Thanks for posting comments from the Hudsons Lil' Rainy in MN today Levon sang Dixie as if the North just burned his house down! Best Regards! First an excellent interview with Howard Sounes, about the problems of interviewing Rick and Garth in Second, a long piece by Al Aronowitz on the Isle of Wight show, and in particular the building row between Dylan and Jonathan Taplin and The Band over the sound system.
Aronowitz naively felt that as the mic for making announcements worked, then the entire sound system had to be OK. Aronowitz ends up praising Taplin for sticking to his guns in the face of everybody. Van fans will have been amused by the British tabloid press yesterday.
Van not. If she can convince herself of that particularly ludicrous fantasy, it throws doubt on all the rest of it. I have seen her with Van twice!
Van must have finally read the reviews or listened to the monitor. Coyote was nowhere near as good as the original for me. Joni had expressed doubts about their ability to play her material. They managed Coyote, the other two were terrible. You are timeless and always wanted! I took too much for granted got my signals crossed. Everlasting, high reaching Bob. Best from Glen Cove to all Dylan respectables With the next set of Band reissues about to come out, one may wonder how much unreleased stuff may still be in the vault at Capitol.
Sadly, the major labels seem to have neglected to adequately preserve their treasure trove of recordings. We know that Capitol can't find the original master tapes of "The Band" album and that Sony has been unable to locate the stereo masters for "Blonde On Blonde" in the Columbia vault. Worst yet, there are tales that go beyond neglect. Master recordings have been deliberately destroyed for incomprehensible reasons. There's the story of the RCA executive, who years ago when several unissued recordings of Blind Willie McTell were discovered, ordered that they be thrown out!
For more "tales from the vault" -- click on the Webpage hyperlink I've added above to read a very informative Billboard magazine article by Bill Holland. It's one of the best things I've ever read on the subject of what the recording labels have done with their archives of master tapes. I was not involved in this process, as I was too busy in the studio. Great posts lately in the GB. There is a Various Artists compilation that has been selling like hotcakes lately called Goin' South.
It is in every record store and all over the TV. I wish they included the Turra Lurra Lurra song with Richard and him. I guess I liked them all but those two songs I mentioned. Talked to the lead guitarist, Vito, between sets, and the subject of the Band came up. He said that his bass player was "chummy with those guys", and had played with Rick at some point. Also mentioned that Frankie in the Barnburners used to play in Four Guys. Second set, they did a credible version of Cripple Creek.
Just a fun night of rock n roll. Check them out if you get a chance. I looked at the talent and saw the lineup BUT still Mannish Boy is just a long winded drone that goes far too long - it's the only song i fast forward through when i watch TLW. Look at the line up, see the talent, and hear the excellence that could never be duplicated in the studio. David Powell, your email is once again returning messages.
Powell and Mr. McElroy revisit Cinco de Mayo. Granted it is not Levon and the Barn Burners, but beggars can't be choosey. I think we got us a new thread!!! The Thread is along the lines of THAT'S the spirit!! Hank, I can assure you in no uncertain terms that the real version of Caravan from TLW sans overdubs is not very good. In fact, the first verse is a train wreck.
And if I recall correctly, Peter Coyote was actually at TLW and eventually wrote some rather disparaging words about it. Hank: I agree with you on "Coyote" fine studio performance, but better Last Waltz performance. I would also put "Caravan" and "Forever Young" in this category, for sure, though I can't make a complete list because I haven't heard the studio versions for some of the songs. And don't ask me to make a call between the original "Dixie" and "The Weight" and those on the LW album!
I know Joni's other numbers didn't go over too well that night, but "Coyote" is great someone with the Complete Last Waltz can report on how much of the greatness was ex post facto overdubs. And she was only going to get one song on the album and in the film anyway. I love "Blue" and "Court and Spark" too, of course, but "Hejira" is in my opinion her most underrated album, taking a cliched subject the musician's life on the road and considering it from the viewpoint of a mature female artist -- an unusual perspective in popular music, especially at that time.
Maybe Joni should have gone for pleasing the audience and done "Big Yellow Taxi" or "Raised on Robbery" instead, but "Coyote" wasn't a bad choice, especially since its subject matter of an on-the-road love affair fit thematically with the film it's immediately preceded by the famous "I thought we weren't supposed to talk about that" segment. Peter V: Billboard lists the release date for the second batch of reissues as Tuesday, May 8th here in the States.
