WEBVTT - John Sebastian

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob must Ne's Podcast.

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<v Speaker 1>My guest today is the one and only John Sebastian. John,

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<v Speaker 1>good to have you on the podcast. Terrific to be

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<v Speaker 1>hit Robert. Okay, so for a minute there, your first

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<v Speaker 1>solo album with Rapriez was John b Sebastian. What was

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<v Speaker 1>that all about? Well, I didn't want people to be

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<v Speaker 1>confused between me and my actual classical virtuoso father. I

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<v Speaker 1>just knew there were occasions. These were more before I

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<v Speaker 1>was putting out a solo album where people would see

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<v Speaker 1>that name and think, oh, gee, Mr Sebastian is sort

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<v Speaker 1>of slumming now, isn't he? And and you know, so

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<v Speaker 1>that was really the stimulus. And what is the B

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<v Speaker 1>stand for Benson Benson? Yes, if your father was John

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<v Speaker 1>and you were John, what did they refer to you

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<v Speaker 1>growing up? As I would be John Benson, John Benson, yes,

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<v Speaker 1>or I'd be j b or Giovannino in Italy because

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<v Speaker 1>I have a kind of a checkered past. Uh. And

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<v Speaker 1>when I was in Italy, I'd be Giovannino. Okay, A

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<v Speaker 1>couple of questions. There is the Benson Benson your mother's

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<v Speaker 1>maiden name, you know ben No, No, the her maiden

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<v Speaker 1>name is Bisher b I s h I R. And

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<v Speaker 1>I was only recently, uh explained to me before my

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<v Speaker 1>mom passed that she didn't know why my grandfather had

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<v Speaker 1>that middle name, except that there had been an Ohio

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<v Speaker 1>senator of that name that she thought maybe the folks

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<v Speaker 1>were nam me after. I really don't know. It's it's

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<v Speaker 1>a little mysterious. And you mentioned spending time in Italy.

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<v Speaker 1>What was going on there? Well, my dad had a

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<v Speaker 1>career that started in the United States. Uh, and as

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<v Speaker 1>time went on, he began to be able to travel,

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<v Speaker 1>uh and tour. He was a classical harmonica virtuoso. I

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<v Speaker 1>can only tell you that, Uh there's been nobody since

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<v Speaker 1>uh maybe Buon Fido a little bit, but this guy

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<v Speaker 1>really had a remarkable uh sphere of abilities, and people

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<v Speaker 1>like Villa Lobos were writing for him. Cherubin N wrote

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<v Speaker 1>for him. Uh. So this wasn't just a you know,

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<v Speaker 1>peg of my heart type harmonica player. So okay, but

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<v Speaker 1>I haven't gotten to it, have I. Uh So, what

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<v Speaker 1>what happen is that most summers, as time went on

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<v Speaker 1>and my dad started to get a reputation in Europe

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<v Speaker 1>that became a primary a primary source of income for him,

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<v Speaker 1>so that he would go to Europe most summers, and

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<v Speaker 1>his solution for not being an absent dad was he

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<v Speaker 1>would take the family and parked us in this beautiful

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<v Speaker 1>little red towered villa outside of Fez. I mean, if

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<v Speaker 1>you were gonna have an ideal place, it's ridiculous. I

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<v Speaker 1>should be ashamed of myself. At what a good age,

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<v Speaker 1>five to about eleven. And so every summer we would

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<v Speaker 1>go there after my schooling was done for the year.

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<v Speaker 1>That was the queue, and uh we would go and

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<v Speaker 1>sometimes Dad would go before us, but most of the

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<v Speaker 1>time we'd get on the boat and go to Geneva.

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<v Speaker 1>You would go by boat, not by plane. Correct. Wow,

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<v Speaker 1>I was a little kid. You know. Good experience, bad

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<v Speaker 1>experience on the boat, fantastic experience. All the Italian guys

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<v Speaker 1>love you. I mean, it's it was it was too

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<v Speaker 1>it was great fun. Uh yes, seven days. And you

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<v Speaker 1>know the larcenous quality of the Italians was so evident

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<v Speaker 1>because uh, I would go up to the first class

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<v Speaker 1>movie and try to get in and inevitably, the the

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<v Speaker 1>Italian guys that that we're working at would go okay, yeah, yeah,

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<v Speaker 1>they get in there, and and so I had really

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<v Speaker 1>full run of the boat. So one of the reasons

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<v Speaker 1>was that my dad spoke fluent Italian, uh the kind

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<v Speaker 1>that you really can't detect as an American. So uh

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<v Speaker 1>so he just really had carte blaunch on the boat

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<v Speaker 1>and really in Italy and in those remember it's in Italy.

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<v Speaker 1>Oh my god, everybody looks like Anita expert. Okay, you're

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<v Speaker 1>only you know, you're less than ten years old. But

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<v Speaker 1>it's as right. But it's also five years after the

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<v Speaker 1>Second World War? Correct? You know we saw movies they

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<v Speaker 1>were made there in black and white about the aftermath.

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<v Speaker 1>Did you experience that or you were just a kid

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<v Speaker 1>you didn't know. Okay, I was just a kid and

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<v Speaker 1>didn't know. But my friendships were all with people of

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<v Speaker 1>lower Uh how can I say this? They were It

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<v Speaker 1>was a lower class background that I was immersed in.

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<v Speaker 1>I was hanging out with farmers. I was hanging out

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<v Speaker 1>with the cooks and the cleaning ladies, because that's what

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<v Speaker 1>children of that era did. So I did have this

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<v Speaker 1>this experience of understanding a certain sorrow that I that

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<v Speaker 1>I couldn't really uh, I couldn't define. But I was

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<v Speaker 1>aware that Paolo and Paula, the two the two farmers,

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<v Speaker 1>the farmer and his wife were experiencing hardships. Okay, did

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<v Speaker 1>you learn a tow in fluently fluently just by going

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<v Speaker 1>every summer? Oh? Yes, see, don't call me so no

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<v Speaker 1>Borgino Medicant's saying. I have some flatterers who tell me

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<v Speaker 1>that I'm fairly undetectable as a Florentine, but not everybody. Okay,

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<v Speaker 1>so you know, I need to say a lot of

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<v Speaker 1>years have gone by. How do you keep up your

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<v Speaker 1>Retalian or once you have you can't lose it? Well,

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<v Speaker 1>it does stay with you, but I do occasionally. I

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<v Speaker 1>mean I've been over there for these week and a

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<v Speaker 1>half visits, not nearly enough, but I would always feel

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<v Speaker 1>like I was struggling my way up a ladder with

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<v Speaker 1>missing rungs, and I was trying to get all the

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<v Speaker 1>way up the sentence, you know. And then did you

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<v Speaker 1>have the experience of going back years later after you

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<v Speaker 1>had a certain amount of fame and success and interacting

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<v Speaker 1>with the same people. Yes, I did manage to uh

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<v Speaker 1>go back to um adjoining. The little vila that we

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<v Speaker 1>were living in is a hotel. The pension Benshista and uh,

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<v Speaker 1>it's been there forever and it's all ex pats and

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<v Speaker 1>it's it's just it's a little slice of the nineteen

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<v Speaker 1>forties that's just sort of still there. And uh, that

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<v Speaker 1>experience of of of being there was it was amazing. Okay,

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<v Speaker 1>where was your father born? My father was born in Philadelphia? Okay?

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<v Speaker 1>And how many how many generations is he removed from

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<v Speaker 1>the old country? His father was born in Italy? So yeah,

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<v Speaker 1>we were all Abrutzes, uh by background, and how does

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<v Speaker 1>it become Sebastian or that what it was? Okay, here's

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<v Speaker 1>how it goes. Uh. We we start my father Giovanni

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<v Speaker 1>bot now, so he's going to have Herford. He's Magna

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<v Speaker 1>cum laud. But they keep calling him Puggles. Now you know,

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<v Speaker 1>a guy can be patient about that for a while,

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<v Speaker 1>but after a while you start to go, is it

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<v Speaker 1>so far off that you couldn't pronounce this? So there

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<v Speaker 1>was a point and he tells the story. Uh, well,

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<v Speaker 1>actually I had made the inquiry at one point because

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<v Speaker 1>I saw, uh, you know, uh his name on a

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<v Speaker 1>billboard or something, and I said, Dad, you know, how

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<v Speaker 1>come our name is different than Grandpa? And he said, son, Here,

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<v Speaker 1>here's what it is. Polis is a name that Americans

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<v Speaker 1>have a lot of trouble with. And uh so that's

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<v Speaker 1>uh one strike. Then I'm a classical harmonica player. That's

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<v Speaker 1>two more strikes. So at that point I decided that

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<v Speaker 1>Polis could go. Because John Sebastian looks real good on

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<v Speaker 1>a on a marquee. You know what an amazing story.

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<v Speaker 1>Well how about your mother? Where what's her background? Oh? Man,

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<v Speaker 1>and this is the one that nobody gets to. I'm

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<v Speaker 1>very glad because my mom at sixteen, uh, became an

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<v Speaker 1>amazing writer for radio. It's it's really it's Tina Fey story.

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<v Speaker 1>It really is. It's the same story where this young

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<v Speaker 1>woman comes in and just kills it. She writes funny

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<v Speaker 1>and she makes up crazy stuff. Uh. You know, there's

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<v Speaker 1>an Amos and Andy show, so she does and just

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<v Speaker 1>an amy and it's about stupid white people. Uh, and

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<v Speaker 1>she does a show uh uh, father is an Idiot

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<v Speaker 1>was another thing that she did. So she's always punning

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<v Speaker 1>on existing radio material. But what happened was then she

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<v Speaker 1>got the job at at the big the big station,

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<v Speaker 1>the big town. She went to Cincinnata. So she works

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<v Speaker 1>there for a while at NBC, and NBC finds out

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<v Speaker 1>about her and they go, oh, you're going to New York.

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<v Speaker 1>So at the end of her sixteenth year she is

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<v Speaker 1>she comes home and goes, so, uh, they're gonna hire me,

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<v Speaker 1>and I'm gonna go to New York. And her father,

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<v Speaker 1>my grandfather, says, that's wonderful, honey, And you know, I'm

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<v Speaker 1>coming right along with you because I'm gonna be your roommate.

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<v Speaker 1>And that's what he did. For the next couple of years.

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<v Speaker 1>Uh was sort of zip back and forth between Dayton,

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<v Speaker 1>uh and UH and and New York. And then eventually, uh,

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<v Speaker 1>the grandparents on my mother's side moved to Florida. So

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<v Speaker 1>that was another wonderful little visit that I could make

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<v Speaker 1>in the winter usually. Okay, so how did your parents meet. Well,

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<v Speaker 1>I'd say that they probably met um in in New

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<v Speaker 1>York society. Uh, in the life of professional artists. They

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<v Speaker 1>crossed paths. Um mom had a couple of dear friends

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<v Speaker 1>who met dad and said, oh, you have to meet

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<v Speaker 1>this guy, and uh, people like Vivian Vance who were

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<v Speaker 1>just like blood sisters, Jane and and she and people

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<v Speaker 1>like Oh, there were a few great sculptors and people

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<v Speaker 1>like Garth Williams who were sort of pals with them,

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<v Speaker 1>and somehow or another they all met through those channels. Okay,

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<v Speaker 1>you say your father was magna come loud. So he

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<v Speaker 1>was educated, man, He graduated magna cum laud from Haverford.

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<v Speaker 1>So then he goes then he gets a scholarship to

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<v Speaker 1>the in the Versadroma, and now, uh, what about twenty

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<v Speaker 1>he's living in Rome and he's living there with the cats.

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<v Speaker 1>I mean, you know, Casals and Picasso and and Garth

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<v Speaker 1>Williams and all these cool guys who I would later meet,

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<v Speaker 1>and you know, it was just such a wonderful, uh

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<v Speaker 1>a little mini society that I was dropped into. I mean,

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<v Speaker 1>if I hadn't done something constructive, it would have been

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<v Speaker 1>a real mess. Okay, So how does one become harmonica

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<v Speaker 1>player on that classical level? And where was he traded?

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<v Speaker 1>So it starts in Philadelphia. Um, he gets a job, Well,

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<v Speaker 1>he becomes the soul list for um, the composer of

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<v Speaker 1>every damn march we we use? And yes, okay, so

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<v Speaker 1>Dad was a uh a player in that harmonica orchestra,

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<v Speaker 1>and then he became the soloist. So by sixteen he

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<v Speaker 1>was the main soloist for that band. It was his

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<v Speaker 1>Philadelphia group, and they toured quite quite a lot and

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<v Speaker 1>and quite far in there. Well, you know, in the

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<v Speaker 1>rock era, most harmonica players herself taught. Did your father

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<v Speaker 1>have formal lessons? You know, I really don't know some

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<v Speaker 1>of this because Dad was the guy that was giving

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<v Speaker 1>people formal lessons. You know. We'd have Johnny Palo over

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<v Speaker 1>at our house and you know, two or three harmonicats,

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<v Speaker 1>and they were all trying to learn, you know, tongue

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<v Speaker 1>blocking and and some of the advanced techniques that my

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<v Speaker 1>father really had under control. So how did your father

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<v Speaker 1>feel that you didn't graduate from college? You know, it

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<v Speaker 1>was a great disappointment to him and all the pouliasis.

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<v Speaker 1>I must say, yeah, I was fighting an uphill battle

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<v Speaker 1>for for respect because as dyslexic as I am, I

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<v Speaker 1>just could not pass an ancient history course and so

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<v Speaker 1>so really I was a poor student. Um. But luckily

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<v Speaker 1>my dad started to see it somewhere around eighteen. And

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<v Speaker 1>my brother, my little brother, always quotes him because he

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<v Speaker 1>loves the quote. Because people would say, you know, your

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<v Speaker 1>son has a number six record on the billboard, Sharks,

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<v Speaker 1>and Dad would look into the near distance and say,

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<v Speaker 1>I can't understand it. He always lands on his feet. Okay,

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<v Speaker 1>So how many kids in how many kids in the family?

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<v Speaker 1>Just to me and my brother Mark, he's seven years

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<v Speaker 1>my junior. Okay, you grow up in Greenwich Village, Yes, sir,

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<v Speaker 1>you were literally there and it started and long before

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<v Speaker 1>it became penetrated to the rest of society, late fifties

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<v Speaker 1>and early sixties. What was it like being a city

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<v Speaker 1>kid in the village. It was so great. I mean,

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<v Speaker 1>part of it was that this was the this wonderful

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<v Speaker 1>neighborhood where there's like multi culty couples and every LGBT

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<v Speaker 1>undeclared person at that point. Uh. They also all my

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<v Speaker 1>dad's friends and and and so we were experiencing you know. Uh,

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<v Speaker 1>Burl Lives is over at the house one one evening,

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<v Speaker 1>and he's the one who gets Dad talked into the

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<v Speaker 1>idea of you gotta let this songwriter guy from Oklahoma,

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<v Speaker 1>you gotta let him stay with you for a couple

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<v Speaker 1>of weeks. He's kind of out of sorts, and it

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<v Speaker 1>turns out to be Woody Guthrie. Uh. You know, this

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<v Speaker 1>was going on. This was going on pretty regularly. I

0:18:25.920 --> 0:18:30.040
<v Speaker 1>remember and I do remember distinctly lying in my bed

0:18:30.359 --> 0:18:33.359
<v Speaker 1>and remember it's practically a crib. I may have been

0:18:33.480 --> 0:18:38.680
<v Speaker 1>four or five. And uh and uh, there's this guy

0:18:38.800 --> 0:18:44.520
<v Speaker 1>in the other room. He's have ye seen that virgility? Man?

0:18:44.920 --> 0:18:48.960
<v Speaker 1>And I'm listening and I'm going not not as good

0:18:49.000 --> 0:18:55.679
<v Speaker 1>as Dad. That was my conclusion. Okay, you know a

0:18:55.680 --> 0:18:58.080
<v Speaker 1>lot of kids grow up in the fifties and sixties.

0:18:58.200 --> 0:19:01.280
<v Speaker 1>They have sports center. But you're living in the city.

0:19:01.320 --> 0:19:04.439
<v Speaker 1>Are you playing any sports or you're entertaining yourself? What

0:19:04.560 --> 0:19:09.560
<v Speaker 1>is your passion growing up? Well, uh, you know, the

0:19:09.680 --> 0:19:14.840
<v Speaker 1>guitar started to be important by about thirteen or fourteen,

0:19:15.920 --> 0:19:21.919
<v Speaker 1>and then I spent five years where all summer I

0:19:21.960 --> 0:19:26.360
<v Speaker 1>would be at a really great comedy summer camp, and

0:19:26.400 --> 0:19:30.880
<v Speaker 1>then all winter I would be at conservative old Blair

0:19:31.040 --> 0:19:35.800
<v Speaker 1>Academy in Blairstown, New Jersey. So I was having this.

0:19:36.680 --> 0:19:39.800
<v Speaker 1>I mean, it was a great contrast, but it was

0:19:40.040 --> 0:19:44.720
<v Speaker 1>very difficult because I had very little patience for you know,

0:19:45.000 --> 0:19:48.200
<v Speaker 1>I mean Blair Academy at the time. Their their main

0:19:48.280 --> 0:19:51.679
<v Speaker 1>concern was that I cut my hair because when I

0:19:51.760 --> 0:19:55.399
<v Speaker 1>came from Italy, I had an Italian haircut. That's called

0:19:55.560 --> 0:19:59.320
<v Speaker 1>a good haircut. But no, Yeah, I had to go

0:19:59.440 --> 0:20:04.120
<v Speaker 1>and know be a have butch haircuts and that kind

0:20:04.160 --> 0:20:14.199
<v Speaker 1>of stuff. You're growing up, Are you a member of

0:20:14.200 --> 0:20:16.639
<v Speaker 1>the group with a million friends or you're more of

0:20:16.680 --> 0:20:20.200
<v Speaker 1>a loner. What kind of kid are you? Yeah, I'm

0:20:20.240 --> 0:20:23.480
<v Speaker 1>I'm I'm not the guy with a million friends. But

0:20:24.040 --> 0:20:27.520
<v Speaker 1>what did start to happen was that it was kind

0:20:27.560 --> 0:20:32.680
<v Speaker 1>of like a miniature fan base over the five years.

0:20:32.760 --> 0:20:35.000
<v Speaker 1>Remember I've got a lot of years at that place,

0:20:35.040 --> 0:20:38.560
<v Speaker 1>so they had time to like, see me bomb and

0:20:38.560 --> 0:20:42.280
<v Speaker 1>then actually do something good and then play with the

0:20:43.040 --> 0:20:49.520
<v Speaker 1>Fearsome Foursome. Wow, the do wop group. The Fearsome Foursome

0:20:49.800 --> 0:20:52.640
<v Speaker 1>needed a guitar player, and I became one, even though

0:20:52.880 --> 0:20:56.919
<v Speaker 1>I was a freshman. Okay, wait, let's go back a

0:20:56.960 --> 0:21:00.879
<v Speaker 1>few chapters. One, what greed? Do you go to New

0:21:00.960 --> 0:21:05.680
<v Speaker 1>Jersey to Blair Academy eighth grade? Eighth grade? So before

0:21:05.840 --> 0:21:08.800
<v Speaker 1>that you're living in the city, going to public school.

0:21:09.440 --> 0:21:15.919
<v Speaker 1>Coupley uh well no, uh friends seminary Okay, and what

0:21:15.960 --> 0:21:17.639
<v Speaker 1>do you have to say when your parents said you

0:21:17.680 --> 0:21:22.080
<v Speaker 1>got to go to boarding school? You know, it seemed

0:21:22.160 --> 0:21:27.200
<v Speaker 1>like a natural transition. My uncle had gone to Blair

0:21:28.440 --> 0:21:35.240
<v Speaker 1>Uh and I also was watching my parents marriage fall apart,

0:21:35.840 --> 0:21:39.200
<v Speaker 1>and I could see the logic of getting me out

0:21:39.200 --> 0:21:43.680
<v Speaker 1>of the house. So there was a sort of a yeah,

0:21:43.720 --> 0:21:46.480
<v Speaker 1>I could be good to do this. And the other

0:21:46.560 --> 0:21:49.920
<v Speaker 1>thing was, boy, it could really be good for my

0:21:50.040 --> 0:21:53.719
<v Speaker 1>parents to be because I knew it wasn't gonna you know,

0:21:53.760 --> 0:21:57.760
<v Speaker 1>it was gonna take a dive. But but you know,

0:21:57.840 --> 0:22:00.600
<v Speaker 1>if they could do it with as little screaming as possible,

0:22:00.640 --> 0:22:04.080
<v Speaker 1>that would be great. So like that. Okay, So how

0:22:04.080 --> 0:22:07.440
<v Speaker 1>old were you when your parents got divorced? Uh? For

0:22:07.600 --> 0:22:13.040
<v Speaker 1>did my fourteen? About fourteen? Okay? You usually that fox

0:22:13.080 --> 0:22:19.160
<v Speaker 1>people up? How how was it for you? Uh? You know, uh,

0:22:19.200 --> 0:22:24.280
<v Speaker 1>for one thing at a time when nobody was smart

0:22:24.320 --> 0:22:28.480
<v Speaker 1>about divorce, my parents were kind of smart about divorce.

