06/20/2017
Great albums of 1967 with Jay Kadis and Thomas Harrison
Jay Kadis was born in Oakland, California. He has played guitar since high school, initially with Misanthropes, a popular bay area band of the late 1960s, whose highlights included playing the Fillmore Auditorium and opening for Muddy Waters. Jay has written and performed original rock music with several bands, including Urban Renewal and Offbeats. He […]
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when they took that with that but I mean because you know they were well known for
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that team Bobbers though. Who are you talking about? The turtles.
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Flow and Eddie the guys who sing so happy together Howard Katelyn and Mark
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Boland. They joined Zappa and then it was starting to bring their career because
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they were clean. They were the turtles you know. Well that was a big hit of that
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year right? It's the number two. Number one biggest seller of the year. I
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said you guys what song do you think we should start with? Oh well do you
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want to start with the Motown kind of stacks? No why don't we try this one?
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That sounds good. Nah if we're gonna do that then we should probably take you
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know the iconic song from that album don't you think? That's not it.
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Better. No every band in high school did that. I mean God well that's where we
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learn how to play it. Try something else.
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Come on what is the most iconic song of 1967? Well it's certainly purple haze
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you think or the end might be by the doors. Well I think they're the most
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important. Yeah but you know I get some stuff here about the radio FM radio in
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the doors because basically nobody would play their stuff until they could play a
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whole you know cut and then you know everything in the day was two minutes
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and 30 seconds and then here's the end which is right right so I know I never
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played on the radio. Well they did that's the thing. KMPX actually started in
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San Francisco in April of 1967. Hey you guys we've got a show going. Come on all on.
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You agree with that choice. Yeah you do. Yeah. Well come on we can we can try one more.
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When the two weeks down to be realized, no joy within you. This is KZSU Stanford.
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This is entitled opinions we're coming to you from the Stanford campus.
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And speaking of love the year is 2017 that makes 50 years to the day almost that
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the summer of love began. We're here in the studio with Jake Cadus well known to
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the entitled opinions audience from a couple of shows he and I did on music. My
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brother Tom joins us as well from UCLA. The show we did on Pink Floyd is one of
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the all-time favorites in our archives and we're here to speak about the great
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albums of the year 1967. And let me just remind you of some of those albums that
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year opens with the doors self-titled album in the same year they'll release
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another one strange days. Donovan mellow yellow the rolling stones two
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albums between the buttons flowers cream Israeli gears the birds younger than
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yesterday. Jefferson Airplane whom we're listening to right now Sir
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Realistic Pillow and later that same year after bathing at Baxter. What else
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Otis Redding and Carla King and Queen Aretha Franklin I never loved a man the
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way I love you. Grateful dead self-titled album the velvet underground from New
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York. Their groundbreaking the velvet underground in Nico 1967 country Joe in the
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fish a Bay Area band electric music for mind and body. What else? Moby grape
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self-titled album and what Jay calls the 800 pound gorilla in the room the
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Beatles sergeant peppers lonely hearts club band. James Brown cold sweat Pink
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Floyd the Piper at the gates of dawn big brother and holding company. Jimmy
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Hendrix experience are you experience as well as Axis boldest love later in
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that same year two of the pillar albums of 1967. Prokal Harham with their
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Prokal Harham album two albums by the Beach Boys smile smile and wild honey
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I mentioned cream buffalo Springfield is here on my list. I have the Beatles magical
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mystery tour which is another album that same year the moody blues great
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moody blues album days of future past with nights and white satin. Those of
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you old enough will remember that tune. Do you remember that one day? Yeah I'm old enough
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you're old enough. I just mentioned one or two more love a LA band comes out with
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their album forever changes and one more. Well there's Bob Dylan John Wesley
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Harding and finally the who the who sells out. So welcome to the show.
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Jay let me start with you because you are a Bay Area native and you were
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around in 1967. What were you doing in 1967? Well I graduated from
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high school and spent the summer in Golden Gate Park soaking up all the
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great music. Yeah 67 if you listen to the list of albums that Robert just read I
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can't think of another year that had that much not only great music but
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really groundbreaking music and in all these different genres so I had
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necessarily put this all together until you know all of the celebration of the
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50th anniversary but it was a spectacular year for a lot of reasons. And since
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we're you know broadcasting from Stanford University here
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Peninsula. Why don't we start with the scene in the Bay Area in 1967 because that
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is an important component of the of the larger picture right. Yeah so you know
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we've mentioned there's Jefferson Airplane grateful dead
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Moby grape and you know other bands. You know Quicksilver messenger service
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Janice Joplin holding a big brother in the holding company. Right just
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a fantastic country Joe country Joe. In fact let me remind our listeners that you and I
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actually did a show on the psychedelic music of the 60s in the Bay Area so
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they can go and get a more in-depth discussion of that in in the archives but
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I'm playing a track here from one of your favorite albums from that year
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which is Moby grape. Right and you think that that is one of the
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at the very top of the list in your in your mind. So what what do you want to say