Ben Pike. Video footage, huh? I dont recall that. I probably have some of it, or saw some of it at least. I don't like TLW version of 'Helpless' at all. It's really messy and unfocused, I think.
The recorded version is so much better, in my opinion. Rick's playing on it is just great! Is it any good? I've never heard anything from this trio. I hope it's good I'm sure I'll like it. I heard Joni Mitchells original studio version of "Coyote" last night on the radio Jacos bass is quite brilliant, of course I don't care about the overdubbing scenario Joni sang it great and they all played it great What's The GB stance on "Coyote"?
I'm sure everyone's got a list I was exploring Nashville's newest post office-turned-art museum, the Frist Center, today when I stumbled on E. So it wasn't the same as meeting the real Crazy Chester or F. Walcott, but I thought it was pretty cool.
The Frist's pretty nice, for anyone in the area, though I hope it doesn't put Cheekwood out of business. Ben Pike Go check it out. Sending my best to LeoP! RT you are my heros! Great station! Does anyone know about John Trudell? I know RR is a friend and great supporter of his work.
Wouldn't that be great? Anyone a fan of Tommy James and The Shondell's, "Crystal Blue Pesuasion"--talk about a peace and love feeling that takes me back to the magic Si tu est mon ami vraiment, tu me connais.
J'ai pensu Et mes mots existent dans mon DIEU. That entraps a nation. N'est-ce pas Sans le correcte actions du beaucoup de resepect, sans moi. Deepest sympathies to Bashful Bill for the passing of your father. It is a tough thing to go through! Sorry if this is old hat to diehard Beatle fans, but I'd never seen this stuff before.
Oh to be home again Maud and Garth are back home in NY, and have asked me to share a few of their thoughts on the LA shows. And I quote: ["The shows in LA were great! Garth played a different intro each time to "No Depression in Heaven" Not the familiar song of the same title, but a bluesy gospel hymn written by C.
Tindley long ago. Geoff was invaluable at directing everyone at Getty. Both the J. In the midst of the inevitable chaos when so many performers are gathered in one place at the same time, things went off without a hitch. Much thanks to Hal Willner for making it all possible by including us in this event. He You Took Advantage Of Me - Stephane Grappelli* & Earl Hines - The Giants (Vinyl wonderful things and is a pleasure to know.
Everyone had a wonderful time. New batch of reissues: I think John D. The official date given for the UK is May 8th, which is a Tuesday. As all the shops are open anyway, I'd expect to find it then. Is the US the same date? I'm interested because imports from the big mail order places cost the same as local product and I'll buy an import if it's a week earlier. Jan: Congratulations for the "Best of the Net" Reward. And remember: "If it works don't fix it :- " I just checked my humble vCard and noticed a new warning: there might be a malicious code on this page.
Sorry if anyone has been disturbed by it. Now it is removed. Don't worry, you have been safe all the time! Your interview with Levon was great too! Living out here, it's great to see such a detailed account, so Thank You Very Much.
Have a great rest-of-the-weekend, Folks. John D: Seen reissues in Canada! They are hard to find but they are around,oddly enough I found The Brown Album in a used shop. Some heretic did me a favour and brought it in. Glad your doing well John, continued good health Anyone seen the new Band re-issues yet in Canada? Dylan, Mavis, Hubert, The Wallflowers??? That's SOME road trip! Have a good time, man! I know I would! Can't wait till the 12, when you guys come back to NYC.
It's been some months since I've seen the BarnBurners and I'm really looking forward to it. I just got The Band Woodstock '94 video. It's pretty good barring some sound problems it seems the mixing board guy KEEPS mixing as The Band plays, leading to many a sound inconsistency. I didn't recognize any of them, but I really liked the horn section that was playing with The Band. Trying to play catch up here in the GB. As far as TLW, is concerned, I find it interesting to know what actually happened, behind the scenes, which I feel is to a great extent, very unfortunate.
My favorite parts of TLW, are when Garth, gives that wonderful speech about the view of jazz being evil, and the greatest priest on 52'nd street, being the musicians.
I enjoyed the scene with Rick and Scorsese, back in the master control recording room, where Rick sits back, pulls down his hat over his eyes, and you hear "Sip The Wine", in the background. The comradeship, that they seemed to share had me hooked as a Band Fan forever! Therefore, IMO the one good thing that did come out of this film, is that it still has that certain magic which continues to enthrall us and our youth; our future Band Fans! John D.