0:22:29.480 --> 0:22:33.880
<v Speaker 1>Dad took an apartment up at sixty seven Street. I'm

0:22:33.960 --> 0:22:37.560
<v Speaker 1>living on Washington Square West. I can walk up to

0:22:37.600 --> 0:22:41.919
<v Speaker 1>see him if I have the impulse, and so I

0:22:42.000 --> 0:22:45.360
<v Speaker 1>must save it. I suffered less than than a lot

0:22:45.400 --> 0:22:49.439
<v Speaker 1>of folks. Okay, So how old are you when you

0:22:49.480 --> 0:22:56.200
<v Speaker 1>pick up the guitar? About about twelve or thirteen? Okay,

0:22:56.320 --> 0:22:58.760
<v Speaker 1>before you go to Blair Academy, or when you were

0:22:58.760 --> 0:23:03.560
<v Speaker 1>a Blair Academy slightly before. Okay. Now I'm of a

0:23:03.600 --> 0:23:07.320
<v Speaker 1>slightly younger generation where the Beatles were on TV, everybody

0:23:07.320 --> 0:23:09.640
<v Speaker 1>picked up the guitar, and there was the Folk movie

0:23:09.720 --> 0:23:12.360
<v Speaker 1>before that, so maybe we played with nylon string guitars.

0:23:12.600 --> 0:23:18.239
<v Speaker 1>What inspired you to play the guitar? Um, That'll be

0:23:18.280 --> 0:23:25.480
<v Speaker 1>the Day by Buddy Holly. It's little things, you know. Rumble.

0:23:26.040 --> 0:23:29.000
<v Speaker 1>I heard rumble, and I went out of my mind.

0:23:29.320 --> 0:23:33.960
<v Speaker 1>I said, what are those chords? Uh? And in years,

0:23:33.960 --> 0:23:36.280
<v Speaker 1>in later years, when I got a chance to talk

0:23:36.359 --> 0:23:40.640
<v Speaker 1>to Pete Townsend about this, we found that we totally

0:23:40.680 --> 0:23:44.920
<v Speaker 1>agreed and it had the same exact experience where we

0:23:45.000 --> 0:23:48.400
<v Speaker 1>heard it one night in the evening on the channel

0:23:48.840 --> 0:23:52.120
<v Speaker 1>and just stayed on that channel until three or four

0:23:52.160 --> 0:23:55.120
<v Speaker 1>in the morning on the off chance that it might

0:23:55.200 --> 0:23:59.679
<v Speaker 1>play again. And it did. Okay, so you were definitely

0:23:59.680 --> 0:24:07.679
<v Speaker 1>a did you pick up? That's I don't want to

0:24:07.720 --> 0:24:12.400
<v Speaker 1>make an incomplete impression here, because the other thing, remember

0:24:12.480 --> 0:24:16.280
<v Speaker 1>these same five summers, I'm going to this summer camp

0:24:16.640 --> 0:24:20.200
<v Speaker 1>where Pete Seeger comes and visits, where all the cool

0:24:20.320 --> 0:24:25.760
<v Speaker 1>girls know every damn folk song in the world. Uh.

0:24:25.800 --> 0:24:28.280
<v Speaker 1>There's two sisters there and they both know how to

0:24:28.359 --> 0:24:33.480
<v Speaker 1>carter pick, so I'm learning folk music there. Uh. The

0:24:33.520 --> 0:24:36.520
<v Speaker 1>other thing is that the woman that ran the camp

0:24:36.680 --> 0:24:40.560
<v Speaker 1>quickly put me in a little sugar house and said,

0:24:40.600 --> 0:24:44.640
<v Speaker 1>your job is to teach the kids folk songs and

0:24:44.800 --> 0:24:48.320
<v Speaker 1>maybe make up little plays. And that's that's the thing

0:24:48.400 --> 0:24:52.480
<v Speaker 1>that I did for five summers, and Matt really honed

0:24:52.680 --> 0:24:59.120
<v Speaker 1>my uh whatever craft I have, uh more than almost

0:24:59.200 --> 0:25:03.280
<v Speaker 1>anything I think to be to try to hold eight

0:25:03.320 --> 0:25:09.320
<v Speaker 1>to fifteen year old's attention for forty five minutes. Okay,

0:25:09.840 --> 0:25:18.080
<v Speaker 1>ever take any guitar lessons? Uh? You know it was no.

0:25:18.359 --> 0:25:22.440
<v Speaker 1>I guess it's the answer because I um. I had

0:25:22.480 --> 0:25:25.879
<v Speaker 1>a friend who had a beautiful sister with a classical

0:25:25.960 --> 0:25:30.399
<v Speaker 1>guitar who I talked into borrowing for a week, And

0:25:31.119 --> 0:25:35.400
<v Speaker 1>I started off with an E minor chord and by

0:25:35.440 --> 0:25:43.960
<v Speaker 1>the end of the week I had invented d Okay,

0:25:44.160 --> 0:25:46.600
<v Speaker 1>needlet's just say, when we first see you on television,

0:25:46.640 --> 0:25:49.800
<v Speaker 1>you're playing an auto harp. So your father is a

0:25:49.920 --> 0:25:54.720
<v Speaker 1>musician music. Did your father teach you the harmonica the

0:25:54.760 --> 0:25:57.479
<v Speaker 1>auto harp? Was he too deep into his own stuff?

0:25:57.480 --> 0:25:59.679
<v Speaker 1>What was going on in the house? You know? I

0:25:59.720 --> 0:26:04.040
<v Speaker 1>think fit part of my father's Ethos came from going

0:26:04.080 --> 0:26:10.120
<v Speaker 1>to school with a tremendous number of lawyers, guys studying law,

0:26:10.920 --> 0:26:13.840
<v Speaker 1>and he he explained it years later when he would

0:26:13.960 --> 0:26:17.800
<v Speaker 1>visit these guys and there'd be their son, and the

0:26:17.920 --> 0:26:21.919
<v Speaker 1>son is already in school to be a lawyer, and

0:26:22.240 --> 0:26:26.040
<v Speaker 1>doesn't seem that motivated, you know, And so he said,

0:26:26.160 --> 0:26:29.399
<v Speaker 1>I don't want to do that with music or the

0:26:29.480 --> 0:26:33.800
<v Speaker 1>harmonica or any of that. Uh. You know, you're you're

0:26:33.840 --> 0:26:38.200
<v Speaker 1>gonna fly your own your own ship. You know it's

0:26:38.640 --> 0:26:47.440
<v Speaker 1>it's gonna be uh, your your impulse. So although how

0:26:47.640 --> 0:26:51.560
<v Speaker 1>could I not listening to a man rehearsed for six

0:26:51.640 --> 0:26:56.040
<v Speaker 1>to eight hours a day, and that's a real number. Uh,

0:26:56.160 --> 0:26:59.880
<v Speaker 1>some of these buccarini can share those that go far

0:27:00.119 --> 0:27:04.040
<v Speaker 1>and by so fast you have to practice for years

0:27:04.080 --> 0:27:07.119
<v Speaker 1>to be able to do it. My dad started adapting

0:27:07.119 --> 0:27:11.919
<v Speaker 1>a technique with vassoline that horrified the owner company completely.

0:27:12.760 --> 0:27:15.040
<v Speaker 1>But you know this is this is what some of

0:27:15.080 --> 0:27:20.640
<v Speaker 1>these uh disciplines demanded. Okay, so your father never taught

0:27:20.640 --> 0:27:24.000
<v Speaker 1>you how to play harmonica, never gave you any tips. Correct.

0:27:24.400 --> 0:27:30.640
<v Speaker 1>However he did he did a better thing. He came

0:27:30.680 --> 0:27:37.000
<v Speaker 1>home with a sunny terry silver acetate and I put

0:27:37.080 --> 0:27:42.800
<v Speaker 1>that thing on, and I was mystified because I had

0:27:42.880 --> 0:27:47.399
<v Speaker 1>never heard the instrument that way, And it actually was

0:27:47.520 --> 0:27:50.720
<v Speaker 1>a good half a year of trying to figure out

0:27:50.720 --> 0:27:53.720
<v Speaker 1>and then I suddenly realized, oh my god, the time

0:27:53.840 --> 0:27:58.200
<v Speaker 1>that court is on the inhale. How could I have

0:27:58.280 --> 0:28:03.240
<v Speaker 1>missed this? So so then really from then on, a

0:28:03.320 --> 0:28:07.040
<v Speaker 1>part part of the my background at that point is

0:28:07.640 --> 0:28:11.440
<v Speaker 1>that I start meeting Sunny Terry fairly regularly in these

0:28:11.480 --> 0:28:14.560
<v Speaker 1>folk clubs, and I'd go in there, and by the

0:28:14.640 --> 0:28:19.800
<v Speaker 1>second time I went, I go, Sonny, Hey, go is

0:28:19.800 --> 0:28:25.240
<v Speaker 1>that Johnny's son? So it was very fast. Uh and

0:28:25.680 --> 0:28:29.280
<v Speaker 1>he and Sonny in many ways was sort of a

0:28:29.320 --> 0:28:34.479
<v Speaker 1>conduit into what would become really a focus, which was

0:28:35.240 --> 0:28:39.200
<v Speaker 1>Sam Hopkins in years later. Okay, let's go back to

0:28:39.240 --> 0:28:42.120
<v Speaker 1>Blair Academy. You said there were five years there that

0:28:42.240 --> 0:28:45.000
<v Speaker 1>you were the musician. You're kind of playing in bands,

0:28:45.320 --> 0:28:49.600
<v Speaker 1>So tell me more about that. Well, Uh, there there

0:28:49.680 --> 0:28:52.600
<v Speaker 1>was a great incentive to play in those bands because

0:28:52.760 --> 0:29:00.400
<v Speaker 1>those bands would go to dances, and dances required women,

0:29:01.080 --> 0:29:05.680
<v Speaker 1>and there would be, you know, your loan opportunity to

0:29:06.480 --> 0:29:12.120
<v Speaker 1>actually hold a woman in your arms. And so uh,

0:29:12.800 --> 0:29:16.800
<v Speaker 1>me and one of my roommates caught onto this very fast,

0:29:17.160 --> 0:29:20.360
<v Speaker 1>and he was a piano player or sort of learning,

0:29:20.680 --> 0:29:24.240
<v Speaker 1>and I was, you know, playing straight aids on the guitar,

0:29:24.720 --> 0:29:29.280
<v Speaker 1>and so that really was really all about that, uh,

0:29:29.480 --> 0:29:34.680
<v Speaker 1>that that those band things would form. And then there

0:29:34.760 --> 0:29:38.160
<v Speaker 1>was this even dozen thing um and said there was

0:29:38.240 --> 0:29:47.280
<v Speaker 1>this uh fearsome forsomething and that was a a do

0:29:47.440 --> 0:29:52.320
<v Speaker 1>op group, fairly tame, but but you know, it was

0:29:52.360 --> 0:29:55.320
<v Speaker 1>the perfect moment because that's when all of those da

0:29:55.440 --> 0:29:57.240
<v Speaker 1>da da da da da da da da da da

0:29:57.360 --> 0:30:00.480
<v Speaker 1>da da da, all of those tunes were on the

0:30:00.520 --> 0:30:05.480
<v Speaker 1>air and we learned everyone. So did it work for you?

0:30:05.480 --> 0:30:08.480
<v Speaker 1>You were in the band, the girls were there? Oh yeah,

0:30:08.480 --> 0:30:12.320
<v Speaker 1>I got kicked out once because of that. Okay, what

0:30:12.440 --> 0:30:16.480
<v Speaker 1>happened there? Hey, I'm not going to tell you no no,

0:30:16.760 --> 0:30:20.440
<v Speaker 1>I you know, it was so innocent that it's really

0:30:20.920 --> 0:30:28.600
<v Speaker 1>it's a sorry tale because uh what happened was, uh,

0:30:28.680 --> 0:30:34.600
<v Speaker 1>I went to a dance. It was a younger classman's

0:30:34.760 --> 0:30:39.160
<v Speaker 1>dance and they had asked me to come and play,

0:30:39.760 --> 0:30:45.520
<v Speaker 1>and I did, and I pulled a very nice girl

0:30:46.280 --> 0:30:51.360
<v Speaker 1>who was very happy to go out and see what

0:30:51.440 --> 0:30:55.600
<v Speaker 1>the golf course really looked like. In the evening, and

0:30:56.080 --> 0:30:59.800
<v Speaker 1>so we did, and we were caught by a history teacher.

0:31:00.400 --> 0:31:04.120
<v Speaker 1>And you know what's really tragic is I was suspended

0:31:04.160 --> 0:31:07.000
<v Speaker 1>for two weeks and that girl was kicked out of

0:31:07.040 --> 0:31:12.480
<v Speaker 1>her school. Wow, that's talk about you know that difference,

0:31:12.760 --> 0:31:17.600
<v Speaker 1>Well that sexism. Okay, you graduate from high school, then

0:31:17.680 --> 0:31:23.480
<v Speaker 1>what I go to n YU for a year because

0:31:23.520 --> 0:31:28.880
<v Speaker 1>it's across the park. Okay, I had no other reason.

0:31:29.000 --> 0:31:34.440
<v Speaker 1>And and my dad, uh, he took me up there

0:31:34.440 --> 0:31:38.280
<v Speaker 1>at Washington Square North and we we we go up

0:31:38.320 --> 0:31:41.200
<v Speaker 1>and get to the door, and I said, well, this

0:31:41.280 --> 0:31:43.080
<v Speaker 1>is gonna be great. Dad, come on in and we'll

0:31:43.400 --> 0:31:47.520
<v Speaker 1>check in. And he goes, no, no, no. From this

0:31:47.680 --> 0:31:51.719
<v Speaker 1>step you take by yourself because I can lead a

0:31:51.760 --> 0:31:56.840
<v Speaker 1>horse to water, but that's all I can do. So

0:31:58.200 --> 0:32:03.040
<v Speaker 1>I thought it was pretty real. And uh, I was

0:32:03.080 --> 0:32:07.800
<v Speaker 1>a bad student for a good three quarters of a year. Uh.

0:32:07.840 --> 0:32:10.400
<v Speaker 1>And then I think I came back the next year

0:32:10.520 --> 0:32:15.080
<v Speaker 1>for maybe a couple of weeks before I just see

0:32:15.160 --> 0:32:17.640
<v Speaker 1>at the same time, there's all this other stuff going on.

0:32:17.720 --> 0:32:21.960
<v Speaker 1>I'm in Greenwich Village, my god, six blocks away. John

0:32:22.080 --> 0:32:26.720
<v Speaker 1>Dangelico was making arch top guitars. Uh, and a much

0:32:26.760 --> 0:32:33.680
<v Speaker 1>more modest endeavor is uh Tom Fincy making classical guitars.

0:32:34.280 --> 0:32:37.920
<v Speaker 1>At the time, I wanted a classical guitar. I went

0:32:38.000 --> 0:32:43.120
<v Speaker 1>to this little shop on Broadway, and UH realized that

0:32:43.160 --> 0:32:48.160
<v Speaker 1>they're all up rutzes. So I quickly start speaking Italian

0:32:48.240 --> 0:32:52.520
<v Speaker 1>with my grandmother's accent, and in an hour or two,

0:32:52.600 --> 0:32:57.880
<v Speaker 1>I'm sweeping up. So that became the next thing that

0:32:57.920 --> 0:33:01.680
<v Speaker 1>I did, really was sweeping up at the shop and

0:33:02.040 --> 0:33:05.920
<v Speaker 1>standing down guitars and tuning. They found that I could

0:33:05.960 --> 0:33:08.640
<v Speaker 1>tune a lot of guitars and in a short amount

0:33:08.680 --> 0:33:13.760
<v Speaker 1>of time, and so it was. It was completely absorbing.

0:33:14.160 --> 0:33:18.680
<v Speaker 1>I was meeting some of the great guitarists of the era.

0:33:19.440 --> 0:33:27.880
<v Speaker 1>Um uh Raimo Palmierti, uh the guitarists who played for

0:33:28.040 --> 0:33:32.040
<v Speaker 1>Arthur Godfrey and was the number one call at the

0:33:32.200 --> 0:33:38.760
<v Speaker 1>NBC Orchestra, a remarkable guitarist, and his brother Paul Palmieri,

0:33:39.120 --> 0:33:43.120
<v Speaker 1>who was the If you ever wanted to say, this

0:33:43.240 --> 0:33:46.480
<v Speaker 1>is why I should be a musician, it was because

0:33:46.560 --> 0:33:51.200
<v Speaker 1>every week Paul Pomierti would show up with the beautiful

0:33:51.320 --> 0:33:56.520
<v Speaker 1>Japanese girl. Next week it's some kind of multiculty who

0:33:56.560 --> 0:34:01.320
<v Speaker 1>knows what girl and he just had He was say, uh,

0:34:01.360 --> 0:34:05.280
<v Speaker 1>what do they call that a sequential whatever? Uh? But

0:34:05.920 --> 0:34:09.440
<v Speaker 1>I just said, Wow, you can have this many girl

0:34:09.480 --> 0:34:14.399
<v Speaker 1>friends if you can play guitar. Well. So, so I

0:34:14.440 --> 0:34:17.120
<v Speaker 1>was watching all of this and that really was the

0:34:17.320 --> 0:34:22.520
<v Speaker 1>end of UH of n y U. But I had

0:34:22.680 --> 0:34:28.560
<v Speaker 1>met a key person in David Grisman, who still tells

0:34:28.600 --> 0:34:31.279
<v Speaker 1>the story of seeing me in the n y U

0:34:31.440 --> 0:34:38.480
<v Speaker 1>elevator with this uh twelve harmonicas on a Holster arrangement

0:34:38.520 --> 0:34:43.200
<v Speaker 1>that I had had made at Tandy leather U because

0:34:43.800 --> 0:34:48.160
<v Speaker 1>I realized I needed more than two or three harmonicas. Uh.

0:34:48.239 --> 0:34:55.720
<v Speaker 1>So there that that became a real, a real focus. Okay,

0:34:55.719 --> 0:34:58.760
<v Speaker 1>so we're like sixty two sixty three. The folks scene

0:34:58.840 --> 0:35:01.120
<v Speaker 1>is big. You talk about going to a club, you're

0:35:01.160 --> 0:35:05.120
<v Speaker 1>working in the guitar shop. Yeah, but what is going

0:35:05.160 --> 0:35:08.359
<v Speaker 1>on in the culture at that point. Were you're going

0:35:08.400 --> 0:35:11.320
<v Speaker 1>to clubs every night? We're going occasionally? Were you playing

0:35:11.360 --> 0:35:14.239
<v Speaker 1>with other musicians you'd played in groups in high school

0:35:14.280 --> 0:35:18.200
<v Speaker 1>where you're trying to for Max? What was happening? I

0:35:18.239 --> 0:35:25.120
<v Speaker 1>was beginning to haunt Bleaker and McDougal, And it happened

0:35:25.400 --> 0:35:30.120
<v Speaker 1>for two reasons. One was my own uh desires, but

0:35:30.239 --> 0:35:36.080
<v Speaker 1>also I had become a mini me for one Paul Rothschild.

0:35:37.200 --> 0:35:41.560
<v Speaker 1>Rothschild and I became very tight in the process of

0:35:41.640 --> 0:35:49.680
<v Speaker 1>making a Fred Neil album. Uh, and I suddenly was

0:35:49.800 --> 0:35:55.920
<v Speaker 1>getting work as a studio musician as a result of Rothschild.

0:35:56.000 --> 0:35:59.719
<v Speaker 1>Wait wait, wait a little bit slower. You meet Rothchild?

0:35:59.800 --> 0:36:02.840
<v Speaker 1>How ow and you get? And how does he realize

0:36:02.840 --> 0:36:05.720
<v Speaker 1>your guitar player? And he says, come to my sessions?

0:36:05.719 --> 0:36:09.200
<v Speaker 1>You know a little bit. How does this happen? Okay? Um?