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about Moby grape tell our listeners about? Well you know they're the greatest band that could have been
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and their first album is you know arguably one of the best albums ever recorded
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particularly for that year. In part because everyone in the band was a major
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songwriter and singer on their own and so almost in a sense of the way the
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Beatles or the Rolling Stones created by combining this unique combination of
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different personalities and and people they had it going as well. Both instrumentally and also
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in the writing and vocal executions their harmonies are terrific so you know if you think of
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Crosby stills a Nash you can throw in young if you want. The vocal processing on this album
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was was immensely better than than most of the San Francisco bands. Not all of the bands of that era
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were highly skilled and particularly skilled vocalists. You got Jim Morrison who had a terrific voice
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but you know a lot of the bands like The Grateful Dead you know they're an acquired taste for a lot
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of people. Terrible vocalists. Because their vocals are very hot and cold. Yeah so you
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you believe that Moby grape was a highly mismanaged band and yeah for that reason they didn't make
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it as big as they should have. Well that's not the only reason you know when you have a lot of
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very creative personalities you frequently have disagreements and some of these disagreements mixed
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with drugs ended up in like a hatchet attack or I guess an axe attack. So yeah there's a lot if you
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are really interested in the history of Moby grape I recommend that you look at the Wikipedia
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listing for them because it's a really interesting and pretty representative story for a lot of
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musicians in that era. So one or two things about how a band makes it by through their marketing
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strategies. One is getting songs on the radio and having hit singles and I guess that someone decided
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that six songs from this album were going to be released at the same time as singles right was
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not a very intelligent. Well no one had ever done that before and no one has done it since
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there's a reason why. Yeah and you know this brings up an interesting point which we're discussing
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albums and albums really were available of course before 1967 but until the radio could actually play
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cuts that were longer than two and a half minutes the singles were the only thing you heard on the
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radio and the whole idea of albums at least in the San Francisco Bay area was greatly promoted by
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the beginning of FM stereo broadcasting and AM radio at the time was highly commercial
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played very shortcuts but would play a complete wide variety of different types of music rock
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R&B, soul, Motown, all kinds of different rocks. So you would hear the Rolling Stones back with
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the Supremes and so what people got was a sort of a snippet of this and that but you couldn't really
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play a cut that was seven or eight minutes long and so the whole concept of the album really
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caught on big time in 1967 when the FM stations were no longer locked into that short cut many
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commercial broadcasting paradigm and KSNN actually was the first station in the Bay area
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sorry KMPX was the first station in the Bay area to adopt that format they didn't last very long
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and they basically sort of put into commission the idea of doing this on a commercial basis and
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of course KSNN took that mantle and ran with it much longer than KMPX did but the point was that
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you could hear a whole cut for example one of the things that motivated Tom Donahue to actually
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start KMPX he was a DJ on KYA which was one of the F the AM stations that was you know doing the
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standard rock playing of albums and he bought the doors album and was listening to it at home
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and said well you know why can't we play this on the radio something like the end you mean yeah or
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like my fire and any other songs were you know were much longer than the traditional two and a half
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minutes so he wangled himself a show on KMPX and there was a lot of you know when you're trying to
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break ground with a new style it didn't really end well for KMPX but KSNN picked up that format
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and became for many years the basically FM voice so you're saying that the rise of FM encouraged
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bands to create albums as holes and also to include tracks that went much longer than the standard
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two and a half three minutes and that therefore the and the Bay Area bands in particular I think
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they're signature what it's a longer song looser style is that correct yeah I think you know in terms
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of the album I think we we still have to go back to the Beatles and and the the initial you know
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changing of the idea of you know an album full of singles to a complete composition in on both
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sides of the record right and we'll talk about Sergeant Pepper's a bit later in the show right but I
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guess I'll bring in Tom Tom do you want to add something on the Bay Area scene before we talk about
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other genres not really I mean the way I see it there's the Bay Area there's LA there's New York
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and there's London yeah and they're almost independent or to a great extent even though the Bay Area
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bands often if not almost always record in LA even the grateful you don't want to sell the South
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short you know well that's why I wanted to mention that in LA which would be the Southern California
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part there are the doors there's love the birds yeah Frank Zappa there's a huge
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little Springfield Buffalo Springfield is a really fertile scene going on there that hasn't been
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thematized the way the Bay Area music scene has been right and they show signs of resentment down
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south about that as a matter of fact they still talk about you know why you guys always talk about
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San Francisco we were we were there earlier than San Francisco and so on and so forth different
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different sense of musicianship and in some cases but no the Bay Area that's a jace thing and
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you're saying and well I find that some of those LA bands could very well be San Francisco
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bands in terms of style sure I think the doors are just as Bay Area as I always thought of them
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as a Bay Area band they played a lot they played a lot up here love also yeah has a very kind of Bay
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area sound Zappa if you want to consider him Southern California LA where he was basically he's very