It's been ages since I've checked in here, but I saw Levon and the Barn Burners last night in Schenectady and thought you would like to hear about it. First of all, the club, the Van Dyck, was packed. Levon and his band were great. This was only the second time I've seen Levon. Last night, they kicked out some solid, tight blues. Levon is interesting to watch because he's really studious behind the kit. He's got this concentrated bearing and you can see that he's totally into it.
The Barnburners are excellent musicians. Chris O'Leary on harmonica and vocals really stands out. Frankie Ingrao on bass, like Levon, adopts a studied pose. His big dog bass provides a sturdy foundation. Chris O'Leary offers efficient chops on the guitar. And Amy Helm is a wonderful vocalist. So altogether, they churn out a great blues groove that kept all heads nodding and feet stomping. One tune they did from the Band repertoire was "Mystery Train.
What a wonderful guy he is. He obviously knows about this web site, and when I told him my moniker, he said "oh yeah, that's a great song. At this point, Levon was in conversation with several fans, and he was talking with a woman who teaches musical theory in a local school.
He said something to the effect that he studied this once but didn't stick with it. He was so engaging and pleasant and open. He takes an active interest in you and really listens -- not something you expect from a star musician. Levon said that although this guy has been to hell and back, he's got the sweetest soul and temperament you can imagine. To hear Levon enthusiastically tell this anecdote suggests a great admiration for Sumlin, a man who's taken all the knocks from life and still came out smiling.
After the breakup of this discussion, I just sort of loitered around backstage because I had a beer to finish. He said sure, and he took me to the back room.
I had thought the night before if there is anything I could ask Levon, it would be about the jazz influence on his drumming. So I said to Levon, you're drumming has often been compared to a jazz-style.
Levon said "really? At any rate, I said other than Cannonball Adderley, what jazz musicians have you listened to in the past. He mentioned Adderley's drummer, I forget his name, as an influence. He also said Oscar Peterson was playing in Canada when the Hawks were there. He mentioned Art Blakely, Mark? DeJohnette spelling? I said "Elvin Jones, you saw him with Coltrane?!?! Elvin was phenomenal, according to Levon.
I asked him if he met Charles Mingus. He did meet Mingus, although this was at a time when Charles was older and very sick. According to Levon, in his early days, when he was a young, aspiring musician, he used to hang around jazz clubs just so he could meet and shake hands with the drummers, and perhaps get noticed. The discussion also veered into the blues, and Levon noted that his highest musical achievement was to play with Muddy Waters I took this to mean the album he produced in Woodstock.
This was bigger than the Band or anything else he could accomplish. Playing the blues with Muddy was the real deal, it captured what music was all about. He mentioned Hubert Sumlin again and pointed out this guy played for both Howlin' Wolf and Muddy, "can you imagine that, the only groups you ever played in was with these two giants?! He said the Band years were difficult and weren't always fun.
I suggested that probably the early years were good, and he affirmed that, pointing to the first two albums as the best period. During this conversation, Butch came up and offered Levon and me a piece of gum didn't I say that he's a sweet guy!?!
Soon after this, Levon excused himself as he had to get ready for the second set. In sum, I just wanted to share some of these personal experiences with you. Meeting Levon and enjoying his warm, affectionate character was a thrill. The man also looks great. So a big thanks to Levon, Amy, Butch, and the band for a wonderful night. I've included the link to the article. That's one I sure would have loved to experience.
Garth, along with Elvis C. Let's all hope Garth heads out for a nice little tour to promote the new CD. I know Hal Wilner is involved Will this become a CD release at some point? Anybody know? Hasn't Wilner been touring with some sort of Harry Smith concert for a couple years now?
Marianne Faithful singing "John the Revelator"?!? Nice job on the Howard Sounes interview You asked him why a new book on Dylan with so many already available and he simply refered to Peter Guralnick and his excellent Elvis books I'm going to order "Down the Highway" today A question that might be answered by anyone who LP) seen the remasters sleeve notes to Moondog Matinee.
Is this right? Also what are the others? Who recorded them? Cupid: Thanks for explaining about Clapton's guitar strap. I always thought that it 'broke', although it didn't make much sense to me since it was 'fixed' in seconds. Now it makes sense! George G: Thanks so much for filling us in on Maud and Garth's performance.