0:36:09.880 --> 0:36:14.359
<v Speaker 1>I was hanging around with David Grisman a little bit

0:36:15.000 --> 0:36:18.000
<v Speaker 1>and Uh. At one summer I came back from summer

0:36:18.080 --> 0:36:20.799
<v Speaker 1>camp and my mother is holding the phone as I

0:36:20.880 --> 0:36:25.840
<v Speaker 1>walk in the door. She says, it's Stephen. She says

0:36:25.880 --> 0:36:29.120
<v Speaker 1>it really bored because Stephen and I are haunting each

0:36:29.120 --> 0:36:31.960
<v Speaker 1>other's houses all the time trying to figure out these

0:36:32.040 --> 0:36:36.520
<v Speaker 1>various finger picking things. And Stephen gets on the phone

0:36:36.560 --> 0:36:42.200
<v Speaker 1>and says, so, uh, we're forming a jug band and

0:36:42.480 --> 0:36:46.920
<v Speaker 1>it's gonna rehearse on fourteenth Street and oh yeah, and

0:36:46.960 --> 0:36:52.640
<v Speaker 1>you're the harmonica player. And so I say, what is

0:36:52.680 --> 0:36:57.680
<v Speaker 1>a jug band? And Stephen says, just come to four

0:36:58.080 --> 0:37:03.279
<v Speaker 1>Street and and uh, we're gonna We're gonna rehearse and

0:37:03.360 --> 0:37:07.399
<v Speaker 1>will show you. So I go to that rehearsal and

0:37:07.520 --> 0:37:11.600
<v Speaker 1>one of the people that's there is Paul Rothschild, who

0:37:11.640 --> 0:37:16.799
<v Speaker 1>I don't know, but Rothschild and I begin a kind

0:37:16.840 --> 0:37:20.359
<v Speaker 1>of we're jabbing at each other in a very New

0:37:20.440 --> 0:37:23.560
<v Speaker 1>York way. You know what this is, of course, and

0:37:23.560 --> 0:37:29.480
<v Speaker 1>and so, but it's very friendly, and the conversation turns

0:37:29.600 --> 0:37:34.040
<v Speaker 1>to marijuana, and it is quickly clear that both of

0:37:34.120 --> 0:37:40.240
<v Speaker 1>us are fans and uh, and Paul is now trying

0:37:40.320 --> 0:37:46.440
<v Speaker 1>to make this group of kind of random blues kids

0:37:47.040 --> 0:37:52.840
<v Speaker 1>into a jug band, his logic being this Jim question

0:37:52.960 --> 0:37:57.520
<v Speaker 1>jug band thing is taking off and and there's room

0:37:57.600 --> 0:38:01.320
<v Speaker 1>for a New York jug band and and why don't

0:38:01.360 --> 0:38:04.920
<v Speaker 1>you guys do it? And uh, all of a sudden,

0:38:04.920 --> 0:38:10.720
<v Speaker 1>we're working Carnegie Hall. This was what parenthetically, I would say.

0:38:11.120 --> 0:38:14.399
<v Speaker 1>I go up to sixty seven Street to visit dad. Oh, yeah,

0:38:14.400 --> 0:38:17.080
<v Speaker 1>what you're doing us? And blah blah blah, Yeah, trying

0:38:17.120 --> 0:38:19.640
<v Speaker 1>to work and so and said, what we do have

0:38:19.719 --> 0:38:23.880
<v Speaker 1>a couple of gigs? Really really, where are you working? Well,

0:38:24.239 --> 0:38:27.759
<v Speaker 1>we've got a gig at Town Hall and then we

0:38:27.840 --> 0:38:36.920
<v Speaker 1>play Carnegie. This was another time when my dad was

0:38:37.360 --> 0:38:40.400
<v Speaker 1>I think the reaction was, I don't know how he

0:38:40.480 --> 0:38:44.000
<v Speaker 1>doesn't he always lands on his feet. Okay, but whatever,

0:38:44.520 --> 0:38:47.120
<v Speaker 1>you know, we know you get to Carnegie Hall by practicing,

0:38:47.560 --> 0:38:51.600
<v Speaker 1>but we also know there's more than luck involved. So

0:38:51.800 --> 0:38:54.879
<v Speaker 1>Rothchild puts together the band. How does it all come

0:38:54.880 --> 0:38:58.480
<v Speaker 1>together that you end up playing Carnegie Hall? Well, because

0:38:58.719 --> 0:39:03.719
<v Speaker 1>we had begun to play together in earnest and we

0:39:03.840 --> 0:39:07.480
<v Speaker 1>had a couple of wonderful people in the band. We

0:39:07.520 --> 0:39:12.840
<v Speaker 1>had David grismand we had Maria Muldor, we had Stephen Grossman.

0:39:13.239 --> 0:39:16.960
<v Speaker 1>You know, these are folks who in this little world

0:39:17.120 --> 0:39:24.719
<v Speaker 1>of of fingerpicking and guitar and acoustic playing in general. Uh,

0:39:25.080 --> 0:39:29.120
<v Speaker 1>it was it was our it was becoming our our

0:39:29.160 --> 0:39:33.560
<v Speaker 1>home base. Okay. Rothchild was a record producer, so there

0:39:33.600 --> 0:39:36.719
<v Speaker 1>were the recordings of this act. So yes, So what

0:39:36.920 --> 0:39:43.280
<v Speaker 1>happened was Rothschild uh puts us into the studio and

0:39:43.600 --> 0:39:49.000
<v Speaker 1>we record uh an even dozen jug band album, uh,

0:39:49.280 --> 0:39:53.359
<v Speaker 1>which was nicely received. You know, remember the scale for

0:39:53.880 --> 0:39:59.399
<v Speaker 1>success is so small. If you sell more records than

0:39:59.480 --> 0:40:05.359
<v Speaker 1>Billy Fair, you're you're really rocking. So uh. So that

0:40:05.560 --> 0:40:11.000
<v Speaker 1>was the process of making the record, I think is

0:40:11.080 --> 0:40:14.920
<v Speaker 1>what tightened us up to where we could play some

0:40:15.000 --> 0:40:19.279
<v Speaker 1>actual venues, and for a short time we were managed

0:40:19.760 --> 0:40:25.040
<v Speaker 1>by Israel young. Is The Young's Folklore Center was the

0:40:25.080 --> 0:40:36.040
<v Speaker 1>Greenwich Village home of of this dawning folk music obsession.

0:40:44.239 --> 0:40:47.200
<v Speaker 1>How does it work economically in making any money at

0:40:47.200 --> 0:40:49.960
<v Speaker 1>the guitar store? Are you still living at home? How

0:40:49.960 --> 0:40:55.480
<v Speaker 1>does it add up? Okay? Uh, A recording session is

0:40:55.640 --> 0:41:02.400
<v Speaker 1>fifty one dollars. I can get at an apartment for

0:41:02.560 --> 0:41:06.759
<v Speaker 1>less than that at that moment in time, because I

0:41:06.800 --> 0:41:12.040
<v Speaker 1>speak Italian, and remember I'm living two blocks from the

0:41:12.080 --> 0:41:18.040
<v Speaker 1>center of Little Italy, and I quickly realized that so

0:41:18.239 --> 0:41:26.959
<v Speaker 1>many uh Italian widows are in control of these apartments there.

0:41:27.560 --> 0:41:31.439
<v Speaker 1>You know, Pops has passed and the it's her thing.

0:41:32.239 --> 0:41:36.680
<v Speaker 1>And I would go to these various addresses and I

0:41:36.719 --> 0:41:42.719
<v Speaker 1>would listen as the woman spoke first, and if I

0:41:42.719 --> 0:41:47.560
<v Speaker 1>could catch the accent, I would imitate that accent. Because

0:41:47.600 --> 0:41:51.160
<v Speaker 1>I had spent a winter in Rome, so I knew

0:41:51.200 --> 0:41:54.920
<v Speaker 1>how to turn it into a little more guttural Italian.

0:41:55.200 --> 0:41:59.680
<v Speaker 1>I knew how to do brutz from my grandparents, so

0:41:59.719 --> 0:42:03.160
<v Speaker 1>you at the idea I was being. I was able

0:42:03.200 --> 0:42:08.160
<v Speaker 1>to get apartments for very cheap because I would do

0:42:08.239 --> 0:42:11.680
<v Speaker 1>whatever the lady wanted me to do, and she could

0:42:11.760 --> 0:42:15.200
<v Speaker 1>explain stuff to me that she couldn't explain in English.

0:42:15.640 --> 0:42:22.840
<v Speaker 1>So uh, these things were tremendous advantages. Uh. And so

0:42:23.239 --> 0:42:29.560
<v Speaker 1>the other thing is that the answer for the the

0:42:29.560 --> 0:42:33.799
<v Speaker 1>the even dozen jug band was no, no money at all.

0:42:37.160 --> 0:42:44.279
<v Speaker 1>My The entire thing really was uh these uh recording sessions.

0:42:44.640 --> 0:42:49.040
<v Speaker 1>And that was what was keeping me able to be

0:42:49.520 --> 0:42:53.640
<v Speaker 1>a little bit independent from my parents. I remember independent

0:42:54.000 --> 0:42:59.239
<v Speaker 1>like your twelve blocks away, Wow, stop by to do

0:42:59.280 --> 0:43:03.960
<v Speaker 1>your laundry, get a meal? Oh exactly exactly. So what

0:43:04.040 --> 0:43:08.359
<v Speaker 1>happens after Carnegie Hall? What's your next move? Well? Uh,

0:43:08.400 --> 0:43:13.960
<v Speaker 1>I had been doing these various sessions, and uh, I

0:43:14.080 --> 0:43:19.879
<v Speaker 1>start to wow, this is hard to encapsulate. All Right,

0:43:20.719 --> 0:43:28.160
<v Speaker 1>my father got a television show, Sunday afternoon television show.

0:43:28.520 --> 0:43:35.799
<v Speaker 1>It's sort of before there was really uh public television,

0:43:36.560 --> 0:43:39.279
<v Speaker 1>but it's very much that flavor. And there was a

0:43:39.280 --> 0:43:46.200
<v Speaker 1>show called Robert Harridge Presents, and uh this show. UH

0:43:46.760 --> 0:43:51.640
<v Speaker 1>engaged my dad to play on this show. And I

0:43:51.760 --> 0:43:55.799
<v Speaker 1>get there and the people doing the show is an

0:43:56.360 --> 0:44:08.080
<v Speaker 1>Englishman reciting Shakespeare. There's Lightning Hopkins, there's my father, and

0:44:08.200 --> 0:44:14.239
<v Speaker 1>there's a girl that I have met before. She's barefoot,

0:44:14.840 --> 0:44:19.560
<v Speaker 1>she's about seventeen, and when she opens her mouth, you

0:44:19.760 --> 0:44:24.880
<v Speaker 1>cannot believe what's coming out. And of course it's Joan Bias. Well.

0:44:25.520 --> 0:44:31.759
<v Speaker 1>I watched this entire afternoon unfold, and to me, the

0:44:31.800 --> 0:44:38.120
<v Speaker 1>thing that was most impressive. I mean, Joan is of

0:44:38.160 --> 0:44:43.520
<v Speaker 1>herself just really impressive because she really has control of

0:44:43.719 --> 0:44:48.480
<v Speaker 1>her guitar now and and and plus this remarkable voice.

0:44:49.160 --> 0:44:52.960
<v Speaker 1>And I'm thinking, wow, this is really one of the

0:44:52.960 --> 0:44:57.920
<v Speaker 1>coolest women I've ever run into. And then Lightning Sam

0:44:58.239 --> 0:45:01.600
<v Speaker 1>gets on and he starts tapping his foot and all

0:45:01.680 --> 0:45:05.040
<v Speaker 1>of a sudden, he's singing something about did you keep

0:45:05.080 --> 0:45:10.399
<v Speaker 1>on but be that that they ain't bound? And she

0:45:10.560 --> 0:45:16.399
<v Speaker 1>starts laughing, and I go, wow, you can make this

0:45:16.480 --> 0:45:22.640
<v Speaker 1>woman laugh because she's so serious, and you know, it's

0:45:22.680 --> 0:45:28.440
<v Speaker 1>a big surprise, and and so, uh, I was so

0:45:28.520 --> 0:45:33.920
<v Speaker 1>impressed with Lightning and Sam. So the television show ends

0:45:34.680 --> 0:45:39.000
<v Speaker 1>and I'm standing there and Dad is talking to Lightning Sam.

0:45:39.239 --> 0:45:42.640
<v Speaker 1>Sam likes Dad because you know, it's like, yeah, this

0:45:42.680 --> 0:45:46.440
<v Speaker 1>guy does something weird and unconventional and he's kind of

0:45:46.440 --> 0:45:51.040
<v Speaker 1>on my side. And so they're they're talking, and uh,

0:45:51.040 --> 0:45:55.680
<v Speaker 1>while they're talking, I walk up to Lightning's guitar case,

0:45:56.560 --> 0:46:00.600
<v Speaker 1>and I think to myself, as a fifty percent I

0:46:00.680 --> 0:46:04.239
<v Speaker 1>won't get hit. So I reached down and I pick

0:46:04.400 --> 0:46:08.640
<v Speaker 1>up the case. Enlightening turns to me and I say,

0:46:08.800 --> 0:46:12.600
<v Speaker 1>Mr Hopkins, I know the subway system, and I can

0:46:12.640 --> 0:46:17.120
<v Speaker 1>get us downtown to within a block of the club

0:46:17.200 --> 0:46:22.160
<v Speaker 1>that you're gonna play. Uh and uh uh you know

0:46:22.280 --> 0:46:25.600
<v Speaker 1>we we and if you need a spot, uh, we

0:46:25.680 --> 0:46:32.400
<v Speaker 1>live four blocks from there. So Sam as I suddenly

0:46:32.480 --> 0:46:36.520
<v Speaker 1>become like a lead boy for somebody that isn't blind

0:46:37.560 --> 0:46:43.400
<v Speaker 1>because Sam of course understands the value of having a

0:46:43.440 --> 0:46:48.040
<v Speaker 1>little white kid too I don't know, uh talk to

0:46:48.120 --> 0:46:52.799
<v Speaker 1>the club owner or whatever, and and so he likes that.

0:46:53.120 --> 0:46:56.800
<v Speaker 1>So I become a regular. I'm carrying his guitar most

0:46:56.840 --> 0:47:01.040
<v Speaker 1>of the time. And then me and a layer roommate

0:47:01.320 --> 0:47:06.320
<v Speaker 1>get a little apartment over on the extremely side, which

0:47:06.600 --> 0:47:10.040
<v Speaker 1>we pretty much turned over to Lightning Sam because there's

0:47:10.120 --> 0:47:13.160
<v Speaker 1>only one bedroom, and we go, I ain't going that

0:47:13.320 --> 0:47:17.680
<v Speaker 1>bedroom now, SAP's here. We're gonna sleep on the couches.

0:47:18.080 --> 0:47:21.400
<v Speaker 1>And that's exactly what we did. And we get up

0:47:21.400 --> 0:47:24.960
<v Speaker 1>in the morning and get sam Is two eggs and

0:47:25.000 --> 0:47:28.480
<v Speaker 1>a jelly glass full of gin and be ready for

0:47:28.520 --> 0:47:33.640
<v Speaker 1>the day. And that was a remarkable period. And Sam

0:47:33.760 --> 0:47:39.640
<v Speaker 1>would sing at night or he would just wrap. It

0:47:39.800 --> 0:47:44.640
<v Speaker 1>was essentially wrap that was happening, and it all rhymed

0:47:44.680 --> 0:47:48.480
<v Speaker 1>and we would go, how does he do this? You know,

0:47:48.520 --> 0:47:52.040
<v Speaker 1>it was a real miracle to see it happen in

0:47:52.080 --> 0:47:55.719
<v Speaker 1>front of you. But so I take Sam down to

0:47:56.320 --> 0:48:00.640
<v Speaker 1>the club pretty pretty frequently. One day, when I ache lightning,

0:48:00.719 --> 0:48:05.880
<v Speaker 1>Sam down to do his gig. There's an opening act

0:48:06.680 --> 0:48:14.640
<v Speaker 1>uh called Valentine Pringle, and Valentine is a protege of

0:48:14.640 --> 0:48:20.839
<v Speaker 1>Harry bellefantas and he is trying to get with this

0:48:22.200 --> 0:48:25.839
<v Speaker 1>uh kind of a folk program because he's a guy

0:48:25.920 --> 0:48:32.200
<v Speaker 1>from Washington. He's an enormous baritone singer. I mean, he's

0:48:32.280 --> 0:48:36.000
<v Speaker 1>his voice is marvelous. But you know, I think his

0:48:36.160 --> 0:48:42.480
<v Speaker 1>main experience had been uh in, uh in, uh in

0:48:42.480 --> 0:48:48.160
<v Speaker 1>in musicals and plays and things. So uh, Harry Belafani

0:48:48.320 --> 0:48:52.080
<v Speaker 1>starts coaching him, and so all of a sudden he

0:48:52.120 --> 0:48:55.680
<v Speaker 1>knows a whole bunch of chain Gang songs and he's

0:48:55.719 --> 0:49:00.640
<v Speaker 1>got a whole act. And uh, I watched this act,

0:49:01.680 --> 0:49:04.759
<v Speaker 1>and I start to watch it pretty regularly because I'm

0:49:04.800 --> 0:49:09.719
<v Speaker 1>bringing Sam in. So then on this particular evening he

0:49:09.800 --> 0:49:13.399
<v Speaker 1>gets up there and he's got a different accompanist. Now

0:49:13.440 --> 0:49:18.040
<v Speaker 1>I happen to know that this guy, his name is

0:49:18.120 --> 0:49:26.800
<v Speaker 1>John Pankin. He uh sometimes masquerades as one Sastre or

0:49:27.040 --> 0:49:31.880
<v Speaker 1>one somebody and pretends to be a Flamenco guitarist, which

0:49:32.400 --> 0:49:39.200
<v Speaker 1>I don't care about that. But when he plays with Valentine,

0:49:40.200 --> 0:49:45.839
<v Speaker 1>he makes a few crucial mistakes, and the big one

0:49:45.960 --> 0:49:50.600
<v Speaker 1>being he starts the battle him of the Republic, which

0:49:50.800 --> 0:49:55.000
<v Speaker 1>is Valentine's killer you are not going to be able

0:49:55.040 --> 0:50:00.279
<v Speaker 1>to survive, and he starts it in the wrong key. Yeah.

0:50:01.520 --> 0:50:03.920
<v Speaker 1>And then there was another thing where he started a

0:50:04.000 --> 0:50:11.520
<v Speaker 1>tempo completely wrong. So and and this is the only time, Robert,

0:50:11.560 --> 0:50:17.400
<v Speaker 1>that I've ever done anything like this. I went backstage,

0:50:18.080 --> 0:50:23.400
<v Speaker 1>attend to lightening, say hi to Valentine and say, you know,

0:50:23.600 --> 0:50:28.680
<v Speaker 1>val if I was your guitarist, I wouldn't be starting

0:50:28.960 --> 0:50:33.759
<v Speaker 1>Battality of the Republic in the wrong key. And if

0:50:33.840 --> 0:50:36.640
<v Speaker 1>you you know, I just I did the list of

0:50:36.719 --> 0:50:42.600
<v Speaker 1>the mistakes the guy had made. So Valentine is trying

0:50:42.680 --> 0:50:46.520
<v Speaker 1>to assess this who is this kid, you know? And

0:50:46.600 --> 0:50:52.120
<v Speaker 1>so he then actually moves over to the other dressing room.

0:50:52.320 --> 0:50:57.120
<v Speaker 1>Enlightening is reading the paper and he says, Mr Hopkins,

0:50:59.080 --> 0:51:05.000
<v Speaker 1>I just interested in this, uh young man, uh guitar player.

0:51:06.800 --> 0:51:10.040
<v Speaker 1>Do you know? Do you know how how he plays?

0:51:12.080 --> 0:51:17.000
<v Speaker 1>Lightning looks up from his newspaper and goes, well, he's bad,

0:51:17.560 --> 0:51:22.279
<v Speaker 1>He's bad that. And he went back to the newspaper

0:51:27.719 --> 0:51:31.560
<v Speaker 1>and and so Valle is left going is that bad good?

0:51:33.080 --> 0:51:37.680
<v Speaker 1>He's trying to assess what he's hearing, and uh, well,

0:51:37.719 --> 0:51:40.880
<v Speaker 1>what did happen? Was within a day or two I

0:51:40.960 --> 0:51:44.640
<v Speaker 1>was his accompanist. Now this is a long way around,

0:51:44.719 --> 0:51:46.680
<v Speaker 1>but I'm glad we have a lot of time because

0:51:47.360 --> 0:51:51.960
<v Speaker 1>this is where my professional life really begins, because I

0:51:52.000 --> 0:51:56.719
<v Speaker 1>get a gig with Valentine out of town, unbelievable. We

0:51:56.840 --> 0:51:59.360
<v Speaker 1>go to Washington, d C. And we play a place

0:51:59.400 --> 0:52:05.760
<v Speaker 1>called The Shadows, and uh the Shadows. Uh. He goes

0:52:05.800 --> 0:52:10.440
<v Speaker 1>out there and he's a pretty good opening act. And

0:52:10.480 --> 0:52:15.560
<v Speaker 1>then oncome the Big Three. And the Big Three is

0:52:15.920 --> 0:52:22.120
<v Speaker 1>cass Elliott, James not Jimmy Hendrix, and Tim Rose, the

0:52:22.200 --> 0:52:28.920
<v Speaker 1>guy that wrote Hey Joe, Yeah, Hey Joe yeah. So

0:52:29.360 --> 0:52:34.560
<v Speaker 1>this group is, you know, a real conventional commercial folk

0:52:34.600 --> 0:52:42.359
<v Speaker 1>group and they're playing for pretty much Washington Upper Crust. Uh,

0:52:42.400 --> 0:52:47.880
<v Speaker 1>this is a fancy club. It isn't really folky, you know.