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different you could never confuse Frank Zappa with the Bay Area no mellow sound no no in fact I mean
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Frank Zappa who releases his first album with the mothers of invention in 1966 and it's the second
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double album in history I mean just proceeded by blonde on blonde by Bob Dylan who was produced by
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the same Tom Wilson from the very start Frank Zappa polymer sizes with San Francisco flower
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children because they're getting all the media attention but the sunset strip where the doors used
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to play and love and and Zappa and all the rest was was in a sense happening before the Bay Area
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but the Bay Area kind of went crazy with music you caught on and there were the flower children
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and it became a more of a culturally central scene than in LA where they tried to clamp bit down you
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know the police and the institutions didn't like all those kids congregating on sunset strips so
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they cleaned it up where yeah this is more liberal than it and it just kept you know multiplying
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yeah well the film or really did change absolutely I mean in that like I say it really internationalize
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the Bay Area's music scene correct and they came to the film more west from all over the world yeah
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all English people went there so you think that freak out which is not a 67 album but a
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66 album was crucial to the kind of expand expansive spirit of the 67 of the more innovative
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yeah really using of the 67 albums right and it's incredible because nobody really listens to that
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album and even when it came out it didn't have any commercial success but I have it I
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apparently Paul McCartney and the Beatles but he and maybe John Lennon in particular said this
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Frank's allies is unbelievable and so sergeant peppers could even be seen as a as a way of the
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Beatles trying to come to terms with some of those really inventive experimental techniques that
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were happening in California or maybe in particular in the Frank's album album of late 66
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in freak out I mean there was nothing like it it was completely crazy rock had never done anything
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even half that crazy and it really it spawned a lot of other folks you know trying to do that kind of stuff
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so maybe we could listen to something from his 67 album called absolutely free
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mothers of invention come out with their second album in 67 can we play something from that
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which one do you want well almost anything would work but why don't you do call any vegetable
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show how how much humor he puts into this is a song about vegetables they keep you regular the real good for
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yeah
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how many vegetable calling somebody call it the old car once a day call when you get out the train
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call it the old car and the chances are good
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all the best will will respond to you
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some people don't go for prunes I don't know I've always found that they think
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come on great song what's he like all that you gotta eat your beats and
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yeah and all that stuff it's sort of like that making fun of the moms who used to tell the kids
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to have a good balance by it and so the vegetables start singing back to him in the song
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here's where the vegetable responds
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a prune isn't really a vegetable
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that's someone says on uncle meat one day will all be living in California I guess the record
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that kind of thing that's right I guess only in California can you call any vegetable
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and it'll respond to you too I don't know what to say thanks for playing that so you think
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talking about sergeant peppers if sergeant peppers if it was the Beatles realizing that there
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were some really hugely innovative things going on in music that they had to take account of if they
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weren't going to become irrelevant Frank Zappo with freak out also the beach boys came out with
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an album sounds and sixty-six and six and sixty six and that had a huge effect on I think
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John Lennon and Paul McCartney because it very sophisticated harmonics a lot of multi-layered vocals
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and so forth and Tom you say you think that they also realize that they have to raise their game if they're
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going to yeah I think so you know Harold Bloom talks about the anxiety of influence you know about how
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creative acts really spur other fellow creative acts when they heard that beach boys album seems to
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me and the Frank Zappo freak out and Bob Dylan those would be in my mind a three American
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events that spurred the Beatles to say you know we we've been talking about I want to hold your hand and
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stuff we got it we got to get up oh and the fourth one which I think is equally important is
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Jimmy Hendrix because he arrives in London in sixty six as well and when you hear things like
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purple haze yeah of course everyone's doing acid and drugs too by this time including the Beatles
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so by by early sixty seven they're changing their well act don't you think yeah and I think that
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another contributing factor is the beginning of the four and eight track multi-track recording systems that
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I know Zappo commissioned a multi-track recorder himself they just weren't available commercially
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66 I think was the first was the year that the MCI 3M one inch eight track first came out and
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before that Ampecs would still remain manufacturer and those things cost you know like a small
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towns gross national income it was a very expensive proposition so there was basically I think two
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main studios that had one inch eight tracks from Ampecs and so with other manufacturing you know
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starting to produce these things for less money then they really became widely available and
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the the Beach Boys and the Beatles both sort of pioneered using that technology so you know before
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they had eight tracks they would the Beatles particularly on on Sergeant Pepper's bounced a lot of
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tracks back and forth and you know created a really dense final product by doing you know by
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using the multi-track capabilities that suddenly were available and pioneering their use I mean
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I think Les Paul was you know the original user of that technology and there was a big gap between
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him in the 50s and the mid to late 60s where everybody started to you know make use of that technology