I knew they'd be great. I do want to mention that the pride and little 'shuffle' from Garth is the real deal. Maud not only has a beautiful voice, but has a beautiful heart and unbreakable spirit as well. I'm proud of her too! And on a personl note to the weary travelers I love the TLW.
I think that Scorese doesn't let The Band speak for themselves enough. Even Robbie, who he is always accused of favouring. I think he constantly asks them to rephrase and shift the emphasis of their comments. Also, I think that at the end of Old Time Religion Robbie takes his cigarette out of his mouth, looks at it and says "its not like it used to be," not, "things are not like they used to be.
And for the record I think that Rick sings and plays great. I was amazed at how well they traded off verses between Richaed, Levon and Rick.
It was not heard of at that time and is still not done today. Switching intrumental rolls was another of the many surprises that I experienced that night. It is to this day the most inspiring event that I have witnessed. Never before had i seen so much talent on one stage and I have yet to see any other band even come close to the stars that shown that night.
After all is said and done there will always be Since there have been none on the GB I'm compelled to share mine. Garth was fantastic. I think he played on 10 to 12 songs. It was just the two of them. Maude was seated in a wheel chair behind Garth and his keyboards.
Maude has a real nice voice and it fit well on this apocalyptic hymn. The way Garth was stooped over his instrument, his forehead almost touching the keyboards.
His accompaniment on this tune was perfect. I felt he was putting every part of his soul into blending his music with his wife's voice. He seemed so happy performing with his her. After they ended the song Garth stood up and turned to his wife and raised his right arm in the air and did a little shuffle.
It was an expression of complete joy. Garth also had a prominent piano solo on a song called John the Revelator that Marianne Faithfull sang lead and Beck, Steve Earle, and some other guy were the backup singers. Beck blurted out "play it Garth" at the beginning of the solo. Also I'm happy to report that Garth received the 3rd most number of shouts of performers names from the audience behind Beck and Elvis Costello.
I hope someone else who was there will give their impressions. I know I'm leaving out and forgot a lot of details. It simply slipped off the strap peg. If you watch closely you'll notice that his strap is fold over the peg sort of backwards rather than hanging as it would normally. In the past a number of GB folks have made mention of this and for some goof ball reason it bothered me that they said he broke the strap.
I watched it again today and as usual I laughed at Richard's "break even" comment,swooned over Emmylou Harris and marvelled at Levon's vocal on "Don't to it". Ace blues guitarist Jimmy Vivino who has recently jammed with Levon more than a few times played in Laura Nyro's band.
Before being made aware of all the negative politics I always found TLW to be amazingly uplifting as a fan Nice to hear you are doing so well John D Also nice to read Victoria's brief post thanking support from the Helm both Levon and Amy Go girl!!! Oh to be young again, back in Ole Virginee Pehr and Pat: There is an audio file of that introduction on this site. I am looking for a The Band or Dylan song about a little boy being bitten by a snake. Any info please email me.
Thank You! Complete with cryptic asides, you'd have to hear it to believe it. Congrats on being the first to bring up Michael Bolton for the first time I hope on this guestbook. I have stories that would raise your hair and make you shiver!
Robbie Robertson, help the Traditional Iroquois. This will only help the Iroquois not your bank roll or your stature in Hollywood. Don't you realise that we people who live in remote corners of the world depend on you for our vicarious excitement? They did a rendition of the Coo Coo which is probably one of my favourite songs from the Anthology. How I would have liked to have seen that. Another review, which you can find if you click the weblink above, reports that "Garth Hudson ended the evening at a.
A quite fitting conclusion. There's no real Band link, as far as I know, in Laura's story, but I always loved the gospel coloring in her piano style. It affected me in much the same way as Richard Manuel's. One similarity I felt between the two was that, even when they were upbeat or uptempo, there was real sadness in their singing and playing.
A never-fulfilled longing put to music. Since both are way too soon gone, I suppose we'll never know if they ever filled that void. As for Brits that spoke well of The Band, I think Procol Harum would have to be among the best that fell into that category.
And wasn't Long John Baldry a Brit? Don't try to boojie woojie me on this one. Matt K nailed it as usual. To my eyes Levon is clearly looking at "Score-eatzy" as an outsider. Scorcese has a gift for capturing the spontaneous, the psycological, the layering of interaction, and TLW is no exception. There wasn't enough Robbie in it!