0:52:48.920 --> 0:52:56.040
<v Speaker 1>And uh but as we finished the show, and uh

0:52:57.280 --> 0:53:02.759
<v Speaker 1>uh I think I was coming downstairs as Cass was

0:53:02.880 --> 0:53:08.680
<v Speaker 1>coming up, and she's doing Valentine's act, all the slave songs,

0:53:09.320 --> 0:53:17.399
<v Speaker 1>and it's it's so uh un pc that I just

0:53:17.680 --> 0:53:21.680
<v Speaker 1>I just was. I was laughing for the next twenty minutes.

0:53:22.280 --> 0:53:25.680
<v Speaker 1>Well that was all that Cass needed, and so she

0:53:25.840 --> 0:53:29.640
<v Speaker 1>starts engaging me. We become friends. By the end of

0:53:29.640 --> 0:53:32.600
<v Speaker 1>the week, she's saying, oh, man, you gotta meet my

0:53:32.800 --> 0:53:37.080
<v Speaker 1>pal Denny, and you gotta meet Zally. Uh we gotta

0:53:37.120 --> 0:53:39.919
<v Speaker 1>hook you up. And so I go back to New

0:53:40.000 --> 0:53:44.360
<v Speaker 1>York and I'm doing you know, I actually got a

0:53:44.360 --> 0:53:47.800
<v Speaker 1>gig in Toronto with Valentine. A couple of other things happened.

0:53:48.040 --> 0:53:52.600
<v Speaker 1>Then I get a call from Cass. She says, you know, uh,

0:53:52.640 --> 0:53:56.440
<v Speaker 1>this thing is working out. We've actually got uh you know,

0:53:56.560 --> 0:54:00.000
<v Speaker 1>like a nice hotel rooms for each one of us

0:54:00.040 --> 0:54:07.120
<v Speaker 1>and everything, and uh, we're thinking about changing our thing.

0:54:08.760 --> 0:54:14.200
<v Speaker 1>Well a little while later, and I really can't go

0:54:14.280 --> 0:54:17.000
<v Speaker 1>into too much detail because we'll be here all night.

0:54:17.440 --> 0:54:24.640
<v Speaker 1>But essentially a friendship that forms both in Washington and

0:54:24.920 --> 0:54:33.880
<v Speaker 1>at the Albert Hotel becomes uh a new focus for Cass.

0:54:34.719 --> 0:54:40.200
<v Speaker 1>And then she invites me to come to Washington to

0:54:41.280 --> 0:54:48.000
<v Speaker 1>a company, this new group, the Mugwumps. Okay, and would

0:54:48.000 --> 0:54:50.960
<v Speaker 1>you please bring a kilo of pot? I say, thank you,

0:54:51.080 --> 0:54:56.239
<v Speaker 1>I will, and so that's what I did, and uh

0:54:56.480 --> 0:55:01.440
<v Speaker 1>we had about two weeks of gigs at this same club,

0:55:02.400 --> 0:55:04.840
<v Speaker 1>at the end of which I get called by the

0:55:04.920 --> 0:55:10.479
<v Speaker 1>assistant manager who says, I'm afraid that you know are

0:55:10.600 --> 0:55:15.120
<v Speaker 1>the manager? Uh doesn't want you to continue with the group.

0:55:15.440 --> 0:55:19.320
<v Speaker 1>I said no, I certainly could understand. He says, because

0:55:19.400 --> 0:55:22.040
<v Speaker 1>you know you're a You're a bad influence on your

0:55:22.120 --> 0:55:26.960
<v Speaker 1>nasi And I said, I know, I am. He says, like,

0:55:27.040 --> 0:55:31.360
<v Speaker 1>every time you play something, Yanovski echoes it on across

0:55:31.440 --> 0:55:34.279
<v Speaker 1>the stage, and you know, we want to stick to

0:55:34.320 --> 0:55:38.799
<v Speaker 1>these arrangements. Well, of course this was exactly what was

0:55:38.920 --> 0:55:42.759
<v Speaker 1>wrong with this group was that it had an arranger,

0:55:43.239 --> 0:55:46.680
<v Speaker 1>and it had musicians to play with it, and it

0:55:46.800 --> 0:55:49.919
<v Speaker 1>had people like Timmy Harden and Freddy Neil and even

0:55:50.000 --> 0:55:57.800
<v Speaker 1>me writing songs that they were doing. So uh it

0:55:57.800 --> 0:56:02.000
<v Speaker 1>it was this Uh it was a dinosaur and it

0:56:02.040 --> 0:56:05.439
<v Speaker 1>would eventually die when it tried to play a real

0:56:05.560 --> 0:56:09.239
<v Speaker 1>rock and roll club. They came to New York, they

0:56:09.280 --> 0:56:15.200
<v Speaker 1>tried to play the Peppermint Lounge. People didn't even turn around.

0:56:16.360 --> 0:56:19.000
<v Speaker 1>I mean, you know, this is followed by Joey d

0:56:19.120 --> 0:56:24.439
<v Speaker 1>on the Starliner Bad but you can imagine. So they

0:56:24.920 --> 0:56:27.680
<v Speaker 1>that was sort of the end of that group. But

0:56:29.239 --> 0:56:33.400
<v Speaker 1>as a direct result, me and Yonowsky start poling around

0:56:33.440 --> 0:56:37.080
<v Speaker 1>in New York City. Uh and we're all living at

0:56:37.160 --> 0:56:41.560
<v Speaker 1>the Albert Hotel, and so is Cass and so is Denny,

0:56:41.680 --> 0:56:45.000
<v Speaker 1>and we're all trying to figure out what's gonna happen next.

0:56:45.080 --> 0:56:48.160
<v Speaker 1>I remember we were thinking, ge, now Cass is gonna

0:56:48.520 --> 0:56:52.160
<v Speaker 1>she's gonna find, you know, a solo career, but we're

0:56:52.200 --> 0:56:57.399
<v Speaker 1>worried about Denny. You know, you would make more money

0:56:57.719 --> 0:57:03.319
<v Speaker 1>than me and zall put together. So uh so it

0:57:03.440 --> 0:57:13.200
<v Speaker 1>was a wonderful close bond that we all had. Uh. Eventually,

0:57:15.280 --> 0:57:20.160
<v Speaker 1>zol and I start to concentrate along with an important

0:57:20.600 --> 0:57:25.680
<v Speaker 1>and important person in this equation is Eric Jacobson, the

0:57:25.680 --> 0:57:33.160
<v Speaker 1>the producer for The Spoonful, who really had a very

0:57:33.160 --> 0:57:37.840
<v Speaker 1>clear vision of what the Spoonful could be. It was.

0:57:37.960 --> 0:57:41.960
<v Speaker 1>It was quite remarkable. I mean, he really had an idea,

0:57:42.600 --> 0:57:49.240
<v Speaker 1>and my ideas ran similarly enough that that we were

0:57:49.280 --> 0:57:53.800
<v Speaker 1>suddenly making toy records. Uh. And that was what we

0:57:53.800 --> 0:57:57.920
<v Speaker 1>were calling them, because they're One would be a a

0:57:58.680 --> 0:58:03.040
<v Speaker 1>like a surf wreckord, then another would be uh, lady goodive,

0:58:03.120 --> 0:58:05.640
<v Speaker 1>I got a thirty eight Ford now powered by a

0:58:05.720 --> 0:58:08.960
<v Speaker 1>Chrysler that's stroked and board now and you know all

0:58:08.960 --> 0:58:13.959
<v Speaker 1>these funny things that they weren't New York City Norwegian

0:58:14.000 --> 0:58:20.520
<v Speaker 1>American guy. You know, it was this wonderful, funny attempt

0:58:20.880 --> 0:58:26.680
<v Speaker 1>to get into pop music somehow. And uh, I think

0:58:27.800 --> 0:58:32.040
<v Speaker 1>Eric saw what I saw, which was me and Yanovsky.

0:58:32.200 --> 0:58:36.200
<v Speaker 1>We're starting to be joined at the hip because we have,

0:58:36.840 --> 0:58:41.600
<v Speaker 1>you know, enough ideas that are similar. And uh, after

0:58:41.720 --> 0:58:46.360
<v Speaker 1>a little bit, uh, we find out that guitarists that

0:58:46.440 --> 0:58:49.920
<v Speaker 1>worked in an adjacent band had a younger brother who

0:58:50.000 --> 0:58:54.000
<v Speaker 1>was coming back from a motorcycle trip in Europe. And

0:58:54.040 --> 0:58:57.800
<v Speaker 1>I remember me and Yanovsky kind of looked at each other, going, yeah,

0:58:58.160 --> 0:59:01.360
<v Speaker 1>that would be good. Yeah, Uh, let's let's see what

0:59:01.440 --> 0:59:04.360
<v Speaker 1>this guy's like. Well, of course, Steve Boon shows up

0:59:04.920 --> 0:59:08.080
<v Speaker 1>and he looks like Fritz Richmond, who was one of

0:59:08.120 --> 0:59:12.040
<v Speaker 1>our heroes the jug and washtub player for the question

0:59:12.400 --> 0:59:16.840
<v Speaker 1>jug band and Uh. But also he's a real bass player.

0:59:17.280 --> 0:59:22.560
<v Speaker 1>He isn't a folky guitar player attempting to get around

0:59:22.560 --> 0:59:26.560
<v Speaker 1>on a fender and so that really made a big difference.

0:59:26.960 --> 0:59:31.800
<v Speaker 1>And it wasn't very long before Uh we had Joe Butler,

0:59:31.840 --> 0:59:35.760
<v Speaker 1>who was also had worked with Steve before, so it

0:59:36.680 --> 0:59:41.920
<v Speaker 1>didn't require too much jostling to get this love and

0:59:42.000 --> 0:59:49.040
<v Speaker 1>spoonful thing going. Okay, how many bites you got the

0:59:49.080 --> 0:59:51.840
<v Speaker 1>four members together? You're making the Toy records. When do

0:59:51.840 --> 0:59:53.320
<v Speaker 1>you make a real record and how do you get

0:59:53.320 --> 0:59:57.680
<v Speaker 1>a record deal? Etcetera. Well, we got turned down by

0:59:57.720 --> 1:00:03.120
<v Speaker 1>every record company in New York City and Robert, that's

1:00:03.240 --> 1:00:07.360
<v Speaker 1>a lot of companies, and we really did go to everybody.

1:00:07.680 --> 1:00:11.120
<v Speaker 1>And it was only after we hooked up with these

1:00:11.120 --> 1:00:15.000
<v Speaker 1>guys that were essentially mainly concerned with ripping off our

1:00:15.040 --> 1:00:18.480
<v Speaker 1>publishing uh, and they said, oh, well we'll be a

1:00:18.560 --> 1:00:22.680
<v Speaker 1>record company. Yes it will be uh Stallion Records, that'll

1:00:22.720 --> 1:00:25.120
<v Speaker 1>be it. Well that lasted about a week and a

1:00:25.200 --> 1:00:31.280
<v Speaker 1>half and they connect up with the guys down the hallway.

1:00:31.320 --> 1:00:34.959
<v Speaker 1>You know, this is when the record business was like this,

1:00:35.560 --> 1:00:39.520
<v Speaker 1>and the guys down the Hallway are already rip and

1:00:39.960 --> 1:00:44.200
<v Speaker 1>uh Karma Sutra, and Karma Sutra is the only record

1:00:44.440 --> 1:00:49.840
<v Speaker 1>the only company that genuinely went nuts. Uh. You know,

1:00:50.320 --> 1:00:53.320
<v Speaker 1>most of these guys have like a Voice of God

1:00:53.480 --> 1:00:58.840
<v Speaker 1>speaker under their desk, so when they're demoing stuff, it's remarkable.

1:00:59.200 --> 1:01:05.520
<v Speaker 1>And remember when they started playing our records on this system,

1:01:05.560 --> 1:01:13.520
<v Speaker 1>I go, my god, we're giants. So so uh. Really

1:01:13.600 --> 1:01:18.920
<v Speaker 1>that became our record company, really to our our disservice,

1:01:19.080 --> 1:01:26.080
<v Speaker 1>because we had been offered uh Electra because you know,

1:01:26.240 --> 1:01:30.040
<v Speaker 1>as I said, I had been Paul Rothschild's mini me,

1:01:30.360 --> 1:01:33.440
<v Speaker 1>and part of what that involved was going up to

1:01:34.040 --> 1:01:40.160
<v Speaker 1>electrac Records almost every night. Uh. And as we began

1:01:40.200 --> 1:01:43.880
<v Speaker 1>to work together and he began to mix the first

1:01:43.960 --> 1:01:47.920
<v Speaker 1>Fred Neil and Vince Martin record, this was it was

1:01:48.040 --> 1:01:51.760
<v Speaker 1>just increasing the amount of time I was spending in

1:01:51.880 --> 1:01:57.920
<v Speaker 1>Electric records. But as it turned out, when Jack Coltsman

1:01:58.160 --> 1:02:02.040
<v Speaker 1>offered us, we said, no, now, these this is a

1:02:02.160 --> 1:02:05.560
<v Speaker 1>folk label. This is Ceo Bickel. I mean, come on,

1:02:06.880 --> 1:02:10.520
<v Speaker 1>we're we're trying to get into the dirty business. I mean,

1:02:11.240 --> 1:02:14.280
<v Speaker 1>I wouldn't be surprised if we even used the term

1:02:14.400 --> 1:02:17.920
<v Speaker 1>you know that like no no, we're not fake pop

1:02:18.040 --> 1:02:22.000
<v Speaker 1>were we want to be pop music, you know? So

1:02:23.040 --> 1:02:27.560
<v Speaker 1>that was okay. So let's let's stop here for a second. Yeah,

1:02:27.760 --> 1:02:31.680
<v Speaker 1>the songs and you wrote some big ones. Yeah, who

1:02:31.720 --> 1:02:36.160
<v Speaker 1>owned them? That? And then? And who owns them? Now? Okay?

1:02:36.280 --> 1:02:41.360
<v Speaker 1>Uh I still own them and BMG owns them and

1:02:41.720 --> 1:02:46.120
<v Speaker 1>they publish and I write and that that's okay. Let's

1:02:46.120 --> 1:02:48.720
<v Speaker 1>talk about the spring. You make this deal with Stallion

1:02:48.840 --> 1:02:55.200
<v Speaker 1>Records when you write these hits, who owns the publishing then?

1:02:57.200 --> 1:03:03.520
<v Speaker 1>At that point, Uh, it was a compliman in Reuben. Okay,

1:03:03.560 --> 1:03:09.840
<v Speaker 1>how did you ultimately get full ownership? I don't know what.

1:03:10.080 --> 1:03:12.280
<v Speaker 1>Was it part of a really the reversion a handful

1:03:12.320 --> 1:03:17.120
<v Speaker 1>of years ago, or did some transaction happen decades ago? So? Boy,

1:03:17.440 --> 1:03:21.720
<v Speaker 1>I I was running too fast to be paying any

1:03:21.760 --> 1:03:28.520
<v Speaker 1>attention to the to the the mechanics of the business deals.

1:03:28.800 --> 1:03:34.400
<v Speaker 1>And I have suffered proportionately for that mistake. But yes,

1:03:34.560 --> 1:03:39.160
<v Speaker 1>I I really all of this stuff. We didn't and

1:03:39.160 --> 1:03:44.040
<v Speaker 1>and our manager has since said I didn't know what

1:03:44.080 --> 1:03:48.040
<v Speaker 1>I was doing. You know, he's so apologetic. Because this

1:03:48.200 --> 1:03:51.800
<v Speaker 1>Bob Cavallo, he becomes the president of Warner Brothers and

1:03:51.840 --> 1:03:55.400
<v Speaker 1>Walt Disney records and all of this stuff, and and

1:03:55.520 --> 1:03:59.400
<v Speaker 1>he I still talked to him frequently, and he his

1:04:00.120 --> 1:04:03.960
<v Speaker 1>first thing is always Johnny. How could I be so

1:04:04.040 --> 1:04:10.560
<v Speaker 1>stupid as to not understand what I didn't understand back then? Uh.

1:04:11.400 --> 1:04:17.560
<v Speaker 1>I'm very touched by his reaction. And in fact, I

1:04:17.640 --> 1:04:23.520
<v Speaker 1>can't say that I was unhappy with any step of

1:04:23.600 --> 1:04:28.280
<v Speaker 1>that process, because what was happening was what we wanted.

1:04:28.760 --> 1:04:35.840
<v Speaker 1>We were becoming a rock and roll group that people knew. Okay,

1:04:35.880 --> 1:04:37.760
<v Speaker 1>some of these hits are in excess of most of

1:04:37.760 --> 1:04:40.320
<v Speaker 1>them are in excess of fifty years old. Have they

1:04:40.440 --> 1:04:45.880
<v Speaker 1>sustained you over the fifty years? Strangely enough? The uh, Well,

1:04:46.080 --> 1:04:50.000
<v Speaker 1>I'd have to say that the record that for the

1:04:50.040 --> 1:04:53.680
<v Speaker 1>Spoonful that was the most effective, of course, was somewhere

1:04:53.720 --> 1:04:57.560
<v Speaker 1>in the City, and that certainly did very good things

1:04:57.640 --> 1:05:02.520
<v Speaker 1>for me, my brother and Steve Boon, because all three

1:05:02.560 --> 1:05:08.000
<v Speaker 1>of us contributed to the composing of Summer in the City.

1:05:08.080 --> 1:05:12.840
<v Speaker 1>But the big one who could have predicted that a

1:05:12.880 --> 1:05:16.600
<v Speaker 1>little television theme that I got involved in when I

1:05:16.680 --> 1:05:20.880
<v Speaker 1>was wildly unpopular in the nine seventy six would be

1:05:21.440 --> 1:05:24.240
<v Speaker 1>It's like, that's the one right now? And of course

1:05:25.560 --> 1:05:30.280
<v Speaker 1>unfortunately I know part of this to COVID. Uh, you

1:05:30.440 --> 1:05:34.000
<v Speaker 1>never know how things are gonna play out, Okay, just

1:05:34.160 --> 1:05:37.960
<v Speaker 1>to put a cap on it, the original songs, you

1:05:38.160 --> 1:05:42.640
<v Speaker 1>ended up owning a percent of Yeah, and then you

1:05:42.840 --> 1:05:45.400
<v Speaker 1>sold part to be MG or you still own them,

1:05:45.480 --> 1:05:48.200
<v Speaker 1>or you sold all of it. So I eventually sold

1:05:48.600 --> 1:05:52.040
<v Speaker 1>all of it to be MG. And did you keep

1:05:52.120 --> 1:05:55.280
<v Speaker 1>your writer's share or you can? They gave you a check. Okay,

1:05:55.320 --> 1:05:58.720
<v Speaker 1>so you sold the publishing, but you still you still

1:05:58.760 --> 1:06:02.240
<v Speaker 1>get the writer's share. Okay. Did you ever get a

1:06:02.720 --> 1:06:07.920
<v Speaker 1>record royalty? Do you still get record royalties? You know,

1:06:08.360 --> 1:06:12.560
<v Speaker 1>I probably do somewhere. I mean I do have an

1:06:12.600 --> 1:06:18.160
<v Speaker 1>accountant to it kind of supervises this stuff. But it's

1:06:18.240 --> 1:06:23.880
<v Speaker 1>a it's a quantity that's been halved so many times

1:06:24.440 --> 1:06:29.160
<v Speaker 1>by our modern way of listening to music that it's

1:06:29.280 --> 1:06:32.919
<v Speaker 1>almost nothing. Well that's why I mentioned. And if it's

1:06:32.920 --> 1:06:35.160
<v Speaker 1>not nothing, they say you're in the hole. So you

1:06:35.240 --> 1:06:38.040
<v Speaker 1>make this deal with Kama Sutra. Tell me about making

1:06:38.040 --> 1:06:42.520
<v Speaker 1>the record and making the hit, Well, uh, we had

1:06:42.680 --> 1:06:47.720
<v Speaker 1>made Do You Believe In Magic? Going into a studio

1:06:48.320 --> 1:06:53.760
<v Speaker 1>independently and Eric Jacobson foot of the bill, and that

1:06:53.880 --> 1:06:56.800
<v Speaker 1>was the record that got turned down all over And

1:06:56.960 --> 1:07:00.400
<v Speaker 1>every time it got turned down, Yanovsky and I would go,

1:07:01.040 --> 1:07:04.480
<v Speaker 1>you know, you'd think we'd be discouraged. We go. Of course,

1:07:04.520 --> 1:07:07.440
<v Speaker 1>they didn't understand that they're they're they're looking for Fabian,

1:07:07.520 --> 1:07:10.439
<v Speaker 1>They're they're not gonna find it in us. And so

1:07:10.720 --> 1:07:14.040
<v Speaker 1>it was a kind of a bizarre twist that we

1:07:14.120 --> 1:07:18.160
<v Speaker 1>saw every turn down as yeah, we are that cool.