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so you think that's the primary contribution of Sergeant Pepper's is this use of this technology
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because you do believe that if you have to select one album from the whole list of 67 that
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you would put Sergeant Pepper at the top of that yeah I would because it changed the way people
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thought about recording rather than trying to just document a performance then they could add all this
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other stuff you know and then what would that be and so so the Beach Boys weren't using that when
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they did their thing yeah well I think on the pet sounds yeah they definitely were but you know
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before that it was again like trying to document their live sound as opposed to Brian Wilson you
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know really you know breaking loose with what he heard in his head and here's a question for both of
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you the Sergeant Pepper's they beatles take themselves out of off the circuit and they spend
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months I don't know how six months in in studio you know is it so this is was a new phenomenon
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about a band making music in the studio primarily rather than on the road is it one of the first
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studio albums done well it's one of the it's it's the album that might have taken the band members the
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longest in the studio six months in the studio is unheard of I mean the doors took six days to do
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their first album and Jimmy Hendricks by the time of electric lady land is spending 24/7 in the
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studio for months and months so it takes on the studio becomes a new instrument but don't forget
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that they've got the bills have a fifth beetle which is George Martin so they come in with what's
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typically pretty simple compositions you know the three four chord beautiful stuff but fairly
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simple and much if not most of the innovation of the album seems to me to occur in the studio where
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they pull out all the stops they're looking for all sorts of special effects and technological stuff
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the sound engineers and I never had to come up with this for a recording before no I mean they weren't
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even allowed to put a microphone into him into an amp I mean you know they had very strict rules about
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what you were supposed to do and they broke all of them but you know they came in with enough money
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to afford that and that really did change the way people approached the studio as an instrument
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as opposed to you know this kind of shrine where you went in and performed and then you left and
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that was it so yeah it really changed I think that album more than any and really I think the
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maybe the the pet sounds is getting short shrift because I think that Brian Wilson did very much the
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same thing but for some reason the beetles were noticed more for that you know application of the
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technology yeah and how about Jimi Hendrix because he might have not used the same technology there
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in those first two albums but musically speaking this was a kind of quantum leap into a different
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kind of space no I don't know if he's the first one to open up the possibilities of psychedelic rock or
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whatever you would call it but clearly there's something foundational that takes place with the
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| 00:25:36.360 |
release of are you experienced and the singles before well so you know Hendrix is a is the fascinating
|
| 00:25:43.000 |
meeting point of America and England so he comes with all of his blues background and this
|
| 00:25:51.480 |
virtuosic guitar playing but there's already a formation of that in England there's the John
|
| 00:25:58.680 |
male bluesbreakers you've had Eric Clapton be there you've got Peter Green doing it yard burs you've
|
| 00:26:06.120 |
got the who you've got Jeff Beck so you know in England and in London when even though they're doing
|
| 00:26:12.280 |
the blues they loosen it up and they let it go other places for instance there's a great track
|
| 00:26:17.560 |
if we could play it it's from the John male album of 67 that's got Peter Green on guitar it's called
|
| 00:26:24.040 |
Supernatural it's got nothing to do with the blues you'd think because it's just Peter Green it's an
|
| 00:26:30.200 |
instrumental and and and yet it's very radical because he he does all this sustain let's let's play it
|
| 00:26:36.360 |
for a second
|
| 00:26:43.360 |
there you've got
|
| 00:26:45.360 |
the beginnings of Fleetwood Mac because
|
| 00:26:47.960 |
John McVee on bass
|
| 00:26:50.600 |
I think maybe
|
| 00:26:52.040 |
Fleetwood on
|
| 00:26:52.880 |
Nick Lee with our drums
|
| 00:26:53.840 |
Nick Lee with drums
|
| 00:26:55.200 |
you got a trio
|
| 00:26:57.360 |
with a organ
|
| 00:26:59.600 |
John male playing organ
|
| 00:27:01.760 |
now is that male or Peter Green playing
|
| 00:27:06.760 |
so Fleetwood Mac is born
|
| 00:27:11.760 |
out of this John male lineup and so there's my blues band but what they're doing here
|
| 00:27:19.960 |
is somewhere else and you see this is staying on the guitar the way the notes are held
|
| 00:27:24.920 |
in the panning from left to right which is the beginning of stereo
|
| 00:27:29.760 |
what do we do with it
|
| 00:27:32.760 |
your both Peter Green fans like that is my favorite me too like I couldn't live
|
| 00:27:36.960 |
without Peter Green
|
| 00:27:38.760 |
Jimmy famously said without music like this mistake
|
| 00:27:42.360 |
well I wouldn't be playing guitar if it wasn't for Peter Green
|
| 00:27:45.360 |
the
|
| 00:27:52.840 |
almost black magic woman there at the end
|
| 00:27:55.160 |
which he does right and
|
| 00:27:57.280 |
Carlos not only makes the fantastic version of it but he gets the sustain on his guitar
|
| 00:28:03.600 |
from Peter Green he talks about that often
|
| 00:28:05.880 |
you know holding a note for like five ten fifteen seconds
|
| 00:28:09.640 |
Santana I think is a year later maybe sixty eight sixty nine I don't remember when
|
| 00:28:13.280 |
their first album is but it's it's it's within the same junior
|
| 00:28:17.480 |
probably sixty eight yeah
|
| 00:28:19.000 |
so the Americans in the English are doing much the same thing but
|
| 00:28:22.200 |
Hendrix is the real deal so to speak as far as England they don't they have
|
| 00:28:25.720 |
seen many of these people from the states well he was unique I mean nobody
|
| 00:28:29.800 |
played like that
|
| 00:28:31.160 |
right he was totally crazy yeah one of the first weeks he was there and
|
| 00:28:34.880 |
story goes that cream were playing and he he asked to jam with them they
|
| 00:28:38.440 |
they didn't know what that really was the English didn't jam as
|
| 00:28:42.280 |
Peter Green used to say they didn't like the idea I like to be in the drill
|
| 00:28:45.720 |
but they let this guy up because chast Chandler and friends said let him play
|
| 00:28:48.800 |
with you
|
| 00:28:49.600 |
yeah and they played the killing floor which is an old holding wolf thing and he
|
| 00:28:53.280 |
just blew them away and they were absolutely furious and I think it was
|
| 00:28:58.280 |
Ginger Baker or Eric Claptor said never you never let that guy on stage again
|
| 00:29:02.440 |
you know because I liked them yeah yeah well you know he blew everybody's mind
|
| 00:29:06.600 |
he just did something so completely you know new and different even with
|
| 00:29:11.560 |
you know playing a strat I mean everybody played strats but at the same time you
|
| 00:29:15.360 |
see he finds a psychedelic scene there because in sixty six they're doing
|
| 00:29:20.520 |
raves pink Floyd is already doing these kinds of you know instrumental numbers
|
| 00:29:25.280 |
live that go on for 20 minutes there's a there's a swinging London is hugely
|
| 00:29:31.200 |
liberated for Jimmy who's used to playing you know kind of blues to an American
|
| 00:29:35.800 |
standard audience and then he goes to London so psychedelia meets blues yeah
|
| 00:29:41.360 |
and it's funny how to you you know you're not appreciated at home but you go
|
| 00:29:45.360 |
across the pond and suddenly you're the biggest thing and you let it all oh yeah
|
