a living. I'd tell them the next time they were sick, spitting yellow flemgobs, invite some folks they didn't know to their living room and play for them for four hours. Okay, sometimes I'm an asshole, but that's the way it felt during that period.

Our album came out in early March and we got radio play rightaway on three local stations. We shot the TV show just before the album came out and it aired one night when we were out of town on a gig. Sometime in March the drought seemed to end and we were flush with local gigs again, selling the album every time we played. We paid back the bank loan by the end of the summer. He wanted a keyboardist so he brought a keyboardist in while we were playing at the Alibi, and the keyboardist brought a sax-player with him.

The keyboardist was adequate, but the sax-player was great. Within weeks, Bruce Shepard joined the Archer Road Band; first it was kind of part-time, then full time. In no time he was riffing off my leads, we were riffing off each other, and the band leapt again in quality. In mid-October I told Dave that I needed to quit the band. I was distraught about the decision, feeling like I was letting him down, but Carol had said if Dave and Kenny were really my friends, they'd understand. We sat in Dave's trailer behind his house talking about the history of the band.

We tried to sue, but-well, he was suit-proof. A failure of imagination on my part, I guess. If it was the Hollywood version, the period of my departure would've been one long party. I played my last gig with the original Archer Road Band on November 17, at a small out-of-town restaurant-bar in Branford. Within a week they were off to Texas with a dictated set-list in hand. Casual sex may have gotten slightly more common. And although marriage rates are fairly low in this group, the vast majority of young people still want to get married and raise a family. They also hope to balance child rearing and household responsibilities equally with their partners.

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