1:07:18.560 --> 1:07:22.400
<v Speaker 1>We're just that cool. So you make a deal with

1:07:22.480 --> 1:07:24.680
<v Speaker 1>Kama Sutra, what's the first thing you make an album?

1:07:24.680 --> 1:07:28.040
<v Speaker 1>Where they put out do you Believe in Magic? I

1:07:28.080 --> 1:07:35.720
<v Speaker 1>think we were on about making the album. Uh, and

1:07:36.480 --> 1:07:40.680
<v Speaker 1>I don't remember whether Magic got out. I think Magic

1:07:40.760 --> 1:07:46.320
<v Speaker 1>got out before the do you Believe In Magic? Album?

1:07:46.400 --> 1:07:50.520
<v Speaker 1>I believe this is summer sixty five. How long after

1:07:50.560 --> 1:07:54.760
<v Speaker 1>they put it out does it become such a big smash? Uh,

1:07:54.920 --> 1:07:59.919
<v Speaker 1>it didn't take long. It was amazing once it got

1:08:00.040 --> 1:08:05.160
<v Speaker 1>out there, Really how fast it did happen? Um? And

1:08:05.160 --> 1:08:09.520
<v Speaker 1>and also it didn't exactly happen on the East coast

1:08:09.760 --> 1:08:13.200
<v Speaker 1>for us. Uh, we sort of had to go play

1:08:13.720 --> 1:08:16.960
<v Speaker 1>the Trip and the Tiger Tail. Uh, those are all

1:08:17.040 --> 1:08:25.160
<v Speaker 1>the same club and uh and UH find a little

1:08:25.200 --> 1:08:31.080
<v Speaker 1>success with the California disc jockeys. They were probably more

1:08:31.280 --> 1:08:35.920
<v Speaker 1>enthusiastic about it. I mean, except for cousin Brucie, who's

1:08:35.960 --> 1:08:40.680
<v Speaker 1>been our ally forever. Uh, it was really it was,

1:08:40.960 --> 1:08:50.920
<v Speaker 1>It was like that. Okay, so it becomes a hit.

1:08:51.360 --> 1:08:53.479
<v Speaker 1>What's it like for you when you have a hit

1:08:53.720 --> 1:08:55.439
<v Speaker 1>and all of a sudden you're playing these clubs, but

1:08:55.560 --> 1:08:58.439
<v Speaker 1>ultimately there's television, there's recognition, you hear the song on

1:08:58.479 --> 1:09:10.280
<v Speaker 1>the radio. What was your in tonal experience, mm hmm, Well,

1:09:10.800 --> 1:09:15.360
<v Speaker 1>of course it was joyous when we actually landed in

1:09:15.520 --> 1:09:19.960
<v Speaker 1>California and we turn on the radio in the rent

1:09:20.040 --> 1:09:26.519
<v Speaker 1>a car and we here uh California Girls, followed by

1:09:26.960 --> 1:09:31.280
<v Speaker 1>do you Believe in Magic? At which point Yanovski starts

1:09:31.680 --> 1:09:36.960
<v Speaker 1>hitting me all over my body. We're both in the

1:09:37.000 --> 1:09:40.080
<v Speaker 1>back seat, and then we start hitting each other, and

1:09:40.120 --> 1:09:43.559
<v Speaker 1>then Steve and Joe start hitting us, and so all

1:09:43.640 --> 1:09:46.000
<v Speaker 1>four we have to pull over so that we can

1:09:46.040 --> 1:09:53.400
<v Speaker 1>more thoroughly hit each other. And and so it was

1:09:53.600 --> 1:10:00.439
<v Speaker 1>absolutely a wonderful moment. And uh, nothing, nothing's gonna compared

1:10:00.479 --> 1:10:06.559
<v Speaker 1>to that. Okay, you have the hit, right even at

1:10:06.560 --> 1:10:11.560
<v Speaker 1>that era, following up the hit is very, very difficult

1:10:12.080 --> 1:10:15.439
<v Speaker 1>and very important, and there was a thing that the

1:10:15.560 --> 1:10:23.559
<v Speaker 1>Spoonful was really driven to pursue, and that was, we

1:10:23.600 --> 1:10:29.120
<v Speaker 1>want to sound like a different band every single because

1:10:29.880 --> 1:10:32.479
<v Speaker 1>the same old way of having it be the same

1:10:32.520 --> 1:10:36.559
<v Speaker 1>thing for three or four singles that that era is

1:10:36.640 --> 1:10:40.479
<v Speaker 1>gone now and so we have to make sure that

1:10:40.560 --> 1:10:46.479
<v Speaker 1>it sounds different. And uh, I probably couldn't have come

1:10:46.560 --> 1:10:49.840
<v Speaker 1>up with you didn't have to be so nice by myself.

1:10:49.960 --> 1:10:55.200
<v Speaker 1>That was a fragment that Steve Boon brought in one evening.

1:10:55.600 --> 1:11:00.920
<v Speaker 1>We're playing a kind of a topless club and and

1:11:01.479 --> 1:11:04.080
<v Speaker 1>he shows up in my dressing room, in my in

1:11:04.200 --> 1:11:08.840
<v Speaker 1>my uh uh, in my hotel room with this fragment,

1:11:09.280 --> 1:11:15.439
<v Speaker 1>and that became our second single, and uh, things really

1:11:16.000 --> 1:11:20.320
<v Speaker 1>did go that way. You know, I forget what the sequences,

1:11:20.320 --> 1:11:23.760
<v Speaker 1>but daydream and make up your mind or right in there,

1:11:24.360 --> 1:11:30.000
<v Speaker 1>and and uh, these are all different enough that that

1:11:31.000 --> 1:11:33.360
<v Speaker 1>or at least we think, you know. The funny thing

1:11:33.439 --> 1:11:37.280
<v Speaker 1>was we're saying, hey, man, they'll never guess. It's like,

1:11:37.360 --> 1:11:40.800
<v Speaker 1>this is so different, jays man, you didn't even play

1:11:40.840 --> 1:11:44.519
<v Speaker 1>your guitar. You played my guitar for that, they'll never guess.

1:11:44.840 --> 1:11:48.400
<v Speaker 1>And then it goes on the air and the DJ goes, well,

1:11:48.560 --> 1:11:52.360
<v Speaker 1>here's another example of that great spoonful sound, and we

1:11:52.400 --> 1:11:57.120
<v Speaker 1>go damn it. Okay, what was driving you at this

1:11:57.160 --> 1:12:00.320
<v Speaker 1>point you talked about earlier it was girls. Then you

1:12:00.360 --> 1:12:03.919
<v Speaker 1>have the excitement of meeting and playing with Zal. Needless

1:12:03.960 --> 1:12:06.120
<v Speaker 1>to say, you make it, their money comes in. What

1:12:06.280 --> 1:12:13.559
<v Speaker 1>was pushing you forward? Well, some of it was just

1:12:13.680 --> 1:12:17.519
<v Speaker 1>the fact that we were such underdogs, even though we

1:12:17.560 --> 1:12:22.479
<v Speaker 1>had the approval of several of our English contemporaries, rolling

1:12:22.520 --> 1:12:26.599
<v Speaker 1>Stone for whatever, one was not on the case for us.

1:12:27.680 --> 1:12:32.080
<v Speaker 1>Uh and uh so we had to kind of inch

1:12:32.240 --> 1:12:38.920
<v Speaker 1>our way up. And uh, I think that that was

1:12:39.120 --> 1:12:44.559
<v Speaker 1>its own its own driver. Yes, but you have hit

1:12:44.880 --> 1:12:47.760
<v Speaker 1>after hit after hit in an era where there's still

1:12:47.800 --> 1:12:50.680
<v Speaker 1>a ton of one hit wonders. I mean, at some

1:12:50.760 --> 1:12:52.519
<v Speaker 1>point you must have felt good about what you were

1:12:52.560 --> 1:12:57.040
<v Speaker 1>doing success wives. No, no, I certainly I was feeling

1:12:58.160 --> 1:13:00.680
<v Speaker 1>very good about it, No, no doubt out about it.

1:13:01.640 --> 1:13:04.439
<v Speaker 1>I probably got a real swelled head right around then.

1:13:04.800 --> 1:13:09.200
<v Speaker 1>But the only thing was that you had to keep

1:13:09.240 --> 1:13:15.680
<v Speaker 1>at it. Uh. You couldn't stop and think. Um. I mean,

1:13:15.800 --> 1:13:18.839
<v Speaker 1>I'm very glad that I had the partners that I had,

1:13:19.240 --> 1:13:22.840
<v Speaker 1>somebody like Yanovsky who would crack up when I wrote

1:13:22.960 --> 1:13:27.360
<v Speaker 1>Nashville Cats and think that, uh, pal, the thing I

1:13:27.400 --> 1:13:32.480
<v Speaker 1>wrote for Woody Allen was the funniest thing in the world. Uh.

1:13:32.520 --> 1:13:37.560
<v Speaker 1>You know that was also driving me the approval of Yanovsky,

1:13:37.680 --> 1:13:43.960
<v Speaker 1>who was really important to me. Okay, you have all

1:13:43.960 --> 1:13:46.120
<v Speaker 1>these hits in the sixties, and you have Welcome Back

1:13:46.160 --> 1:13:51.280
<v Speaker 1>Hotter in the seventies. He dries up. Why were there hits?

1:13:51.320 --> 1:13:53.600
<v Speaker 1>Needle to say, music is constantly evolving, and you had

1:13:53.640 --> 1:13:58.040
<v Speaker 1>an incredible success. But was it you were working with

1:13:58.080 --> 1:14:03.680
<v Speaker 1>those specific partners, or the sound changed or somehow you

1:14:03.680 --> 1:14:07.479
<v Speaker 1>couldn't do it anymore. Well, I had a wonderful time

1:14:07.600 --> 1:14:11.920
<v Speaker 1>working with those partners right up until it was gonna

1:14:11.960 --> 1:14:17.480
<v Speaker 1>be impossible because after Zali got busted, he started, uh

1:14:17.720 --> 1:14:23.160
<v Speaker 1>drinking a lot, a lot more, and that was really disappointing.

1:14:23.760 --> 1:14:28.400
<v Speaker 1>And uh you know, uh, also we we were starting

1:14:28.439 --> 1:14:33.080
<v Speaker 1>to have our own separate lives and and you know,

1:14:33.280 --> 1:14:36.400
<v Speaker 1>obviously Stephen was entering into a kind of a dark

1:14:36.520 --> 1:14:42.559
<v Speaker 1>period where he wasn't really available. Uh And uh so

1:14:43.840 --> 1:14:46.680
<v Speaker 1>there was a point when it was obvious to me

1:14:47.560 --> 1:14:51.080
<v Speaker 1>that and I was afraid to do this for the

1:14:51.160 --> 1:14:56.320
<v Speaker 1>longest time because I believed that people could not just

1:14:56.479 --> 1:15:01.559
<v Speaker 1>transition from a group and suddenly be a solo artist.

1:15:02.400 --> 1:15:07.640
<v Speaker 1>That that seemed like a real far stretch. Well, as

1:15:07.720 --> 1:15:11.679
<v Speaker 1>I say, the hits dried up. Do you believe if

1:15:11.680 --> 1:15:14.040
<v Speaker 1>you were still in the band the hits would have continued?

1:15:14.160 --> 1:15:18.080
<v Speaker 1>Or everything runs its course? I? I I think it probably

1:15:18.960 --> 1:15:23.719
<v Speaker 1>I'd go for the everything runs its course theory, because again,

1:15:24.520 --> 1:15:30.240
<v Speaker 1>surrounded by all of that approval and surrounded by a

1:15:30.320 --> 1:15:36.160
<v Speaker 1>good band that that had provided a tremendous amount of satisfaction.

1:15:36.720 --> 1:15:40.400
<v Speaker 1>But it was also obvious now that you know, the

1:15:40.479 --> 1:15:45.160
<v Speaker 1>grooves were different. They were more complicated grooves that our

1:15:45.280 --> 1:15:52.880
<v Speaker 1>rhythm section didn't really have facility with UH and and

1:15:54.160 --> 1:16:03.000
<v Speaker 1>they're really I was busy enough because I started recording

1:16:03.160 --> 1:16:09.120
<v Speaker 1>with Paul Rothschild UH to make a solo album. Okay,

1:16:09.160 --> 1:16:12.400
<v Speaker 1>before you get there, I vividly remember you being on

1:16:12.439 --> 1:16:15.200
<v Speaker 1>TV playing that auto harp. We're talking about it in

1:16:15.280 --> 1:16:18.120
<v Speaker 1>high school the next day. What was it like being

1:16:18.160 --> 1:16:20.799
<v Speaker 1>on Ed Sullivan? I mean, this is when those shows

1:16:20.800 --> 1:16:25.599
<v Speaker 1>had reached nothing has that reached today, Absolutely absolutely, And

1:16:25.640 --> 1:16:29.599
<v Speaker 1>it was remarkable and we were all ready to diss

1:16:29.640 --> 1:16:33.680
<v Speaker 1>it because we're Greenwich Village puppies and we want. We

1:16:33.800 --> 1:16:37.000
<v Speaker 1>just want to be counterculture every chance we get. And

1:16:37.120 --> 1:16:40.040
<v Speaker 1>so we're going, oh, you know Ed, you know, he

1:16:40.120 --> 1:16:43.439
<v Speaker 1>doesn't have any idea what we're about. It's great that

1:16:43.479 --> 1:16:47.000
<v Speaker 1>we're on the show. We'll play the thing. And like that,

1:16:49.040 --> 1:16:53.600
<v Speaker 1>Ed Sullivan comes out and does the introduction for The

1:16:53.640 --> 1:16:58.080
<v Speaker 1>Love and Spoonful, in which he pretty much says, this

1:16:58.479 --> 1:17:02.800
<v Speaker 1>is the American answer to the English invasion. And here

1:17:02.800 --> 1:17:05.400
<v Speaker 1>they are and they write their own songs and they

1:17:05.439 --> 1:17:08.479
<v Speaker 1>do their own ship. And you know I'm paraphrasing, but

1:17:09.520 --> 1:17:13.040
<v Speaker 1>we we were standing there about to play, and I mean,

1:17:13.479 --> 1:17:16.479
<v Speaker 1>I don't know whether my mouth was still wide open

1:17:16.520 --> 1:17:19.919
<v Speaker 1>when the cameras came on us, but I was still

1:17:19.960 --> 1:17:24.080
<v Speaker 1>recovering from oh man, we're gonna have to We're gonna

1:17:24.120 --> 1:17:30.600
<v Speaker 1>have to reassess our our assessment of of Ed, you know.

1:17:31.360 --> 1:17:35.679
<v Speaker 1>And he persisted every time we'd come on, he'd he'd

1:17:35.720 --> 1:17:39.639
<v Speaker 1>be that same guy. Um. I heard that that later

1:17:39.840 --> 1:17:43.880
<v Speaker 1>from Denny Doharty that he seemed like he wasn't as

1:17:43.960 --> 1:17:48.320
<v Speaker 1>able when the Mamas and Papas played it, but boy,

1:17:48.400 --> 1:17:51.840
<v Speaker 1>when The Spoonful played it, he was right on top

1:17:51.880 --> 1:17:55.320
<v Speaker 1>of it. So what is it like being on national

1:17:55.439 --> 1:17:59.920
<v Speaker 1>television and then walking on the street. Well, you know,

1:18:00.360 --> 1:18:03.960
<v Speaker 1>don't think you're gonna get recognized right away, because for

1:18:04.040 --> 1:18:09.040
<v Speaker 1>one thing, Yanovski is gonna get recognized several hours before

1:18:09.160 --> 1:18:12.880
<v Speaker 1>you are noticed. And and so I'm I'm used to

1:18:12.920 --> 1:18:18.040
<v Speaker 1>that because Ali's he's got the Borcellino hat and the

1:18:18.080 --> 1:18:21.840
<v Speaker 1>whole rig, and you know, he's obviously a rock star.

1:18:22.840 --> 1:18:27.920
<v Speaker 1>Remember again, it's it's Greenwich Village. Everybody's being cool. So

1:18:28.160 --> 1:18:31.639
<v Speaker 1>it isn't the same thing as returning to your high

1:18:31.640 --> 1:18:34.760
<v Speaker 1>school and coming in with a hit record, you know,

1:18:35.240 --> 1:18:38.559
<v Speaker 1>where all of a sudden, the cheerleader likes you. You know,

1:18:39.560 --> 1:18:43.160
<v Speaker 1>it was different, Okay, and in that era because shortly

1:18:43.200 --> 1:18:48.160
<v Speaker 1>thereafter there's the rock star lifestyle. Are you partaking of

1:18:48.240 --> 1:18:51.960
<v Speaker 1>the drugs, the women? What is your life? Like? I

1:18:52.040 --> 1:18:56.519
<v Speaker 1>got lucky a few times, but I was not an

1:18:56.520 --> 1:19:03.160
<v Speaker 1>abusive rock star. Uh. And so like I say, uh,

1:19:03.200 --> 1:19:07.360
<v Speaker 1>it was it was not going to be my incentive,

1:19:08.080 --> 1:19:13.759
<v Speaker 1>uh to try to engage a underage girl or something. Uh.

1:19:13.880 --> 1:19:18.080
<v Speaker 1>Luckily we had our girlfriends by that time and they

1:19:18.080 --> 1:19:23.679
<v Speaker 1>were appropriate ages. Uh. But you know, as time went

1:19:23.720 --> 1:19:28.520
<v Speaker 1>on and a few years went by, then those temptations

1:19:28.560 --> 1:19:34.760
<v Speaker 1>became a little stronger. Uh, the girls became impossibly good

1:19:34.760 --> 1:19:41.400
<v Speaker 1>looking and uh uh so so yeah to that extent. Uh,

1:19:41.560 --> 1:19:45.080
<v Speaker 1>like I say, but it was it was good luck,

1:19:45.720 --> 1:19:52.360
<v Speaker 1>wasn't force. You know, you gotta make the distinction between

1:19:52.560 --> 1:19:56.800
<v Speaker 1>that period and you know what would you know, I

1:19:56.840 --> 1:20:01.360
<v Speaker 1>don't know, led zepp. Uh. You know that era where

1:20:02.400 --> 1:20:05.680
<v Speaker 1>girls who were like klean x and and life was

1:20:05.760 --> 1:20:10.679
<v Speaker 1>beautiful and the champagne was flowing. We we didn't really

1:20:10.880 --> 1:20:15.800
<v Speaker 1>get there. We were too busy doing gigs. Sometime, for

1:20:15.840 --> 1:20:21.240
<v Speaker 1>your own amusement, I'll send you the Loving Spoonfuls schedule.

1:20:21.680 --> 1:20:25.680
<v Speaker 1>It was documented by an Englishman who's a nut for

1:20:25.760 --> 1:20:30.880
<v Speaker 1>the Spoonful and I look at that and it's unbelievable

1:20:31.120 --> 1:20:34.120
<v Speaker 1>how many gigs we did. You know, Hey, it still

1:20:34.160 --> 1:20:37.759
<v Speaker 1>doesn't compare with Fats Domino, but it was pretty good

1:20:37.800 --> 1:20:40.840
<v Speaker 1>for some white guys. Okay, let me talk about a

1:20:40.880 --> 1:20:44.600
<v Speaker 1>couple of my favorite Spoonful tracks. Give me the backstory.

1:20:45.120 --> 1:20:51.559
<v Speaker 1>Six o'clock. Six o'clock came about because I was mourning

1:20:51.600 --> 1:21:00.000
<v Speaker 1>the loss of a beautiful redheaded girlfriend. The tune itself, uh,

1:21:00.080 --> 1:21:08.120
<v Speaker 1>somehow evolved from hammering on a new instrument from Honer

1:21:09.240 --> 1:21:15.480
<v Speaker 1>called the clavinett Uh. And there are people on websites

1:21:16.080 --> 1:21:21.240
<v Speaker 1>still trying to decide whether six o'clock is the first

1:21:21.640 --> 1:21:27.360
<v Speaker 1>use of the electric harpsichord, UH, which we have no idea,

1:21:27.520 --> 1:21:34.360
<v Speaker 1>But that was, that was the way that that UH emerged. Now,

1:21:34.439 --> 1:21:42.839
<v Speaker 1>remember we're in transition now, Zali UH will occasionally visit

1:21:42.920 --> 1:21:45.439
<v Speaker 1>our sessions. It's not like, you know, we This is

1:21:45.479 --> 1:21:49.160
<v Speaker 1>the other thing that was so different for with our band.