| 00:29:50.040 |
and then from then on it's all it's all good but yeah yeah but the thing about Jimmy
|
| 00:29:53.880 |
is that he wasn't just a virtuoso on the guitar and go up on stage and do
|
| 00:29:57.680 |
incredible things he was also a composer of songs the likes of which no one had
|
| 00:30:03.320 |
ever heard before and he could perform them in mesmerize the audience you
|
| 00:30:08.160 |
know just watching him so yeah it was and also he's not the first one to use
|
| 00:30:13.400 |
things like feedback but nevertheless he brings into the studio a kind of
|
| 00:30:17.920 |
sound and you know purple haze that iconic opening riff is if you analyze it
|
| 00:30:25.080 |
musically it's a very unusual very original it's not a blues progression
|
| 00:30:30.360 |
at all it's a very different thing though yeah yeah there's totally new but
|
| 00:30:34.400 |
even there you see he was encouraged because he was a big fish in a smaller
|
| 00:30:39.640 |
pond as opposed to being in the States he was encouraged to compose he started
|
| 00:30:44.840 |
with covers and in New York City where he's playing the clubs he's you know hey
|
| 00:30:48.400 |
Joe those are covers and his manager chess Chandler said you got to write the
|
| 00:30:53.120 |
stuff because we're gonna make more money you know the royalties right yeah
|
| 00:30:56.480 |
that's the always been worth a while so when he starts writing things like
|
| 00:30:59.680 |
purple haze and going crazy that's also because people are behind him saying
|
| 00:31:03.320 |
hey let it all out they marketed him as a psychedelic wild man from from this
|
| 00:31:08.880 |
other continent you know yeah right right part of what he started doing
|
| 00:31:12.560 |
musically I think a lot of people thought he was British when you looked at him
|
| 00:31:16.040 |
you couldn't tell because you know you're not all African-American
|
| 00:31:18.720 |
no no no and then you're right but the Indian Native American features so and
|
| 00:31:23.240 |
he didn't sound like anybody coming from America either I mean he would fight all
|
| 00:31:26.640 |
the categories even visually well in fact I I mentioned this on in title
|
| 00:31:31.600 |
opinion I must have mentioned it over the last 11 years of this shows
|
| 00:31:35.520 |
existence but Tom and I were what 13 14 in 12 in my
|
| 00:31:41.760 |
1968 and yeah Hendrix came to Rome he did one visit in Rome he spent like 24
|
| 00:31:48.120 |
hours or 36 hours and he gave a matinee show and an evening show and my sister
|
| 00:31:54.440 |
found tickets for Tom and me for the matinee show can you imagine here you are
|
| 00:32:00.520 |
14 years old and you could go in there wasn't even full at that point it was
|
| 00:32:04.800 |
a movie theater oh man we went right up in front of the stage with the the
|
| 00:32:11.080 |
Polaroid camera that Tom had and took a bunch of pictures just right under
|
| 00:32:14.720 |
this guy we didn't had never heard of him and it was like it was like being exposed
|
| 00:32:19.760 |
to some kind of extra terrestrial what your your life is never the same
|
| 00:32:24.960 |
again after you see how I mean how can you be a bourgeois after you've seen
|
| 00:32:28.560 |
Jimmy Hendrix that's right in person like that and then we got that album that
|
| 00:32:33.360 |
explains a lot about you right now
|
| 00:32:36.200 |
so could be coming clear so basically we got that are you experienced which is a
|
| 00:32:42.840 |
British version and right actually at different album in to a certain extent
|
| 00:32:49.320 |
than the one that was released in America a few months later yeah I don't think
|
| 00:32:52.040 |
people realize that but most of the releases were completely different between
|
| 00:32:56.000 |
the British releases and the American releases and you know this brings up the
|
| 00:32:59.440 |
question Jay that you were mentioning before how the Moby great album they
|
| 00:33:03.760 |
released simultaneously five or more songs as singles in England that was a
|
| 00:33:08.680 |
no-no. Well it was a no-no here too. Okay and it made sense. Now we know why. Even
|
| 00:33:13.240 |
Sergeant Peppers the producer regrets not having put strawberry feels in
|
| 00:33:18.600 |
penny lane on it because they had to release it as a single and in Hendrix's
|
| 00:33:23.000 |
cases they had released Hay Joe and Purple Hayes and stone for you
|
| 00:33:27.720 |
so in for you although so they're not on the album because you got two different
|
| 00:33:32.240 |
markets right and they were afraid they wouldn't sell the album yeah they had
|
| 00:33:35.080 |
the singles on them yeah so this was the case even with Pink Floyd that first
|
| 00:33:39.520 |
album which is still excellent and earth-shattering in many ways doesn't have all
|
| 00:33:43.920 |
sorts of singles that they had already done very well with so you got to keep
|
| 00:33:48.560 |
that in mind them in when the Americans repackaged this stuff they would they
|
| 00:33:52.920 |
would drop some songs from the album in order to put the hit singles on it and then
|
| 00:33:57.040 |
you've got only part of what you had before yeah I really messed up the flow of
|
| 00:34:01.480 |
everything yeah marketing so maybe say a few more things about the London scene
|
| 00:34:08.480 |
before we come back to the station but so what's going on in London here in
|
| 00:34:14.360 |
67 well you know the it's so rich there that's hard to even describe briefly
|
| 00:34:21.040 |
I think that there's probably three or four different scenes going on at
|
| 00:34:24.280 |
once this is a blue scene yeah that's pretty strong picked up steam for five or
|
| 00:34:29.440 |
ten years I'd say then there's this kind of psychedelic scene these these
|
| 00:34:34.360 |
raves clubs wear soft machine and and Pink Floyd they would play one night one
|
| 00:34:39.760 |
and the next night the other they just improvise and everybody's freaked out in
|
| 00:34:45.160 |
one way or another there's a lot of sort of jazz and then you've got of
|
| 00:34:48.680 |
course the the more commercial rock scene of the who the whole British invasion
|
| 00:34:53.800 |
you've had the animals you've had the yard birds and Morrison Van Morrison
|
| 00:34:57.680 |
as anyway this sort of blues commercial blues rock what's called it yeah
|
| 00:35:02.200 |
yeah all this is going on the same time they're all very closely all know each
|
| 00:35:05.720 |
other so do you think this rally gears is a great album I think it's a
|
| 00:35:09.440 |
fantastic album Jade you do yeah so sure in fact I've always thought it's
|
| 00:35:14.480 |
better than are you experienced if you had to listen just to the album put aside
|
| 00:35:18.480 |
you know Hendrix being what he is but as a trio you know cream they were amazing
|
| 00:35:24.720 |
unbelievable instrumentalists and those songs they're taking things from
|
| 00:35:29.220 |
Hendrix they're also taking things from Albert King yeah another album that is
|
| 00:35:33.540 |
unsung and comes out in 67 it's got a lot of the stuff that cream users on
|
| 00:35:38.000 |
this rally gears three or four months later the king is like in August and they
|
| 00:35:42.600 |
come out in November yeah so cream is taking a lot of stuff from first-rate
|
| 00:35:47.120 |
blues players and making it English and giving it a psychedelic twist just think
|
| 00:35:51.320 |
of the cover of the album yeah yeah well one thing about these albums like
|
| 00:35:57.120 |
this rally gears and I think even the doors the first two doors albums
|
| 00:36:01.460 |
release in 67 is that when you put them on from beginning to end there's a
|
| 00:36:05.800 |
kind of coherence between the songs and also in the sequence of songs so that
|
| 00:36:10.840 |
it's intended to be listened to as a whole which nowadays is a completely alien
|
| 00:36:16.000 |
concept well that's another thing that I think Sergeant Pepper's contributed to
|
| 00:36:20.020 |
was was the idea of an album as opposed to a collection of songs just you
|
| 00:36:24.400 |
know right and in that sense Israeli gears might be in a certain sense more
|
| 00:36:29.680 |
impressive than are you experienced because are you experienced as another
|
| 00:36:32.640 |
same sort of preconceived organic wholeness to it but that is very
|
| 00:36:40.240 |
important to yeah and as like you said that's over on you know you don't do
|
| 00:36:45.960 |
albums anymore I know even even being Floyd I think had to finally
|
| 00:36:49.440 |
relent and allow their songs to be sold separately on iTunes is that right
|
| 00:36:54.520 |
if it is it happened the last two years or so that's how strongly they held on
|
| 00:36:58.760 |
to it yeah because the idea not only the album but the concept album really
|
| 00:37:03.280 |
picks up here I mean yeah we saw you keep it up or something to dark side of the
|
| 00:37:07.160 |
moon as individual songs you can because one sideways right here yeah right
|
| 00:37:10.960 |
essentially yeah twenty twenty five minute single track on each side yeah and
|
| 00:37:15.240 |
that's why Hendrix wants to join the game too with electric lady lad by
|
| 00:37:20.280 |
68 you started starting in 67 he wants to make one album then although wouldn't
|
| 00:37:26.080 |
you say the axis boldest love is a pretty coherent hole yeah I think it's
|
| 00:37:32.280 |
coherent and he's making a transition there I think he already started to have
|
| 00:37:36.600 |
disagreements with chess Chandler who was producing him because axis is much more
|
| 00:37:43.760 |
ballad driven you know it's got a soft lyrical sense and it's not all these
|
| 00:37:48.760 |
wild man three minute singles and Jimmy felt frustrated that he couldn't
|
| 00:37:53.800 |
record songs that were longer than three or four minutes because they weren't
|
| 00:37:56.960 |
allowing it yeah well that that's another thing like I mentioned earlier that
|
| 00:38:00.560 |
that up until that point songs were two and a half minutes and that demanded a
|
| 00:38:06.240 |
real you know focus from the songwriters because you had to get the the
|
| 00:38:10.200 |
verses the courses any you know bridge or solo and it had all fit into an
|
| 00:38:15.280 |
half minutes and a lot of songs that we don't don't think of as being you know
|
| 00:38:20.040 |
two to three minute songs are just on and off I mean they just come in the
|
| 00:38:23.960 |
go but they seem like yeah you know really long production but then with
|
| 00:38:28.160 |
like you know with the genesis of FM radio and album cuts and stuff then you
|
| 00:38:33.040 |
could actually do ten minute to you know half hour long sides and I think there
|
| 00:38:41.040 |
was something positive about submitting to that discipline those kind of
|
| 00:38:44.760 |
I agree it did I mean you want both you want the occasion to let it breathe a
|
| 00:38:50.640 |
lot more yeah but if everything is 15 minutes long then it loses its impact
|
| 00:38:54.320 |
really well the the discipline of a 15 or 18 minute long track is even more
|
| 00:39:01.600 |
demanding yeah which is why once sergeant peppers and this this idea of of letting
|
| 00:39:07.600 |
yourself breathe takes on you end up with progressive rock right but it's very
|
| 00:39:12.680 |
difficult to have an album with say like too long sweets of 20 minutes each
|
| 00:39:18.080 |
that work you got to be extremely talented yeah and even then your audience is
|
| 00:39:22.880 |
pretty small you're audience is smaller because we got the attention deficit
|
| 00:39:27.480 |
yes yes which is with music is not 20 minutes it's more like well I think the two and a
|
| 00:39:34.680 |
half minute single probably is locked to something you know the nervous system
|
| 00:39:39.600 |
the natural that focuses on yeah yeah like the 102 beats per minute for
|
| 00:39:45.440 |
disco yeah yeah yeah yeah yeah yeah yeah it's been it's been proven to be the
|
| 00:39:50.720 |
right tempo what about Motown and Rithewin Blues were they held to the same
|
| 00:39:55.200 |
strictures because oh yeah most longer tracks no no those songs you think they're
|
| 00:40:00.660 |
longer yeah you know and I thought they were longer but when I go in you know we
|
| 00:40:04.120 |
do a lot of Motown covers and there are no songs over three minutes long so
|
| 00:40:09.280 |
cold sweat that you know I was just gonna mention it this cold sweat part one
|
| 00:40:13.920 |
and part two that's right yeah because even those guys they wanted to you know
|
| 00:40:17.400 |
once you're in the groove but they had to break it up right yeah I mean you
|
| 00:40:22.440 |
know there was only certain amount of time on a 45 RPM so and that's another
|
| 00:40:28.600 |
thing about the phonograph record too that you were really limited in how much
|
| 00:40:32.160 |
time you could you know put out on the side of a but this can still have any
|
| 00:40:36.120 |
base at all so you know 20 minutes or so is about the side the length of one
|
| 00:40:40.760 |
side of an LP and that really locked a lot of stuff in and so you know if you've
|
| 00:40:46.920 |
got a bunch of songs and you want them out then if you have two minute songs
|
| 00:40:50.960 |
you can get a lot of them on the side cold sweat great album oh yeah yeah I mean James
|
| 00:40:56.480 |
Brown you know it's just he was like from another planet you know it's kind of
|
| 00:41:01.880 |
like Hendrix you know they just just different from anybody else and and just
|
| 00:41:06.600 |
had an enormous amount of energy and showmanship and and just a stunning
|
| 00:41:11.560 |
voice I wanted to ask you something related to that Jay because you know much
|
| 00:41:16.880 |
more about that scene seems to me that sometime around 67 Motown is meeting let's
|
| 00:41:21.560 |
call it the white audience yeah because you've had the early 60s Motown's been
|
| 00:41:26.320 |
been big but then you get I don't know James Brown Otis Redding a Riesa Franklin
|
| 00:41:32.120 |
am I right that they start turning the the whites turned to the blacks and the
|
| 00:41:35.600 |
blacks turned to the whites in a well that was one of the things about the 60s was
|
| 00:41:39.320 |
there was kind of a you know a breakdown of some of the racial stereotyping and
|
| 00:41:44.120 |
stuff which I guess is weird it's ugly head yet again but in that period of time
|
| 00:41:48.840 |
there was an openness I think to listen to music and part of that may have been
|
| 00:41:53.200 |
am radio where like I mentioned earlier you would hear a Motown song and then
|
| 00:41:57.320 |
the Beatles and then a you know a bubblegum pop song and so everybody heard
|
| 00:42:03.680 |
everything and you it's you know rather than listening to like you know one
|
| 00:42:08.760 |
station that played all black music which I think KDA was one of those in the
|
| 00:42:13.480 |
Bay Area that played mostly soul and you know Motown stuff mostly soul really but
|
| 00:42:19.200 |
then the mainstream stations started playing everything and that really I
|
| 00:42:24.600 |
think changed the way people related to the the types of music that maybe weren't
|
| 00:42:29.640 |
their thing and I know I was you know big stones fan and into the blues but you
|
| 00:42:34.560 |
know when someone when James Brown or something like that would come on it was
|
| 00:42:37.640 |
just like whoa that's that's pretty high you know and so it kind of opened up
|
| 00:42:42.640 |
my you know appreciation for types of music that maybe weren't my exact thing and now
|
| 00:42:47.720 |
they of course you know Motown is awesome I mean it's just they had some of the
|
| 00:42:52.440 |
greatest songs ever done and so do you want to say a few words about Otis
|
| 00:42:56.840 |
writing Jay well you know I'm not an expert on Otis in particular but he just
|
| 00:43:02.680 |
you know and Rita Franklin and the whole you know kind of stacks Motown scene
|
| 00:43:09.480 |
they just produced so much great music Smoky Robinson I mean you know the list
|
| 00:43:15.120 |
is too long to even you know go into but and I at the time didn't really
|
| 00:43:19.820 |
appreciate that music but over the years I've gotten more and more you know
|
| 00:43:24.920 |
into it and so now I mean I really from like my band we you know and all the
|
| 00:43:30.180 |
covers we do are basically Motown songs that right yeah I thought you were more
|
| 00:43:36.240 |
a blues guy there's a lot of blues in that stuff so going back to the concept
|
| 00:43:41.140 |
album there's you mentioned electric lady land which is 68 so it's a year
|
| 00:43:45.880 |
later but never that that is a concept album of sorts right well of sorts yeah
|
| 00:43:50.880 |
for sure it's not one concept but electric lady land and you know the gods
|
| 00:43:58.560 |
made love and the UFOs there's like there's an attempt on Hendrix's part maybe
|
| 00:44:04.240 |
and you think it's Sergeant Peppers had something to do with that as well no doubt I
|
| 00:44:09.520 |
think that I agree with Jay that after Sergeant Peppers the anti had been
|
| 00:44:15.560 |
up in a sense I mean I personally don't think it's not one of the albums I
|
| 00:44:20.000 |
love by the Beatles I think that the stuff that came before was more true
|
| 00:44:24.160 |
Beatles authentic that's where they were good with those two three my total
|
| 00:44:27.400 |
agree with that incredible songs and fantastic hits there's no song on on the
|
| 00:44:32.240 |
Sergeant Peppers that I think measures up to their top ten or 15 perhaps but it
|
| 00:44:38.000 |
ups the ante as to what Canon should be done in the rock scene yeah the Beatles
|
| 00:44:44.760 |
let gave it legitimacy right because these guys are poppers and it kind of
|
| 00:44:48.600 |
pushed everybody to you know well they've done that so you know we got to do
|
| 00:44:52.600 |
something everybody has to outdo the other yeah so rock bands start using
|
| 00:44:56.760 |
classical orchestras too like deep purple and Pink Floyd themselves
|
| 00:45:01.000 |
right traffic takes off we have a traffic was amazing yeah we traffic was in 67
|
| 00:45:06.640 |
there were yeah in many ways were they in 67 yeah and that's Stevie
|
| 00:45:10.540 |
Wynn would there who goes on to do you know blind faith and other things yeah
|
| 00:45:14.680 |
there very much the beginnings at the beginnings of progressive rock as well
|
| 00:45:18.880 |
yeah in a very non-traditional rock using folk elements are using
|
| 00:45:24.120 |
yeah right so Tom was mentioning off air that maybe if you had to choose a
|
| 00:45:30.960 |
couple of let's say three songs of 67 that would be like the most important
|
| 00:45:37.000 |
not necessarily the most iconic but ones that you would point to and Tom
|
| 00:45:42.200 |
mentioned did you say purple haze and the end yeah those would be the two
|
| 00:45:46.560 |
that I would consider in some ways most iconic most revolutionary right we'll
|
| 00:45:52.440 |
talk about the end and a bit but I curious about you Jay if you had to choose a
|
| 00:45:57.840 |