1:21:49.280 --> 1:21:53.640
<v Speaker 1>You know, we took eight by ten glosses with the

1:21:53.680 --> 1:21:57.080
<v Speaker 1>new band member. But if you look closely at the

1:21:57.080 --> 1:22:00.400
<v Speaker 1>glossy and you looked in the trees behind where we

1:22:00.400 --> 1:22:05.960
<v Speaker 1>were standing, you'd see Zali looking forlorn and it's sad,

1:22:06.840 --> 1:22:11.240
<v Speaker 1>and you know it was it was Yanovski all the way.

1:22:11.360 --> 1:22:17.559
<v Speaker 1>But I mean, in some ways it's it's separated us

1:22:18.000 --> 1:22:24.000
<v Speaker 1>from ever being that perfect. I don't know, Uh, you know,

1:22:24.240 --> 1:22:29.920
<v Speaker 1>money making band that UH does no wrong, Darling be

1:22:30.040 --> 1:22:34.080
<v Speaker 1>home soon. It came about because I was listening to

1:22:34.400 --> 1:22:38.120
<v Speaker 1>a lot of songs on the radio that went, oh

1:22:38.200 --> 1:22:40.920
<v Speaker 1>my honey, I love you so much and now I

1:22:41.040 --> 1:22:43.800
<v Speaker 1>have to go on the road and it's so hard

1:22:43.840 --> 1:22:47.240
<v Speaker 1>and it makes me so unhappy. And I was going,

1:22:47.800 --> 1:22:51.280
<v Speaker 1>wait a minute, and maybe this is partially having a

1:22:51.400 --> 1:22:56.639
<v Speaker 1>musician as a father. I said, well, this you got

1:22:56.680 --> 1:23:03.400
<v Speaker 1>this wrong. When you get this going, that's that's what

1:23:03.520 --> 1:23:07.760
<v Speaker 1>you want to have happened. Keep it going. Uh and

1:23:08.280 --> 1:23:13.599
<v Speaker 1>uh So I thought maybe it would be I could

1:23:13.800 --> 1:23:16.960
<v Speaker 1>sort of write that song. Only what if I took

1:23:17.000 --> 1:23:24.240
<v Speaker 1>it from the other partners side? What if you know

1:23:24.560 --> 1:23:30.879
<v Speaker 1>the song was really being sung by whoever stays at home? Okay,

1:23:30.880 --> 1:23:32.920
<v Speaker 1>what do you think when you heard Joe Cocker's version?

1:23:33.600 --> 1:23:38.320
<v Speaker 1>I loved it. I went nuts. Uh And in fact

1:23:38.400 --> 1:23:42.040
<v Speaker 1>I would see him occasionally because we'd get paired in

1:23:42.120 --> 1:23:47.640
<v Speaker 1>these various uh sorry, yes, Woodstock imitation shows in in

1:23:48.760 --> 1:23:53.400
<v Speaker 1>subsequent years. But I loved that man, and he and

1:23:53.439 --> 1:23:58.120
<v Speaker 1>I spent a considerable time in in in dressing rooms

1:23:58.439 --> 1:24:02.160
<v Speaker 1>not talking because he was glad to have somebody that

1:24:02.360 --> 1:24:05.120
<v Speaker 1>didn't want to talk to it, and I was glad

1:24:05.160 --> 1:24:09.960
<v Speaker 1>to provide that. He was a delightful guy. Okay, I

1:24:10.080 --> 1:24:13.600
<v Speaker 1>have to ask about Summer in the City. Yeah, it

1:24:13.760 --> 1:24:17.360
<v Speaker 1>was an iconic record, came out during the summer of

1:24:17.400 --> 1:24:21.879
<v Speaker 1>the late spring. Had had that sound? How is that created?

1:24:21.960 --> 1:24:24.240
<v Speaker 1>And what is it? That's a staple that has never

1:24:24.320 --> 1:24:28.639
<v Speaker 1>gone away? So tell me about your experience there. Well,

1:24:29.360 --> 1:24:33.160
<v Speaker 1>the song really began with Mark Sebastian, my younger brother,

1:24:34.360 --> 1:24:39.720
<v Speaker 1>who had come up with an idea of you know,

1:24:39.880 --> 1:24:43.960
<v Speaker 1>summer in the city, you know it's gonna get hot,

1:24:44.560 --> 1:24:48.400
<v Speaker 1>the shadows of the buildings will be the only show

1:24:48.560 --> 1:24:52.120
<v Speaker 1>shade spot. But at night it's a different world going.

1:24:52.240 --> 1:24:56.400
<v Speaker 1>I say, whoa, whoa, whoa, what's that? And what are

1:24:56.439 --> 1:24:59.840
<v Speaker 1>those chords? And my brother showed him to me, and

1:25:00.040 --> 1:25:04.720
<v Speaker 1>I said, man, that is a fabulous chorus, and that

1:25:05.960 --> 1:25:11.160
<v Speaker 1>it made me want to create tension because it was

1:25:11.200 --> 1:25:15.400
<v Speaker 1>such a good release. It goes to the sub dominant chord,

1:25:15.479 --> 1:25:17.640
<v Speaker 1>then it goes to the sub dominant chord of that

1:25:18.040 --> 1:25:20.759
<v Speaker 1>and it's like a double wall. You don't know where

1:25:20.800 --> 1:25:23.680
<v Speaker 1>you are for a minute. And and and to me

1:25:24.680 --> 1:25:29.800
<v Speaker 1>that that had this wonderful quality of release, that it

1:25:29.880 --> 1:25:36.479
<v Speaker 1>made me want to, uh increase the tension in the beginning.

1:25:37.840 --> 1:25:44.720
<v Speaker 1>So I, instead of what Mark had written on that beginning,

1:25:45.840 --> 1:25:48.760
<v Speaker 1>I started. I started with an idea. I said, I

1:25:48.800 --> 1:25:52.160
<v Speaker 1>wanted to have tension. I wanted to be like Night

1:25:52.280 --> 1:25:55.599
<v Speaker 1>on Bald Mountain. Okay, one of the things that scared

1:25:55.720 --> 1:25:58.600
<v Speaker 1>the living p out of me as a kid was

1:25:58.800 --> 1:26:02.840
<v Speaker 1>Night on bald Mountain and to me, that thing in

1:26:02.920 --> 1:26:05.920
<v Speaker 1>the beginning where you you hear the strings come in

1:26:06.520 --> 1:26:15.720
<v Speaker 1>very quietly at first, donn bah pap pap pa papa,

1:26:15.840 --> 1:26:21.960
<v Speaker 1>And you know that that remarkable piece of writing. And

1:26:22.040 --> 1:26:26.000
<v Speaker 1>so I want to imitate that somehow. And that was

1:26:26.120 --> 1:26:29.559
<v Speaker 1>all it was. Was bad, you know, I don't know,

1:26:30.800 --> 1:26:33.800
<v Speaker 1>kind of underachieving there, but that was the goal, and

1:26:33.840 --> 1:26:37.920
<v Speaker 1>that was you were the producer. That was me. Okay,

1:26:37.920 --> 1:26:41.559
<v Speaker 1>just jumping forward one song from your soul. Oh wait now,

1:26:41.600 --> 1:26:47.400
<v Speaker 1>but but there is there is production detail here worth mentioning,

1:26:48.040 --> 1:26:53.880
<v Speaker 1>Which was that? Again? It's Yanovsky starts the trouble. He goes,

1:26:54.320 --> 1:26:56.880
<v Speaker 1>I don't want the drums to sound like drums. I

1:26:56.960 --> 1:27:00.960
<v Speaker 1>wanted to sound like a garbage can fall down an

1:27:01.000 --> 1:27:07.160
<v Speaker 1>eight story stairwell, metal stairwell. So we're working with Roy

1:27:07.200 --> 1:27:11.400
<v Speaker 1>Haley for the first time. Uh, he's a guy in

1:27:11.479 --> 1:27:14.679
<v Speaker 1>a white lab coat. You got to remember the era.

1:27:15.720 --> 1:27:20.360
<v Speaker 1>And once Sally says the thing about the stairwell, he goes, well,

1:27:20.479 --> 1:27:27.479
<v Speaker 1>you know we have an eight story metal stairwell. Really well,

1:27:27.520 --> 1:27:30.559
<v Speaker 1>in no time, we are pushing a voice of the

1:27:30.560 --> 1:27:34.760
<v Speaker 1>theater speaker on onto the ground floor of this stairwell

1:27:35.960 --> 1:27:42.200
<v Speaker 1>taking a microphone up eight floors, and it's recording this

1:27:42.680 --> 1:27:48.280
<v Speaker 1>enormous echo of the of the snare, But of course

1:27:48.640 --> 1:27:53.680
<v Speaker 1>it's decay is way too long, so Roy ends up

1:27:54.080 --> 1:27:58.880
<v Speaker 1>wowing the cap stand that controls that echo so that

1:27:58.960 --> 1:28:03.880
<v Speaker 1>it will go and then disappear. Well, of course you

1:28:04.000 --> 1:28:08.719
<v Speaker 1>know that that same stairwell was then used twice more

1:28:08.920 --> 1:28:13.400
<v Speaker 1>for the Boxer and for Bridge over Troubled Water. It's

1:28:13.520 --> 1:28:18.759
<v Speaker 1>that stairwell. Wow. You ever tire of you? Ever tire

1:28:18.800 --> 1:28:24.519
<v Speaker 1>of hearing Summer in the City? No? Really, not, Okay.

1:28:24.520 --> 1:28:26.880
<v Speaker 1>I want to mention one other song that not everybody knows,

1:28:26.920 --> 1:28:29.640
<v Speaker 1>but it's a big favorite of mine. It's after Tarzana

1:28:29.760 --> 1:28:32.879
<v Speaker 1>Kid album, but that's not where I discovered it. Valerie

1:28:32.920 --> 1:28:36.400
<v Speaker 1>Carter does a great version of Face of Appalachia. Oh

1:28:36.439 --> 1:28:39.640
<v Speaker 1>She Kills. And of course that song You're Tarzana King

1:28:39.680 --> 1:28:42.519
<v Speaker 1>is now available Tarzana Kid is available online. Tell me

1:28:42.560 --> 1:28:48.000
<v Speaker 1>the backstory on that record? Well, Um, I had become

1:28:48.120 --> 1:28:56.479
<v Speaker 1>friends with Lowell George and we found each other very amusing, uh,

1:28:56.479 --> 1:28:59.160
<v Speaker 1>And we started to spend a lot of time together

1:28:59.640 --> 1:29:03.839
<v Speaker 1>and we started to just call each other with hey,

1:29:03.880 --> 1:29:08.360
<v Speaker 1>listen to this kind of phone calls. Well, one day,

1:29:08.840 --> 1:29:12.800
<v Speaker 1>Lowell calls me up and says, hey, listen to this,

1:29:13.840 --> 1:29:17.559
<v Speaker 1>And what I hear is it's an acoustic guitar, but

1:29:17.680 --> 1:29:23.240
<v Speaker 1>it's so smeared with compression that it almost doesn't sound

1:29:23.360 --> 1:29:30.439
<v Speaker 1>like uh that that instrument. Well, I say, man, that

1:29:30.640 --> 1:29:34.360
<v Speaker 1>is so cool. That sounds like, I don't know, like

1:29:34.479 --> 1:29:38.040
<v Speaker 1>the face of Appalachia or something. And he goes that, yep,

1:29:38.160 --> 1:29:43.599
<v Speaker 1>that do that? Yeah right that. Uh So I started

1:29:43.600 --> 1:29:47.920
<v Speaker 1>working on it, and uh it took me the whole summer, Robert.

1:29:48.760 --> 1:29:51.840
<v Speaker 1>It's the only song that took me a long time.

1:29:52.920 --> 1:29:56.880
<v Speaker 1>Uh and it really uh it. I just kept working

1:29:56.920 --> 1:30:01.360
<v Speaker 1>on it all summer. It's a song, as you can tell,

1:30:01.400 --> 1:30:08.320
<v Speaker 1>about my grandfather and how he had dreamed of making

1:30:08.320 --> 1:30:14.880
<v Speaker 1>this trip with me, of walking the Appalachian Trail. And

1:30:14.920 --> 1:30:19.840
<v Speaker 1>so it was the combination of the nostalgia of the

1:30:20.520 --> 1:30:25.120
<v Speaker 1>contrast between my background, you know, being born in blocks

1:30:25.120 --> 1:30:29.479
<v Speaker 1>of buildings, and and his vision that he wanted me

1:30:29.560 --> 1:30:35.040
<v Speaker 1>to see, of the Coltrane's wailing banjos, frailing and all

1:30:35.040 --> 1:30:39.720
<v Speaker 1>of that stuff. So so that really that was it.

1:30:39.800 --> 1:30:43.720
<v Speaker 1>And I would have to mention that Lowell, George and

1:30:43.840 --> 1:30:47.439
<v Speaker 1>Ry Cooter both played on that record, so you couldn't

1:30:47.439 --> 1:30:54.040
<v Speaker 1>get you couldn't get slide here, that's for sure. Okay,

1:30:54.439 --> 1:30:58.160
<v Speaker 1>you end up working on Francis Ford Coppola's first movie,

1:30:58.600 --> 1:31:01.640
<v Speaker 1>You're a Big Boy. Now. How does come together? You know?

1:31:02.160 --> 1:31:08.760
<v Speaker 1>It was fairly fairly mechanical in that my manager, Bob Cavallo,

1:31:09.240 --> 1:31:14.759
<v Speaker 1>nw uh, the the team that was making that movie,

1:31:15.400 --> 1:31:19.880
<v Speaker 1>and somehow or another, I really don't know how Coppola

1:31:20.000 --> 1:31:23.240
<v Speaker 1>came up with our name as the guys that should

1:31:23.240 --> 1:31:26.960
<v Speaker 1>do the movie. But we got the call that, you know,

1:31:27.600 --> 1:31:30.559
<v Speaker 1>go over to path A Labs or something and and

1:31:30.600 --> 1:31:34.400
<v Speaker 1>talk to this guy. So we go over there, and

1:31:34.560 --> 1:31:37.599
<v Speaker 1>you know, we don't know from Francis Coppola. Nobody does.

1:31:38.080 --> 1:31:42.160
<v Speaker 1>But one thing was obvious. This guy's he's got this

1:31:42.280 --> 1:31:47.519
<v Speaker 1>New York Italian thing that I'm immediately drawn in by

1:31:47.560 --> 1:31:51.200
<v Speaker 1>this guy. Uh and and he has a wonderful funny

1:31:51.280 --> 1:31:56.080
<v Speaker 1>way of presenting stuff. And uh, there were things that

1:31:56.160 --> 1:32:00.280
<v Speaker 1>he would say like, Okay, so I need I need

1:32:00.320 --> 1:32:06.719
<v Speaker 1>a song for this, uh, this couple. And they're there.

1:32:06.880 --> 1:32:10.559
<v Speaker 1>It's a it's a kind of a a strange pairing

1:32:10.640 --> 1:32:15.720
<v Speaker 1>now and they're gonna be a couple though soon and uh,

1:32:15.880 --> 1:32:19.040
<v Speaker 1>I'm gonna play a song that's sort of like the

1:32:19.240 --> 1:32:25.639
<v Speaker 1>vibe by one, and he plays Monday Monday. Well, all

1:32:25.640 --> 1:32:29.479
<v Speaker 1>I took from Monday Monday was the tempo. But but

1:32:29.760 --> 1:32:32.880
<v Speaker 1>it was an obvious Oh yeah, I can see how

1:32:32.960 --> 1:32:36.799
<v Speaker 1>this kind of a mood would be good. Uh. Other things,

1:32:36.880 --> 1:32:41.040
<v Speaker 1>like he'd say, Okay, now I need a song for

1:32:41.439 --> 1:32:47.160
<v Speaker 1>Amy the girl. And she's the good girl. But you know, John,

1:32:47.800 --> 1:32:53.519
<v Speaker 1>she's not quite as attractive as my bad girl. So

1:32:53.880 --> 1:32:58.680
<v Speaker 1>I need a song to kind of kind of inflate

1:32:58.840 --> 1:33:04.680
<v Speaker 1>her a little bit, make her more important. So I

1:33:04.880 --> 1:33:09.400
<v Speaker 1>write a tune called Amy's Theme. And uh, as soon

1:33:09.439 --> 1:33:12.360
<v Speaker 1>as he hears that, he goes, oh yeah, and you know,

1:33:12.920 --> 1:33:16.880
<v Speaker 1>I'm gonna do a thing here. Uh. So you know,

1:33:18.520 --> 1:33:25.240
<v Speaker 1>when the guy is wandering around New York City by himself,

1:33:26.760 --> 1:33:30.799
<v Speaker 1>Now we've heard Amy's Theme with Amy in the picture,

1:33:31.479 --> 1:33:35.639
<v Speaker 1>but now I'm gonna use that theme with her out

1:33:35.680 --> 1:33:39.640
<v Speaker 1>of the picture. It's gonna be just him, and you

1:33:39.760 --> 1:33:43.519
<v Speaker 1>know what the audience is gonna be thinking. And all

1:33:43.600 --> 1:33:47.280
<v Speaker 1>of us gotta go, no, we don't know. He says,

1:33:48.720 --> 1:33:53.559
<v Speaker 1>they're gonna be saying he's thinking about that girl, And

1:33:53.600 --> 1:33:58.000
<v Speaker 1>I go, wow, you know this is, you know, writing

1:33:58.040 --> 1:34:01.639
<v Speaker 1>for movies, and I did it by accident. So it

1:34:01.720 --> 1:34:06.360
<v Speaker 1>was that was the experience. It was really informative. I

1:34:06.439 --> 1:34:11.439
<v Speaker 1>learned so much and just disappointed he never called again.

1:34:12.960 --> 1:34:15.599
<v Speaker 1>What do you think where the Godfather came out? I mean,

1:34:15.680 --> 1:34:18.720
<v Speaker 1>come on, I can write you in Italian. No, now

1:34:18.720 --> 1:34:22.080
<v Speaker 1>he's got his dad. The dad kills it. Yeah, you're

1:34:22.080 --> 1:34:26.679
<v Speaker 1>not going to improve on on Mr Couple, I'm afraid. Okay,

1:34:26.720 --> 1:34:30.439
<v Speaker 1>of course you Then you get huge exposure a year

1:34:30.479 --> 1:34:35.519
<v Speaker 1>after it happens in August sixty nine, is Woodstock gets

1:34:35.520 --> 1:34:38.200
<v Speaker 1>a lot of press, not that it's focused on you.

1:34:38.800 --> 1:34:42.519
<v Speaker 1>Then there's the triple album set, and then there's the

1:34:42.560 --> 1:34:46.720
<v Speaker 1>movie becomes a phenomenon. One other thing we know is

1:34:46.760 --> 1:34:49.559
<v Speaker 1>a lot of the stuff on the original three record

1:34:49.640 --> 1:34:54.240
<v Speaker 1>set was it actually recorded it Woodstock? So why did

1:34:54.320 --> 1:34:57.960
<v Speaker 1>you go to Woodstock? What was up with the tidy?

1:34:58.520 --> 1:35:01.439
<v Speaker 1>Tell us your experience and then the aftermath of having

1:35:01.439 --> 1:35:08.120
<v Speaker 1>all that visibility. Okay, so by this time, um, I

1:35:08.680 --> 1:35:13.800
<v Speaker 1>have divorced my first wife and moved out to California

1:35:13.920 --> 1:35:16.840
<v Speaker 1>in a kind of I don't know what I'm doing

1:35:17.000 --> 1:35:20.600
<v Speaker 1>kind of a way, and and who but Paul Rothchild

1:35:20.640 --> 1:35:23.040
<v Speaker 1>says man, you've got to be out here. Look all

1:35:23.080 --> 1:35:26.800
<v Speaker 1>of your brothers, they've all moved from Greenwich Village and

1:35:26.840 --> 1:35:31.160
<v Speaker 1>they're all out here. And this whole sensitive singer songwriter

1:35:31.280 --> 1:35:35.160
<v Speaker 1>thing you can dive right in here, So come on out.

1:35:35.200 --> 1:35:40.759
<v Speaker 1>You know that. That was kind of the way it began.