couple of songs well that's really hard yeah yeah I I can't really point to any
|
| 00:46:04.240 |
specific songs that yeah there was a lot of bands that you know especially in
|
| 00:46:09.800 |
the Bay Area that was kind of the beginning for you know popularity for the
|
| 00:46:13.760 |
Grateful Dead and Jefferson Airplane and Quicksilver which is another Quicksilver
|
| 00:46:19.880 |
messenger service which is another one of my favorite bands I think they
|
| 00:46:23.660 |
they there album came out in the next year in January or February so they
|
| 00:46:29.020 |
missed 67 by a little bit but yeah so those were my big influences in the Bay
|
| 00:46:34.560 |
Area but you know of course the you know cream and Hendrix and the Beatles
|
| 00:46:39.640 |
and the Stones the Rolling Stones were kind of my my guiding so up focus
|
| 00:46:45.000 |
regarding the end what what is it about that song that you think Thomas so kind of
|
| 00:46:52.040 |
path breaking and well so you've got the length to begin with and it's a kind of
|
| 00:46:59.520 |
it's very psychedelic but I think what's most revolutionary about it over
|
| 00:47:04.440 |
and beyond the sort of musical features in which you're kind of floating
|
| 00:47:07.480 |
everything is airy and unresolved because these these sonorities you hear on the
|
| 00:47:14.820 |
guitar their unresolved chords is the unresolved witness of the lyrics this is
|
| 00:47:21.360 |
about an edible conflict that entire generation was feeling when Jim
|
| 00:47:27.080 |
Morrison you know makes his way up there to kill his dad and you know well I mean
|
| 00:47:33.960 |
this is the era when the fathers are sending the sons off to be killed off
|
| 00:47:38.640 |
of Vietnam yeah well exactly so you've got all of the political background
|
| 00:47:42.480 |
that's built into this in a way that you don't find it in my opinion in
|
| 00:47:46.380 |
Sergeant Pepper's whatsoever yeah there's a drama the apocalyptic the worries
|
| 00:47:54.280 |
the the reasons for the for the flower children and so on is all in here now
|
| 00:48:00.840 |
this isn't a song that at the time probably had much of an effect I don't know
|
| 00:48:05.320 |
how many people actually listen this I certainly do oh yeah I had the
|
| 00:48:08.160 |
way everybody listen to it around yeah yeah but it's always way out there
|
| 00:48:13.680 |
it's post Freudian from a message point of view it's just crazy although it's
|
| 00:48:19.800 |
very different from any summer of love type of feel good make love not war
|
| 00:48:24.880 |
there's a dark yeah almost right the right thing I got the quality to it
|
| 00:48:31.020 |
Summer and love was a lot of flower masks on what was gonna happen they're
|
| 00:48:36.760 |
already by 68 by 68 is a popular yeah yeah well you know the people were
|
| 00:48:41.480 |
getting very hippie in December in Golden Gate Park and that was the end of
|
| 00:48:46.240 |
the hippie in San Francisco really and then the hippie drugs took hold and
|
| 00:48:51.640 |
and that scene just you know basically deteriorated so you know you've got the
|
| 00:48:59.880 |
human being and the nice Golden Gate Park stuff and then following that you've
|
| 00:49:03.520 |
got Eltonmont and that was kind of the end of that scene entirely so you have two
|
| 00:49:08.080 |
stories you've got a short story about the Summer of Love which is literally a
|
| 00:49:11.960 |
Summer of Love yeah in a specific part of the world right only and then you've
|
| 00:49:16.880 |
got the bigger story which is Vietnam the 60s and all the work that has to
|
| 00:49:21.600 |
be done and all the student proton in France as well as you can't
|
| 00:49:25.600 |
Germany yeah England you in the love sort of gave way to the anger and it was a
|
| 00:49:32.920 |
failed revolution if you want to use that you know cliche the 60s were to have
|
| 00:49:38.760 |
been a revolution and it was many ways failed and this pretty much every
|
| 00:49:43.800 |
other than the end in January of 67 so it's it's prior to the summer it's down
|
| 00:49:50.520 |
in LA you know there's a whole lot of stuff that's being forecast here I think
|
| 00:49:55.320 |
yeah it's interesting because there was that that hope you know and
|
| 00:50:00.720 |
ultimately you know that protest movement did interfere with the you know
|
| 00:50:05.680 |
the war but it took years and by then people were really angry and involved in
|
| 00:50:12.760 |
heavy drugs as opposed to you know potnasty you know they're not really paid a
|
| 00:50:18.880 |
price yeah yeah so yeah I think you're right it did it was failed in every sense
|
| 00:50:25.600 |
except the music yeah well it opened up it opened up the the minds of
|
| 00:50:30.680 |
American so on but it had a long list of casualties Jimmy was dead by 70 so
|
| 00:50:37.760 |
many Jim Morrison himself and so on and so forth so yeah although I would choose to
|
| 00:50:48.520 |
go back to 1967 if I could relive one year maybe if I could be five or six years
|
| 00:50:53.440 |
older I think 67 would be probably right my first choice what do you say J
|
| 00:50:58.760 |
I'll go yeah yeah this is the 50th anniversary of my high school graduation so
|
| 00:51:05.600 |
yeah how did that happen I go back to 72 or 73 musically yeah well in terms of
|
| 00:51:14.880 |
you know all the things that the 60s opened up for young people we were taking
|
| 00:51:20.520 |
advantage of it actually I'm gonna stay right here now listening to Morrison
|
| 00:51:27.320 |
brings to mind someone we haven't mentioned which is was Janice Joplin
|
| 00:51:31.640 |
because big brother in the holding company comes out with their album 67 as
|
| 00:51:37.120 |
well and I we own that album as of 68 I think I I always loved I still think
|
| 00:51:44.840 |
it's really under appreciated album in many ways what do you think J I was never a
|
| 00:51:52.760 |
big fan of big brother I just didn't think their musicianship was up to I
|
| 00:51:57.480 |
know everyone is knocking them for their musicianship but they well I mean
|
| 00:52:01.280 |
they had a sound there that was yeah yeah they did but it was I don't know I
|
| 00:52:06.680 |
didn't find it compelling personally I thought she was a lot better off when
|
| 00:52:10.840 |
she you know switched musicians and backing groups and then I got into the
|
| 00:52:15.040 |
her later stuff yeah I'm not I I that's still my favorite Janice's at
|
| 00:52:21.100 |
first house yeah I'd like it too I think it's very Bay Area it's very
|
| 00:52:27.160 |
prototypically Bay Area despite the fact that well it's very high school Bay
|
| 00:52:31.360 |
Area yeah that's what all the bands sounded like you know but so but could be
|
| 00:52:36.440 |
Joe in the fish they were a big I yeah and we haven't talked much about grateful
|
| 00:52:39.920 |
dead but they're kind of high school too yeah but no it's hard to say because I
|
| 00:52:47.480 |
don't know they were about expanded consciousness and just being in a
|
| 00:52:52.280 |
different zone I'm not sure you I would associate that with high school
|
| 00:52:55.760 |
they were incredibly hot and cold sometimes they were awesome and some nights
|
| 00:52:59.080 |
they just don't I mean you know and that's that's reality I mean I haven't
|
| 00:53:03.360 |
played in bands for for a long time you know some nights you just aren't on and
|
| 00:53:07.220 |
it doesn't work but sometimes that that loose conglomeration of you know of
|
| 00:53:14.600 |
personalities just I mean played some incredible stuff well what's going on in
|
| 00:53:23.920 |
the states as opposed to England if you if we can't generalize at all it seems
|
| 00:53:28.240 |
to me when I think about country Joe in grateful dad big brother there's this
|
| 00:53:32.480 |
kind of loose experimentalism that's even encouraged and being recorded
|
| 00:53:38.280 |
whereas in England you know with the kinks and with the who and the whole sort
|
| 00:53:45.200 |
of tradition of recording classical music by the sound engineers things are
|
| 00:53:49.440 |
much more tight and controlled I kind of liked that when they brought that to
|
| 00:53:54.440 |
the to the blues genre and come up with a kind of British version of that
|
| 00:53:59.080 |
where things are I think it enriched that tradition precisely because of the
|
| 00:54:04.360 |
precision and musical at on the one hand musical experimentation but with a
|
| 00:54:11.320 |
certain degree of discipline to it well this brings back the whole you know the
|
| 00:54:15.760 |
African-American and the meeting the white scene transatlantic way when
|
| 00:54:22.360 |
when the when the British inherit the blues in quotes if you will once they
|
| 00:54:26.800 |
the embrace some the stones and the animals and and later John mail and cream and
|
| 00:54:32.600 |
the Peter Green crowd that makes the blues listen to by the entire world and it
|
| 00:54:39.920 |
goes back to the US and it has the BB Kings get rediscovered an Albert King
|
| 00:54:44.960 |
and Freddie King
|
| 00:54:46.200 |
money water and howling wolf remember when the stones come to the states and
|
| 00:54:52.080 |
they want to have they're gonna get on TV and they insist that howling wolf
|
| 00:54:55.080 |
yeah join them they say who's howling wolf and then when they find out who
|
| 00:54:58.400 |
howling wolf is that we don't want that guy on stage yeah yeah and the stones
|
| 00:55:02.000 |
insisted yeah so yeah so taking the blues and making it British and tuning
|
| 00:55:06.800 |
the instruments finally making sure your solo has been rehearsed and so on
|
| 00:55:10.640 |
like Eric Claptor and and it really reinforced the careers of BB King and
|
| 00:55:15.120 |
money waters they made him rich yeah it did and they knew it and they they
|
| 00:55:20.240 |
were appreciative I they they didn't say all you white kids you know absolutely
|
| 00:55:23.960 |
know quite the contrary I think they were flattered yeah and the gratitude was both
|
| 00:55:30.480 |
ways I mean oh yeah Eric Claptor is just his reverence for the tradition and
|
| 00:55:36.520 |
for those musicians and he keeps you know using whatever clout and
|
| 00:55:42.360 |
financial resources he has to make sure they get their spotlight and and it's
|
| 00:55:48.640 |
but because both ways well there's something about also the stones were
|
| 00:55:51.880 |
just you know addresses the human condition and doesn't you know the
|
| 00:55:56.280 |
specifics are not all that important because everybody's human yeah yeah I
|
| 00:56:01.160 |
mean it would have it would have been heard and it would have reached out to the
|
| 00:56:04.200 |
entire world anyway it's just that the British were best position to
|
| 00:56:08.120 |
embrace it first you know yeah okay well I have a question about Jimmy Hendricks
|
| 00:56:12.400 |
in this regard because the the standard line is that he comes from the
|
| 00:56:16.200 |
blues tradition that he's a there it's a blues foundation but if you look at
|
| 00:56:20.840 |
his entire corpus he has very few blues songs at least songs that follow the
|
| 00:56:26.880 |
blues bar I think Red House is one of the only ones am I right about that there's
|
| 00:56:31.360 |
I don't know they yeah well what was his early career he was
|
| 00:56:36.880 |
it was rhythm and blues he was yeah it R&B guitar player yeah yeah so that you
|
| 00:56:42.080 |
know more along the lines of
|
| 00:56:44.320 |
a little Richard and you know yeah well yeah that's what he did for a living right
|
| 00:56:50.760 |
and that's I'm sure what you know what influences guitar playing was you know
|
| 00:56:56.800 |
you can't do that for years without that becoming part of your your take on it
|
| 00:57:03.760 |
so he did that for you know the chitlin circuit mm-hmm to pay the bills
|
| 00:57:08.240 |
yeah for what few bills though they would pay but when he gets to England if you
|
| 00:57:12.760 |
listen to what he's doing when he's sitting around he's he's working on
|
| 00:57:17.200 |
howling wolf type songs muddy water stuff and his bass player what was the
|
| 00:57:22.760 |
guy's name Billy Billy cop the guy from Cox Billy Cox yeah they used to play
|
| 00:57:30.000 |
together in army and he says Jimmy's love was always the blues the
|
| 00:57:34.600 |
straight blues so all of that muddy water stuff but when he gets to England he
|
| 00:57:39.800 |
goes into the psychedelia but he's always working on the blues on the side yeah
|
| 00:57:44.400 |
and by let's always land I mean Buddha child is nothing but the most brilliant
|
| 00:57:48.920 |
blues innovation yeah yeah he took it another step forward he did it but I'm
|
| 00:57:55.600 |
I'm suspecting that he also has a debt to the British blue of what what the
|
| 00:58:00.360 |
Brits brought to the blues and what he gets from from them in the way he
|
| 00:58:06.440 |
inflicted the blues tradition he didn't limit himself to what they call the
|
| 00:58:13.160 |
pentatonic scale which all the American blues
|
| 00:58:16.960 |
our players would have only used and when he gets to England if you analyze
|
| 00:58:21.000 |
purple haze the scales and the harmonies he's usually in that song
|
| 00:58:24.960 |
completely elsewhere yeah but he goes back to the pentatonic when he forms
|
| 00:58:29.200 |
his old black band band of gypsies oh yeah and when he's playing voodoo child
|
| 00:58:34.080 |
stuff then he's going back to pentatonic but he never limited himself to that
|
| 00:58:37.000 |
that's where he was yeah he the more than American more than you know that
|
| 00:58:41.600 |
that's where the English if you want to call it that effect yeah takes place
|
| 00:58:45.800 |
does either of you want to say a word about the velvet underground no no not
|
| 00:58:51.640 |
really but I could say this is an interesting case of production because
|
| 00:58:57.120 |
they were produced by the same guys who produced the Frank Zappas mothers of
|
| 00:59:01.560 |
invention
|
| 00:59:02.440 |
verve mgm yeah that's right and so
|
| 00:59:07.160 |
the producing velvet underground in New York
|
| 00:59:10.360 |
that's the New York scene whatever that is I mean it doesn't quite
|
| 00:59:14.280 |
travel the world so we don't know that much about it
|
| 00:59:17.200 |
but it's the same producers
|
| 00:59:19.200 |
who do freak out and who do the velvet underground both of which are radically
|
| 00:59:24.320 |
different and strange
|
| 00:59:26.720 |
and there was a lot of rivalry as consequence between Frank Zappas and
|
| 00:59:30.960 |
the velvet underground crowd which is basically a three-cord outfit it's very much
|
| 00:59:35.840 |
sort of
|
| 00:59:37.260 |
punk
|
| 00:59:38.160 |
uh... leaning
|
| 00:59:39.800 |
many many years earlier but it's leaning that way very simple and a
|
| 00:59:43.640 |
different field to it when all Zappas trying to be really
|
| 00:59:46.800 |
complex and sophisticated so they couldn't be more different
|
| 00:59:50.320 |
and yet they both had a change enormous influence wouldn't she say yeah
|
| 00:59:54.480 |
if not immediately develop it out of the ground
|
| 00:59:57.320 |
remain maybe not on me but no no but on a lot of people
|
| 01:00:00.840 |
sure of those gold bands like the early
|
| 01:00:03.800 |
sit-buried pink florida
|
| 01:00:05.860 |
yeah although there's more musically happening in pink florida
|
| 01:00:09.800 |
they're both achieved that status of timeless cult uh...
|
| 01:00:13.760 |
effect
|
| 01:00:14.440 |
it's a very original album even if
|
| 01:00:16.960 |
you you gotta have the taste for it
|
| 01:00:19.960 |
it has a dream quality as well
|
| 01:00:23.000 |
maybe it could be heroin induced but
|
| 01:00:25.760 |
their famous song but it is really yeah but it has that dream quality that
|
| 01:00:29.640 |
the end has in some of you also have the the importance of the female singer
|
| 01:00:34.680 |
unique or you know she's european right so that's where you're getting
|
| 01:00:38.680 |
she had been in felony movies and yes she's a real character
|
| 01:00:42.320 |
and uh...
|
| 01:00:43.720 |
and the war holes effect
|
| 01:00:45.720 |
so with velvet underground you're doing more than just
|
| 01:00:48.280 |
rock something like happens with that
|
| 01:00:50.640 |
band called united states of america that's also l_a_
|
| 01:00:54.000 |
and if you guys have very progressive band
|
| 01:00:56.440 |
yeah very progressive about them same time
|
| 01:00:59.640 |
well you guys we started with the jimmy we're gonna end uh... with the song
|
| 01:01:03.880 |
that we actually put we did a gig last night and not that our listeners would
|
| 01:01:07.560 |
know that but we we played this song you know just last night all together
|
| 01:01:11.800 |
so we're gonna leave our listeners with that uh...
|
| 01:01:14.640 |
want to thank j_k_d_s_ from karma here at standford in the music department
|
| 01:01:19.800 |
and tom here is my brother from u_c_a_ for coming up
|
| 01:01:23.680 |
and uh...
|
| 01:01:24.880 |
you stay tuned to entitle opinions i'm robert harris and believe you with halo
|
| 01:01:30.680 |
the
|
| 01:01:38.440 |
halo
|
| 01:01:42.000 |
we're going back to your
|
| 01:01:50.040 |
and you
|
| 01:01:53.000 |
i said where you're going back and got it on the end
|
| 01:01:58.000 |
i'm going out of shoot my old head
|
| 01:02:04.520 |
you know i'm gonna go on the other
|
| 01:02:11.520 |
i'm going out of shoot my old head
|
| 01:02:16.200 |
you know i'm gonna go around with another man
|
| 01:02:20.200 |
and a bit
|
| 01:02:28.200 |
and
|
| 01:02:35.200 |
and
|
| 01:02:42.200 |
and
|
| 01:02:49.200 |
(upbeat music)
|
| 01:02:51.260 |
♪ You know I'm calling myself around ♪
|
| 01:02:52.620 |
♪ and that's the brown town ♪
|
| 01:02:54.320 |
♪ And that's the brown town ♪
|
| 01:02:57.220 |
♪ And yes, my opinion of the auto ♪
|
| 01:03:02.400 |
♪ You know that's my brown ♪
|
| 01:03:05.200 |
♪ And that's the brown town ♪
|
| 01:03:06.520 |
♪ And I get to the good rock and music ♪
|
| 01:03:09.520 |
(upbeat music)
|
| 01:03:12.100 |
(lively music)
|
| 01:03:17.480 |
♪ Show 'em what I'm telling you ♪
|
| 01:03:22.480 |
(upbeat music)
|
| 01:03:43.340 |
(upbeat music)
|
| 01:03:45.920 |
(upbeat music)
|
| 01:03:48.500 |
♪ You're gonna run through the mountain ♪
|
| 01:03:53.500 |
♪ Hey, Joe, where you're running ♪
|
| 01:04:01.040 |
♪ Now, where you're going to go ♪
|
| 01:04:05.840 |
♪ We're leaving, I thought we'd have to go ♪
|
| 01:04:10.840 |
♪ We're now the Mexican throwing wave ♪
|
| 01:04:15.840 |
(upbeat music)
|
| 01:04:18.420 |
♪ I'm going with ourself ♪
|
| 01:04:21.920 |
♪ You wait down, I can see it green ♪
|
| 01:04:25.120 |
♪ You paint the point when it burns ♪
|
| 01:04:29.520 |
♪ You ain't just the rain in the water ♪
|
| 01:04:32.720 |
♪ Give it a brown town ♪
|
| 01:04:35.920 |
♪ You wanna live with us ♪
|
| 01:04:38.760 |
♪ I got your love ♪
|
| 01:04:40.600 |
♪ Hey, hey, hey ♪
|
| 01:04:44.040 |
♪ Where you going ♪
|
| 01:04:46.040 |
(upbeat music)
|
| 01:04:48.620 |
(upbeat music)
|
| 01:04:53.180 |
[BLANK_AUDIO]
|