1:35:41.760 --> 1:35:47.960
<v Speaker 1>I moved to California. But while I'm out there, I

1:35:48.160 --> 1:35:51.519
<v Speaker 1>stay at the home of a guy named Cyrus Farrier

1:35:51.600 --> 1:35:55.479
<v Speaker 1>who was in the Modern Folk Quartet. And one of

1:35:55.520 --> 1:35:58.280
<v Speaker 1>the things I learned there from a woman named Annie

1:35:58.280 --> 1:36:03.000
<v Speaker 1>Thomas is tied dyeing. U Uh. You know. It starts

1:36:03.040 --> 1:36:06.799
<v Speaker 1>with underwear and socks and things. But after a while,

1:36:06.840 --> 1:36:10.919
<v Speaker 1>I go, I'm gonna actually buy a white leave jacket

1:36:11.080 --> 1:36:16.240
<v Speaker 1>and actually have it be purposed to be a jacket

1:36:16.280 --> 1:36:20.559
<v Speaker 1>that has all these colors on it. So, uh, you know,

1:36:20.760 --> 1:36:26.920
<v Speaker 1>between uh, tying and sewing and various things, I get

1:36:26.960 --> 1:36:30.000
<v Speaker 1>this thing. And it takes it takes weeks because I'm

1:36:30.160 --> 1:36:35.000
<v Speaker 1>I'm dipping into these various buckets and the buckets have

1:36:35.120 --> 1:36:39.080
<v Speaker 1>to be hot, so there's a time limit. Uh, and

1:36:39.160 --> 1:36:42.440
<v Speaker 1>so all of this is part of the process. Okay,

1:36:42.479 --> 1:36:47.639
<v Speaker 1>But then I get the jacket and again Rothschild is saying,

1:36:47.840 --> 1:36:51.759
<v Speaker 1>you know, I can't do this, but this would stock

1:36:51.920 --> 1:36:55.760
<v Speaker 1>festival thing. It's it's sounding like it could really be

1:36:55.840 --> 1:37:00.160
<v Speaker 1>something cool. So maybe you know, if you can take

1:37:00.160 --> 1:37:03.960
<v Speaker 1>get there, you ought to try to make it well.

1:37:04.120 --> 1:37:06.479
<v Speaker 1>As it turned out, I was on the East Coast

1:37:06.479 --> 1:37:09.960
<v Speaker 1>in that general time, and so I made my way

1:37:10.000 --> 1:37:14.600
<v Speaker 1>to the Albany Airport. I'm and I'm standing in the

1:37:14.640 --> 1:37:22.000
<v Speaker 1>Albany Airport looking out the picture window another era of airports,

1:37:22.600 --> 1:37:27.160
<v Speaker 1>and I see a guy loading a helicopter and I

1:37:27.240 --> 1:37:32.240
<v Speaker 1>look closely and it's Walter Gundhi, the original The Love

1:37:32.280 --> 1:37:38.000
<v Speaker 1>and Spoonfuls First road e And so between gesturing and

1:37:38.040 --> 1:37:41.000
<v Speaker 1>so on, I get his attention. He points to a

1:37:41.120 --> 1:37:44.640
<v Speaker 1>staircase that I can come down on the tar Mac with.

1:37:45.520 --> 1:37:47.840
<v Speaker 1>So I do that. I go down on the tar Mac.

1:37:48.120 --> 1:37:50.919
<v Speaker 1>He says, you're trying to get to Woodsuck. I go yeah.

1:37:51.040 --> 1:37:53.439
<v Speaker 1>He goes to get in the helicopter. It's the only

1:37:53.479 --> 1:37:57.040
<v Speaker 1>way you're gonna get there. I'm roadying for the Incredible

1:37:57.080 --> 1:38:01.879
<v Speaker 1>String Band. So uh, that's where I'm going one okay,

1:38:01.960 --> 1:38:06.880
<v Speaker 1>So that's how that's how the trip began. And me

1:38:07.000 --> 1:38:12.200
<v Speaker 1>and a helicopter. I see that same view over the

1:38:12.840 --> 1:38:17.559
<v Speaker 1>site that is so famous in the movie where there's

1:38:18.560 --> 1:38:21.960
<v Speaker 1>there's no ground. You just see sleeping bags and tents

1:38:22.520 --> 1:38:29.439
<v Speaker 1>and and Volkswagen busses and so on. So I pretty

1:38:29.520 --> 1:38:35.840
<v Speaker 1>much I just showed up and U there were things

1:38:35.880 --> 1:38:39.040
<v Speaker 1>that were that were going on that made it easier.

1:38:39.160 --> 1:38:42.360
<v Speaker 1>One of them was that there was a yellow Volkswagen

1:38:42.479 --> 1:38:46.360
<v Speaker 1>bus tent right in front of the stage. Well, as

1:38:46.360 --> 1:38:50.000
<v Speaker 1>it turns out, I had been living in a yellow

1:38:50.120 --> 1:38:55.240
<v Speaker 1>Volkswagen bus tent in Los Angeles because that was what

1:38:55.360 --> 1:38:59.080
<v Speaker 1>was available to me at that at my friend's house.

1:38:59.680 --> 1:39:04.160
<v Speaker 1>Remember me, there's very little security or anything. You can

1:39:04.200 --> 1:39:07.840
<v Speaker 1>go where you want to go. So I've I circled

1:39:07.880 --> 1:39:13.280
<v Speaker 1>the entire site with with David Brown, wonderful bass player

1:39:13.360 --> 1:39:19.200
<v Speaker 1>for the Santana and uh. By the next day, I'm

1:39:19.360 --> 1:39:25.240
<v Speaker 1>on stage uh fairly frequently. And at a certain point

1:39:25.520 --> 1:39:29.880
<v Speaker 1>it begins to rain and I'm standing there with the

1:39:29.920 --> 1:39:36.320
<v Speaker 1>promoters and and Chipmunk and we're sort of talking and

1:39:36.880 --> 1:39:43.960
<v Speaker 1>Michael says, uh, you know, uh, what we need is

1:39:44.000 --> 1:39:48.400
<v Speaker 1>the guy to hold them for long enough for us

1:39:48.439 --> 1:39:53.240
<v Speaker 1>to sweep the stage because we can't put electric instruments,

1:39:53.520 --> 1:39:57.200
<v Speaker 1>so we can't put any electric band on Uh, so

1:39:57.680 --> 1:40:00.800
<v Speaker 1>we gotta have a guy who can hold um, you know,

1:40:01.120 --> 1:40:04.439
<v Speaker 1>maybe with some good songs. And I'm I'm staring out

1:40:04.479 --> 1:40:07.880
<v Speaker 1>at the audience at this moment and I'm shaking my head. Yeah,

1:40:07.920 --> 1:40:12.480
<v Speaker 1>that's that's that's free. That's what we need. And uh

1:40:12.680 --> 1:40:16.879
<v Speaker 1>then I realized that they're looking at me, and I say, fellas,

1:40:17.240 --> 1:40:20.040
<v Speaker 1>I didn't bring I may have a thumb pick, I

1:40:20.080 --> 1:40:25.320
<v Speaker 1>didn't bring any instruments. I didn't I'm not prepared to play.

1:40:25.560 --> 1:40:28.760
<v Speaker 1>And they say, well, you actually have a couple of

1:40:28.800 --> 1:40:33.120
<v Speaker 1>minutes to go find a guitar. And so I end

1:40:33.240 --> 1:40:39.200
<v Speaker 1>up down in the sort of underground of that hastily

1:40:39.240 --> 1:40:44.559
<v Speaker 1>assembled stage and who's down there relaxing but Timmy Harden,

1:40:45.080 --> 1:40:49.000
<v Speaker 1>who had been a frequent uh you know. I played

1:40:49.040 --> 1:40:53.040
<v Speaker 1>with Timmy a lot in in Greenwich Village. And so

1:40:53.120 --> 1:40:56.480
<v Speaker 1>I said, tim could I borrow your harm any sovereign?

1:40:56.600 --> 1:40:59.559
<v Speaker 1>And he says sure man, and I I'm back up

1:40:59.600 --> 1:41:03.839
<v Speaker 1>on age. I'm tuning as I run up the stairs,

1:41:04.680 --> 1:41:10.400
<v Speaker 1>and uh. From there, I walk on stage and dan

1:41:10.520 --> 1:41:16.920
<v Speaker 1>it was pretty remarkable experience for a guy who played

1:41:17.000 --> 1:41:21.680
<v Speaker 1>mostly to audiences of maybe three hundred, you know, the

1:41:22.000 --> 1:41:26.320
<v Speaker 1>spoonful you gotta remember, this wasn't the scale of rock

1:41:26.400 --> 1:41:29.960
<v Speaker 1>and roll that everybody thinks of when they think of,

1:41:30.720 --> 1:41:33.760
<v Speaker 1>you know, the sixties and rock and roll. Yeah, it

1:41:33.840 --> 1:41:38.679
<v Speaker 1>really was a smaller scale operation. So when you suddenly

1:41:39.360 --> 1:41:42.880
<v Speaker 1>have that many people in front of you, it is

1:41:43.439 --> 1:41:47.360
<v Speaker 1>it is startling. But the thing that I rarely get

1:41:47.400 --> 1:41:52.360
<v Speaker 1>around to Robert and I'll tell you is that everybody

1:41:52.400 --> 1:41:57.559
<v Speaker 1>that played there had had success in rooms with forty

1:41:57.840 --> 1:42:01.360
<v Speaker 1>people in the audience, and that's where you learn how

1:42:01.400 --> 1:42:06.719
<v Speaker 1>to do what you do. And really Woodstock was a

1:42:06.880 --> 1:42:12.320
<v Speaker 1>very intimate half a million people. I can't quite describe

1:42:12.320 --> 1:42:16.080
<v Speaker 1>how I I never saw it happen again, but oh

1:42:16.160 --> 1:42:20.679
<v Speaker 1>my god, they were quiet. I mean, who knows how

1:42:20.720 --> 1:42:24.800
<v Speaker 1>to quiet half a million people? So it was as

1:42:24.880 --> 1:42:29.840
<v Speaker 1>much of of a remarkable experience for me as as

1:42:29.880 --> 1:42:34.040
<v Speaker 1>for everybody else that got the opportunity to play. Okay,

1:42:34.040 --> 1:42:37.680
<v Speaker 1>you play, Yeah, When when you're done, what kind of

1:42:37.760 --> 1:42:44.080
<v Speaker 1>high do you have? Pretty pretty strong. I think it'd

1:42:44.080 --> 1:42:46.880
<v Speaker 1>be several days before I can get my head through

1:42:46.880 --> 1:42:50.960
<v Speaker 1>the door. Uh. That was a remarkable feeling, no no

1:42:51.000 --> 1:42:53.880
<v Speaker 1>doubt about it. Yeah, how do you end up on

1:42:53.920 --> 1:42:59.200
<v Speaker 1>the record in the movie, Well, that was just because

1:42:59.280 --> 1:43:04.400
<v Speaker 1>they were wording and filming, so they had me, and uh,

1:43:05.120 --> 1:43:09.080
<v Speaker 1>I I wasn't going to turn it down. Uh. I

1:43:09.400 --> 1:43:13.519
<v Speaker 1>felt like, okay, I went up once. I forgot a verse,

1:43:14.080 --> 1:43:17.960
<v Speaker 1>but it wasn't terrible, and uh the audience seemed to

1:43:18.040 --> 1:43:22.080
<v Speaker 1>like it. I guess they be okay. Well, I had

1:43:22.160 --> 1:43:27.040
<v Speaker 1>no idea really the scale of acceptance and what that

1:43:27.120 --> 1:43:31.200
<v Speaker 1>movie became. Um. And one of the things, one of

1:43:31.240 --> 1:43:37.360
<v Speaker 1>the outgrowths of that was that for another three years

1:43:38.479 --> 1:43:43.240
<v Speaker 1>I rarely played inside. One thing, and the other thing

1:43:43.439 --> 1:43:48.320
<v Speaker 1>was that I played every one of those lonely ass

1:43:48.520 --> 1:43:54.400
<v Speaker 1>wanna be Woodstock. Uh we we charge money kind of shows.

1:43:54.920 --> 1:43:59.320
<v Speaker 1>Everybody had the same idea, only this time we have

1:43:59.760 --> 1:44:03.160
<v Speaker 1>an actual ticket booth and they go by the ticket booth.

1:44:03.600 --> 1:44:07.479
<v Speaker 1>And you know, so I did. I played every one

1:44:07.520 --> 1:44:10.719
<v Speaker 1>of them. That's where I got to know Joe uh

1:44:10.880 --> 1:44:14.240
<v Speaker 1>Cocker and a number of folks who were, you know,

1:44:14.400 --> 1:44:19.519
<v Speaker 1>pretty pretty much regulars. Uh. As a result of that movie,

1:44:19.960 --> 1:44:24.120
<v Speaker 1>you became known as the tide guy. I'm happy. Were

1:44:24.120 --> 1:44:28.400
<v Speaker 1>you happy with that? For a while? I was happy?

1:44:28.439 --> 1:44:34.599
<v Speaker 1>But I actually can date it from a television show

1:44:34.680 --> 1:44:38.760
<v Speaker 1>I was watching where Cheech and Chong are the guests

1:44:39.760 --> 1:44:42.880
<v Speaker 1>and they come out and they sit down and and

1:44:43.040 --> 1:44:46.200
<v Speaker 1>Cheech is sitting closest, and he's got a tie dyed

1:44:46.280 --> 1:44:51.599
<v Speaker 1>shirt on. And uh, the the uh announcer says, well, though,

1:44:51.680 --> 1:44:55.040
<v Speaker 1>that's just wonderfully has a fake name, and and tell me,

1:44:55.240 --> 1:44:59.679
<v Speaker 1>uh so, uh did you tie dye that yourself? And

1:45:01.240 --> 1:45:07.280
<v Speaker 1>he says no, I threw up. And that was when

1:45:07.320 --> 1:45:12.960
<v Speaker 1>I knew. Oops, it's the end of the tie dye era.

1:45:13.800 --> 1:45:17.519
<v Speaker 1>Now it's funny. And it wasn't long after that that

1:45:17.640 --> 1:45:21.680
<v Speaker 1>I started wearing black clothes for a couple of years

1:45:21.720 --> 1:45:25.280
<v Speaker 1>just to shake it off. Okay, you have a new

1:45:25.400 --> 1:45:30.520
<v Speaker 1>album where a lot of your classic Love and Spoonful

1:45:30.680 --> 1:45:35.000
<v Speaker 1>songs are re cut. It's an interesting project because it's

1:45:35.000 --> 1:45:38.400
<v Speaker 1>with Arlen Roth, the guitarist. A few of the songs

1:45:38.400 --> 1:45:42.640
<v Speaker 1>were instrumentals. Tell us how this came together, Well, it

1:45:42.840 --> 1:45:50.160
<v Speaker 1>came about completely as uh Arland's idea. Originally. Uh. He

1:45:50.280 --> 1:45:53.679
<v Speaker 1>and I had known each other chiefs me. We probably

1:45:53.760 --> 1:45:57.160
<v Speaker 1>go back thirty five years. Uh. And you know, we

1:45:57.200 --> 1:46:01.479
<v Speaker 1>would cross paths frequently because both of us were accompanists

1:46:01.520 --> 1:46:04.840
<v Speaker 1>before we were you know, the guy under the spotlight

1:46:04.960 --> 1:46:10.160
<v Speaker 1>or whatever, and so so we we had been friends

1:46:10.160 --> 1:46:14.880
<v Speaker 1>a long time, and also we would cross paths. Woodstock

1:46:14.960 --> 1:46:20.200
<v Speaker 1>has frequent uh, small events that are usually benefits or something,

1:46:20.240 --> 1:46:23.240
<v Speaker 1>and and it's a kind of a clotch where everybody

1:46:23.240 --> 1:46:26.040
<v Speaker 1>gets together in place. And I'd end up playing with

1:46:26.200 --> 1:46:32.240
<v Speaker 1>Arland fairly frequently. And so UH came a day when

1:46:32.479 --> 1:46:37.080
<v Speaker 1>I had been listening to Arland's c ds that he

1:46:37.120 --> 1:46:45.160
<v Speaker 1>had cut things like acoustic rolling Stones and uh, instrumental

1:46:45.840 --> 1:46:50.840
<v Speaker 1>Simon and Garfuncle. Of course, he's completely savvy because he

1:46:51.000 --> 1:46:56.280
<v Speaker 1>played with both guys together and separately, so he has

1:46:56.360 --> 1:47:01.120
<v Speaker 1>the background. And he says, so, you ever made one

1:47:01.160 --> 1:47:04.640
<v Speaker 1>of these kind of records, And I said no, I

1:47:04.640 --> 1:47:10.600
<v Speaker 1>I was always afraid to touch any of the material. Uh,

1:47:10.640 --> 1:47:16.720
<v Speaker 1>and he said, well, you know, we'd have half of

1:47:16.760 --> 1:47:23.960
<v Speaker 1>the arrangements licked. Was how we put it, so Uh

1:47:24.000 --> 1:47:28.160
<v Speaker 1>that just sort of started it off, mostly in living rooms,

1:47:28.560 --> 1:47:33.640
<v Speaker 1>and uh we began playing the material. And one of

1:47:33.680 --> 1:47:38.280
<v Speaker 1>the remarkable parts of it was that his knowledge of

1:47:38.760 --> 1:47:43.960
<v Speaker 1>Zalmayanovski I really hadn't I really hadn't taken it in,

1:47:44.439 --> 1:47:50.839
<v Speaker 1>but it provided this wonderful framework, and we just started

1:47:50.880 --> 1:47:57.480
<v Speaker 1>doing instrumental versions of tunes. Uh. And in some cases

1:47:57.560 --> 1:48:01.680
<v Speaker 1>they made it in some cases we'd say, now we

1:48:01.760 --> 1:48:05.840
<v Speaker 1>can't touch the original, and in some cases, uh, it

1:48:05.920 --> 1:48:10.720
<v Speaker 1>would become an instrumental that then we'd add vocals to

1:48:10.920 --> 1:48:14.240
<v Speaker 1>and go, hey, it's better with the vocals. Let's let's

1:48:14.320 --> 1:48:18.479
<v Speaker 1>leave it that way. And suddenly we had the fourteen

1:48:18.560 --> 1:48:23.800
<v Speaker 1>or fifteen tunes that it took. Now, part of our

1:48:23.880 --> 1:48:27.960
<v Speaker 1>goal was not to go nuts and put a whole

1:48:27.960 --> 1:48:34.040
<v Speaker 1>bunch of nonsense on it, because we had been getting

1:48:34.080 --> 1:48:38.160
<v Speaker 1>this very good vibe of the two of us playing together.

1:48:38.640 --> 1:48:42.759
<v Speaker 1>Then we go to our separate studios and maybe add

1:48:43.360 --> 1:48:49.479
<v Speaker 1>one other guy and and that would be the arrangement. Uh.

1:48:49.560 --> 1:48:56.639
<v Speaker 1>So with that as a framework, UM, we got pretty

1:48:56.640 --> 1:48:58.800
<v Speaker 1>close to the end. And I had a couple of

1:48:59.000 --> 1:49:03.200
<v Speaker 1>extra little things in my pocket. One of them was

1:49:03.240 --> 1:49:06.960
<v Speaker 1>that I could call Maria Muldoor to do a uh,

1:49:07.760 --> 1:49:14.440
<v Speaker 1>to do a stories we could tell together. And uh,

1:49:16.040 --> 1:49:20.719
<v Speaker 1>A fairly remarkable thing that had happened, uh starting about

1:49:20.800 --> 1:49:25.280
<v Speaker 1>five years before we started this project, which was that

1:49:25.360 --> 1:49:27.559
<v Speaker 1>I got a call, you know, I got an email

1:49:27.640 --> 1:49:32.400
<v Speaker 1>from a guy who wanted to uh play a little

1:49:32.680 --> 1:49:35.639
<v Speaker 1>what would we call it? A film of two young

1:49:35.720 --> 1:49:42.240
<v Speaker 1>women doing daydream one guitar, one ukulele, it was beautiful

1:49:43.080 --> 1:49:45.439
<v Speaker 1>I and I wrote back and I said, this is

1:49:45.960 --> 1:49:50.200
<v Speaker 1>sibling harmony. You can't imitate this, and and I really

1:49:50.479 --> 1:49:54.240
<v Speaker 1>went nuts on this email. The next email comes back

1:49:54.320 --> 1:49:58.639
<v Speaker 1>from the Mona Lisa twins, who that's who it is,

1:49:59.200 --> 1:50:03.479
<v Speaker 1>and the twin are saying, oh, we're so happy and

1:50:03.640 --> 1:50:07.800
<v Speaker 1>could you maybe uh be on our album? And I said,

1:50:07.800 --> 1:50:13.960
<v Speaker 1>of course they're there. Uh uh they're they're just uh

1:50:14.880 --> 1:50:24.000
<v Speaker 1>remarkable little Austrian people and played and sang and I

1:50:24.280 --> 1:50:30.200
<v Speaker 1>ended up for in two different occasions playing harmonica on

1:50:30.479 --> 1:50:35.880
<v Speaker 1>their records. And then they started a record where they

1:50:35.920 --> 1:50:39.880
<v Speaker 1>were doing their own tunes. This was a first for them,

1:50:40.520 --> 1:50:44.000
<v Speaker 1>and they called me in on that and this is

1:50:44.040 --> 1:50:48.800
<v Speaker 1>all by remote control. I'm working from Woodstock and they're

1:50:48.840 --> 1:50:58.160
<v Speaker 1>in uh they're in England. So another half a year

1:50:58.280 --> 1:51:02.360
<v Speaker 1>or so go by may call again and say, now

1:51:02.479 --> 1:51:04.960
<v Speaker 1>we have trouble figuring out how we're going to do

1:51:05.040 --> 1:51:10.559
<v Speaker 1>a video without you. Would you come to England and

1:51:10.920 --> 1:51:15.320
<v Speaker 1>do a video with us? So I end up on

1:51:15.360 --> 1:51:20.000
<v Speaker 1>a Icelandic flight to Manchester and we end up in

1:51:20.000 --> 1:51:23.519
<v Speaker 1>this three hundred year old bar doing a very cool

1:51:23.560 --> 1:51:25.920
<v Speaker 1>By the way, if you get a chance, go look

1:51:26.120 --> 1:51:31.360
<v Speaker 1>Mona Lisa Twins. Uh. Waiting for the Waiter is the

1:51:31.400 --> 1:51:34.000
<v Speaker 1>title of the tune. But they had me kind of

1:51:34.040 --> 1:51:38.240
<v Speaker 1>be a like a kind of a bad guy or something.

1:51:38.960 --> 1:51:43.120
<v Speaker 1>Uh and and it was lovely fun and uh so

1:51:43.160 --> 1:51:45.000
<v Speaker 1>then they were all ready to pay me, and I

1:51:45.040 --> 1:51:47.760
<v Speaker 1>said no, no, no, no, wait, I said, I don't

1:51:47.800 --> 1:51:50.559
<v Speaker 1>know what I'm doing next, but whatever it is, I'm

1:51:50.560 --> 1:51:54.439
<v Speaker 1>going to draft you guys to do background harmonies. And

1:51:54.600 --> 1:51:58.080
<v Speaker 1>so that was the agreement. And so so it is

1:51:58.240 --> 1:52:04.519
<v Speaker 1>that on several two I sent Arlen and my work

1:52:04.600 --> 1:52:08.439
<v Speaker 1>off to Manchester by now I think it was Wales.

1:52:08.560 --> 1:52:14.360
<v Speaker 1>They they're they're a moving group. They uh and uh

1:52:14.520 --> 1:52:19.639
<v Speaker 1>they uh and it was a wonderful uh experience. They

1:52:20.520 --> 1:52:24.400
<v Speaker 1>you know, I'm still in touch and uh, I'm sure

1:52:24.439 --> 1:52:28.800
<v Speaker 1>we'll do something else. Okay. It's fascinating to me that

1:52:28.960 --> 1:52:33.559
<v Speaker 1>both Maria and Jeff Muldaur on the album they've been divorced.

1:52:34.000 --> 1:52:37.599
<v Speaker 1>I know. I consider it one of my great great

1:52:37.720 --> 1:52:42.160
<v Speaker 1>victories as the because I'm I'm the younger brother here,

1:52:42.960 --> 1:52:46.360
<v Speaker 1>maybe not so much for Maria. Were about the same age,

1:52:46.720 --> 1:52:49.640
<v Speaker 1>but Jeff's kind of you know, he was in the

1:52:49.720 --> 1:52:53.120
<v Speaker 1>real jug band and there were things about him I

1:52:53.200 --> 1:52:57.679
<v Speaker 1>was blatantly imitating him on day dream, you know, trying

1:52:57.720 --> 1:53:01.040
<v Speaker 1>to get that honk that he has in his voice,

1:53:01.080 --> 1:53:06.320
<v Speaker 1>and and so uh and I think I called him first.

1:53:07.040 --> 1:53:10.519
<v Speaker 1>And then it's just because he was living in the

1:53:10.600 --> 1:53:15.599
<v Speaker 1>adjoining town at the time. And very shortly thereafter, Maria,

1:53:16.040 --> 1:53:21.479
<v Speaker 1>who makes periodic trips to Woodstock, was nearby, and I said, hey,

1:53:21.479 --> 1:53:24.960
<v Speaker 1>come on over to Chris Anderson's studio and let's get

1:53:25.000 --> 1:53:29.040
<v Speaker 1>this thing where you sing, uh, you know with me

1:53:29.120 --> 1:53:33.160
<v Speaker 1>on stories we could tell so uh so it did.

1:53:33.479 --> 1:53:36.400
<v Speaker 1>They weren't in the studio at the same moment, but

1:53:36.560 --> 1:53:40.720
<v Speaker 1>they can be. Uh that era of where they were

1:53:40.760 --> 1:53:44.439
<v Speaker 1>still angry at each other, I actually was. I lived

1:53:44.439 --> 1:53:48.080
<v Speaker 1>through that, and you know, it was made me very

1:53:48.120 --> 1:53:51.320
<v Speaker 1>sad for a couple of years. But they they have

1:53:51.560 --> 1:53:56.160
<v Speaker 1>managed to to get past that and and enjoy each

1:53:56.200 --> 1:53:59.719
<v Speaker 1>other's company and laugh at each other's voibles. And yeah,

1:53:59.760 --> 1:54:05.880
<v Speaker 1>it's so that it had become nice. Okay, a couple

1:54:05.880 --> 1:54:08.360
<v Speaker 1>of things wrapping up. How do you how do you

1:54:08.400 --> 1:54:11.960
<v Speaker 1>write songs? Do you wait for inspiration or do you

1:54:12.040 --> 1:54:14.720
<v Speaker 1>literally sit down like with a puzzle. How do you

1:54:14.800 --> 1:54:19.120
<v Speaker 1>do it? Well? The puzzle part usually comes after a

1:54:19.200 --> 1:54:24.720
<v Speaker 1>good idea because you know, very often it will be

1:54:24.840 --> 1:54:30.519
<v Speaker 1>something as simple as a title or a chord sequence, uh,

1:54:30.560 --> 1:54:34.040
<v Speaker 1>And maybe the chord sequence makes you feel a certain way,

1:54:34.440 --> 1:54:36.720
<v Speaker 1>and so you might get a line or two out

1:54:36.720 --> 1:54:42.080
<v Speaker 1>of that, or your circumstances that you're living in might

1:54:42.240 --> 1:54:48.680
<v Speaker 1>give you an idea. So it just that's that's the

1:54:48.720 --> 1:54:54.440
<v Speaker 1>way it it happens. Okay, a lot of these hits

1:54:54.440 --> 1:54:57.680
<v Speaker 1>were in the sixties, which were over fifty years. Did

1:54:57.720 --> 1:55:00.720
<v Speaker 1>you do this ever affect you financially or been okay?

1:55:00.800 --> 1:55:04.840
<v Speaker 1>For these fifty years, I've had periods where I was

1:55:04.880 --> 1:55:09.280
<v Speaker 1>struggling a little bit, uh, you know, by making jokes

1:55:09.280 --> 1:55:14.040
<v Speaker 1>about being wildly unpopular in the nineties, and so I

1:55:14.160 --> 1:55:17.320
<v Speaker 1>kind of went sideways, hooked up with a bunch of

1:55:17.640 --> 1:55:21.839
<v Speaker 1>guys and made a jug band and sort of turned

1:55:21.880 --> 1:55:25.400
<v Speaker 1>my fortunes around because I wasn't making money, but I

1:55:25.440 --> 1:55:29.600
<v Speaker 1>was having so much fun playing with Jimmy Vivino and

1:55:29.720 --> 1:55:35.040
<v Speaker 1>James Wormworth and Fritz Richmond and oh Man, Paul Rochelle

1:55:35.040 --> 1:55:38.080
<v Speaker 1>and Annie Rains. I got to really play with some

1:55:38.240 --> 1:55:43.720
<v Speaker 1>remarkable folks, and in fact, this very jug band, unfortunately,

1:55:43.720 --> 1:55:46.120
<v Speaker 1>except for Fritz, who isn't with us, is going to

1:55:46.320 --> 1:55:50.760
<v Speaker 1>reunite in uh month or two and UH have a

1:55:50.800 --> 1:55:54.400
<v Speaker 1>little a little play at the Bearsville Theater. Wow, that's

1:55:54.520 --> 1:55:57.840
<v Speaker 1>very cool. Now you're an upbeat guy, I'm talking to you.

1:55:58.600 --> 1:56:01.720
<v Speaker 1>But you've lived a long on time. Have you always

1:56:01.720 --> 1:56:04.440
<v Speaker 1>been an upbeat guy? Or you're prone to depression? What's

1:56:04.480 --> 1:56:09.920
<v Speaker 1>your mood like? Um? I I think, uh, I probably

1:56:10.080 --> 1:56:15.200
<v Speaker 1>am a pretty upbeat guy, but I can get taken down.

1:56:16.160 --> 1:56:19.640
<v Speaker 1>You know, there are times that that in my life

1:56:19.680 --> 1:56:24.640
<v Speaker 1>that have been really depressing. Where you know, Rolling Stone

1:56:24.720 --> 1:56:29.800
<v Speaker 1>and the whole of the whole world of of reporters

1:56:30.400 --> 1:56:34.480
<v Speaker 1>had a kind of a miss fire on what had

1:56:34.560 --> 1:56:40.000
<v Speaker 1>happened with zol and Stephen and yeah, okay, so now

1:56:40.040 --> 1:56:45.720
<v Speaker 1>they were finks, but everybody piled on two that to

1:56:45.920 --> 1:56:50.080
<v Speaker 1>that uh, and it was virtue signaling. Half of these

1:56:50.160 --> 1:56:54.800
<v Speaker 1>reporters were so anxious to alive themselves with the pot

1:56:54.880 --> 1:56:58.800
<v Speaker 1>smokers and not the guys who busted the guy. But

1:56:59.120 --> 1:57:02.320
<v Speaker 1>what they know, what he reported was the amount of

1:57:02.520 --> 1:57:07.600
<v Speaker 1>effort that the band and the whole team put into

1:57:08.240 --> 1:57:12.600
<v Speaker 1>getting this guy freed. And I won't go into it

1:57:12.680 --> 1:57:16.560
<v Speaker 1>too elaborately, but unfortunately the guy wanted to have his

1:57:16.600 --> 1:57:20.400
<v Speaker 1>own lawyer who wanted to make pot legal in nineteen sixties,

1:57:20.400 --> 1:57:24.360
<v Speaker 1>six or whenever it was. And uh so, uh he

1:57:24.640 --> 1:57:28.480
<v Speaker 1>he Actually I think he served some time and it

1:57:28.560 --> 1:57:35.640
<v Speaker 1>was gruesome. And uh this is a selfish me. But

1:57:35.920 --> 1:57:39.360
<v Speaker 1>I didn't want to be associated with this. I was

1:57:40.080 --> 1:57:44.960
<v Speaker 1>not in I wasn't even in the town. Understand, this

1:57:45.040 --> 1:57:49.400
<v Speaker 1>happened in San Francisco. I was in Los Los Angeles.

1:57:49.960 --> 1:57:53.280
<v Speaker 1>So if you want to look for a depressing era

1:57:53.480 --> 1:57:58.040
<v Speaker 1>for me, that was it because there was no there

1:57:58.080 --> 1:58:01.680
<v Speaker 1>was no explaining it just it looked bad, no matter

1:58:02.200 --> 1:58:05.320
<v Speaker 1>what attempt you made to explain. And it didn't help

1:58:05.800 --> 1:58:08.600
<v Speaker 1>that there was all of this what I described in

1:58:08.680 --> 1:58:13.760
<v Speaker 1>modern times as virtue signaling. So many reporters were so

1:58:13.840 --> 1:58:19.760
<v Speaker 1>anxious to vilify us and make sure that everybody knew

1:58:19.800 --> 1:58:23.480
<v Speaker 1>that they, the reporter, were the cool guys. So that

1:58:23.560 --> 1:58:27.680
<v Speaker 1>was painful. Okay, are you a social guy? You're living

1:58:27.720 --> 1:58:30.480
<v Speaker 1>in Woodstock, relatively small town. I know when I've lived

1:58:30.480 --> 1:58:33.240
<v Speaker 1>in small towns tend to know more people than the city.

1:58:33.360 --> 1:58:36.760
<v Speaker 1>Do you connect with people from your generation, the music,

1:58:36.840 --> 1:58:40.760
<v Speaker 1>other famous musicians, what's your life like? Well, I am

1:58:40.960 --> 1:58:44.960
<v Speaker 1>very lucky in that regard because there are wonderful venues

1:58:45.000 --> 1:58:50.080
<v Speaker 1>and wonderful musicians in my town, and I do socialize

1:58:50.160 --> 1:58:53.400
<v Speaker 1>with them when possible. Now we have to kind of

1:58:53.960 --> 1:58:56.680
<v Speaker 1>x out a year and a half here because nobody

1:58:56.720 --> 1:59:02.920
<v Speaker 1>was allowed to do anything. But no, uh, we were managing.

1:59:03.600 --> 1:59:06.480
<v Speaker 1>I was wearing a mask and going over to Larry

1:59:06.520 --> 1:59:10.880
<v Speaker 1>Campbell's house and he had COVID and I was bringing

1:59:10.920 --> 1:59:16.680
<v Speaker 1>him chicken soup. There were there were funny things happening.

1:59:17.240 --> 1:59:20.800
<v Speaker 1>Me and Happy Troum playing at twenty five ft away

1:59:21.080 --> 1:59:23.839
<v Speaker 1>because we just said, I can't stand it not playing

1:59:23.880 --> 1:59:27.840
<v Speaker 1>with anybody, and we did get together and just have

1:59:28.000 --> 1:59:33.520
<v Speaker 1>a fun little little plate. Uh. Okay. You know, a

1:59:33.600 --> 1:59:36.440
<v Speaker 1>lot of years have gone by, You're at an elder

1:59:36.480 --> 1:59:40.320
<v Speaker 1>age and a lot of this has been written. Are

1:59:40.360 --> 1:59:43.720
<v Speaker 1>you comfortable with what's happened? What would you like? Were

1:59:43.720 --> 1:59:45.600
<v Speaker 1>you wish you had another chance? You don't get a

1:59:45.680 --> 1:59:49.000
<v Speaker 1>chance to do over in life. But you know, looking

1:59:49.080 --> 1:59:52.400
<v Speaker 1>back at this age, how do you feel about all

1:59:52.440 --> 1:59:57.960
<v Speaker 1>of it? I was a very lucky guy, and I

1:59:58.080 --> 2:00:02.200
<v Speaker 1>had a lot of fun, and there was involved in

2:00:02.320 --> 2:00:05.760
<v Speaker 1>that fun a certain amount of tears and a certain

2:00:05.800 --> 2:00:09.520
<v Speaker 1>amount of pain, but it was all part of the package.

2:00:10.040 --> 2:00:14.800
<v Speaker 1>And you couldn't extract one from the other. Okay. And

2:00:14.800 --> 2:00:16.720
<v Speaker 1>in the time you have left, which could be a

2:00:16.720 --> 2:00:21.080
<v Speaker 1>minute or could be twenty years, for thirty years, anything

2:00:21.200 --> 2:00:24.680
<v Speaker 1>that you still want to do, want to accomplish, you know.

2:00:24.960 --> 2:00:28.400
<v Speaker 1>I just still enjoyed the same stuff I always did,

2:00:28.480 --> 2:00:35.840
<v Speaker 1>which is playing with other musicians, learning material that I

2:00:35.920 --> 2:00:42.120
<v Speaker 1>didn't know, Uh, finding out details of jug band tunes.

2:00:42.240 --> 2:00:45.840
<v Speaker 1>I've played for fifty years and suddenly I'm finding out,

2:00:46.040 --> 2:00:50.000
<v Speaker 1>oh that's that was a box factory outside of Memphis

2:00:50.240 --> 2:00:53.320
<v Speaker 1>they're talking about, or you know, things like that, little

2:00:53.360 --> 2:00:57.400
<v Speaker 1>details that that's what's fun. Okay. And you play the

2:00:57.400 --> 2:01:00.760
<v Speaker 1>guitar every day, Uh No, I don't think I do

2:01:00.880 --> 2:01:06.600
<v Speaker 1>play every day. I end up uh maybe every third day. Uh.

2:01:07.000 --> 2:01:11.240
<v Speaker 1>You know, I've it's kind of I I get favorite

2:01:11.320 --> 2:01:15.440
<v Speaker 1>guitars and so then I'm kind of concentrating on that

2:01:15.520 --> 2:01:21.400
<v Speaker 1>instrument a little bit more so, you know, it's it's ongoing.

2:01:22.000 --> 2:01:26.760
<v Speaker 1>But I am I'm not a player unless there's another

2:01:26.880 --> 2:01:30.240
<v Speaker 1>player or an audience. I'm not a guy who played

2:01:30.360 --> 2:01:34.640
<v Speaker 1>or you know, my grandchildren. Fine, you know, I'll play

2:01:34.680 --> 2:01:38.960
<v Speaker 1>all day. Uh, but it it it does need to

2:01:39.040 --> 2:01:43.080
<v Speaker 1>be something I think by myself I'm I'm more or

2:01:43.200 --> 2:01:48.280
<v Speaker 1>less maybe I'll get some crazy idea and and see

2:01:48.320 --> 2:01:51.720
<v Speaker 1>if I can develop it a little bit. So all

2:01:51.800 --> 2:01:55.400
<v Speaker 1>day you read, you watch TV, you're in front of

2:01:55.400 --> 2:01:58.680
<v Speaker 1>the computer. What's your average day looking like? Well, you know,

2:01:59.440 --> 2:02:02.880
<v Speaker 1>a dog walking saves me from just sitting in front

2:02:02.880 --> 2:02:06.360
<v Speaker 1>of a computer all day, and that that's a big thing.

2:02:06.760 --> 2:02:10.280
<v Speaker 1>But also, you know, I have I have nearby friends

2:02:10.320 --> 2:02:16.760
<v Speaker 1>like Happy Troum and Cindy cash Dollar and uh several Luthier's,

2:02:16.800 --> 2:02:21.360
<v Speaker 1>Harvey Citron and Joe Vayette who are really important friends

2:02:21.400 --> 2:02:25.560
<v Speaker 1>to me and I really enjoy, you know, an occasional

2:02:25.880 --> 2:02:30.320
<v Speaker 1>meal where we go out and and take life in

2:02:30.360 --> 2:02:35.200
<v Speaker 1>hand and go to a restaurant. Uh, you know, it's

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<v Speaker 1>it's pretty pretty normal stuff. Yeah, any significant other, any romance,

2:02:42.680 --> 2:02:47.440
<v Speaker 1>I have, the same romance I had in and Catherine

2:02:47.440 --> 2:02:54.400
<v Speaker 1>Sebastian has been a remarkable creature and uh and still

2:02:54.440 --> 2:02:58.520
<v Speaker 1>a hottie. So well, what are you gonna do? Hey, listen,

2:02:58.520 --> 2:03:01.880
<v Speaker 1>it's all good, John, This is fantastic. You know, I

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<v Speaker 1>think we got some of the history that people don't know.

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<v Speaker 1>We still would need to delve more into your success

2:03:08.120 --> 2:03:11.280
<v Speaker 1>in the sixties and what you've been doing for from

2:03:11.320 --> 2:03:15.200
<v Speaker 1>the seventies until this new album. But I think we've

2:03:15.240 --> 2:03:16.720
<v Speaker 1>come to the end of the feeling we've known. I

2:03:16.760 --> 2:03:19.400
<v Speaker 1>think there's only so much time. So I want to

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<v Speaker 1>thank you so much for doing this. This is a

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<v Speaker 1>thrill for me because you know, it's funny talking to

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<v Speaker 1>you and you're saying, oh, you know we were doing it.

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<v Speaker 1>You know, we were living in Greenwich Village. Everybody knew

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<v Speaker 1>each other. The gigs weren't that big. I don't think

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<v Speaker 1>you have an idea how iconic these songs are. Like

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<v Speaker 1>maybe some are in the city because it's constantly used,

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<v Speaker 1>and they are like you talked about the Spoonful. You

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<v Speaker 1>talk about doing things unique. Okay, No, they did not

2:03:46.800 --> 2:03:50.400
<v Speaker 1>seem repetitious. And I cannot sit here and say, oh,

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<v Speaker 1>this is like the Spoonful. It's its own vertical and

2:03:55.040 --> 2:03:57.800
<v Speaker 1>therefore it stands alone. It's not like, oh, it's part

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<v Speaker 1>of the British invasion whatever. And you know therefore I

2:04:01.800 --> 2:04:05.480
<v Speaker 1>was dying to talk to I mean, this stuff is iconic, Robert.

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<v Speaker 1>I love it when you say it. Can I tell you? Okay?

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<v Speaker 1>In any event, until next time, this is Bob left

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<v Speaker 1>Sex