The other night I walked in there and they broke out into "The Weight" for me! Best to John D. Back to Mattk, who asked about brit rockers quotes on the "Hawks", I never have seen a direct quote. Baqck in those days the only guy I remember Pete ever complimenting was Steve Cropper. Part of the Who mystique at the time was them being hOIe5!
As I remember Dylan never introduced them at any shows, either collectively or individually; of course the effect they had is still being measured. I imagine pete and co were blown away by the sheer musicianship of these guys aside from the music itself which makes alot of the stuff going on there at the time look childish.
John had the utmost respect for Ronnie Hawkins in regards to just about everything but his phone bill as I have heard it told. I read in Heylin that Dylan knew of Hawkins from when he was a kid but you cant believe most of what he tells you. I do wonder how far back Lennon went with knowing of Hawkins. John D: An "event", hm? Elly: I just read your last post twice, and although I get the feeling that you were very much trying to make a point, I'm afraid I missed it.
Can you clarify? Have a good night everyone. Welcome home Maud and Garth! Don't know how many people read the article lately about actor Morgan Freeman.
When not in Hollywood, Mr. Freeman lives in Clarksdale Mississippi. Home of The Blues. He's opening a Juke Joint there. He figures people expect a good juke joint when you come to the land of Muddy Waters. It opens this July. God New Orleans in August. It doesn't get any hotter!!! Be a good spot for Levon and The Barnburners!! Because I feel close to so many in the guestbook Sometimes when I get pissed at the human race, I look to some wonderful people in this guestbook.
You know who you are. Heart Attacks are called "events" by the professionals. My event was not catered. For anyone in the Toronto area or who want to listen at www. Don't want to appear sacrilegious; but I did not concentrate on The Band on this one; but on the subject himself.
Sounes is a real fan born in When asked why he wrote the book with so many others out there he said " he really didn't find the majority of Dylan books entertaining and not enough revealed. Actually, to me at least, playing delta blues in a club is as far away from The Band as working on soundtracks. For a lot of reasons. Even a cursory look at the original quintet's tour schedules shows a group not all that interested in playing live, with very little, if any, delta blues as part of the songlists.
Then again, they did want to score all of Easy Rider, so I ammend my initial feelings about working on soundtracks. Her brother, operating as Frank Rondell, recorded one of the very first cover versions of a Robbie Robertson song - "Someone Like You" in or ' He was one of two keyboardist in the group - standard practice in those Hawkish days. P Bean its a great book that tells of all Joe's wild and crazy years and his good times and bad times and it was said that he at one faze of his career used to sing In a Station at his concerts.
I also have Joes box set and he does a great version of The Weight, also he does Out of The Blue on his have a little faith album. Iwas wondering if anyone has any Cocker bootleg tapes or if any one had ever seen him perform those Band songs and if they ever shared the same concert bill. Hollow Roy Women are no toys. You seem like a lost boy. That triple treat was disappointing because yo can't always believe waht you hear and it probably turned into a triple threat!
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Right then I knew I said, 'Man, here it is! I had found what I really wanted to do. After years of disappointments, one-night stands, and studios, the Allman Brothers Band was born. In spite of his prior reputation, Duane insisted that they were all to be equals. They pooled their money, moved in together, jammed, and occasionally went to nearby Rose Hill Cemetery to play acoustic guitar and write songs.
The album signaled a new direction an American rock and roll with its massive guitar hooks, double leads, counterpoint and unison lines, and plenty of slide and innovative blues. Johnny Sandlin recalls that "Duane was very well known throughout the South as the guitar player. If he met other guitar players that he thought were promising, he'd either loan or give 'em a guitar, anything he could do to help. Their reputation for high- powered live shows began drawing larger and larger audiences, as did their free concerts on days off.
Layla proved to be the meeting of two kindred minds and 20 amazing fingers. Duane and Eric pushed each other to new levels, concluding with Duane's bottle-neck symphony of imitation bird sounds. With At Fillmore East rapidly becoming a hit album and two years of touring behind them, the Allman Brothers Band decided in late October to take a few weeks' vacation.
Duane journeyed to New York to visit his friend John Hammond, and then returned home to Macon, where, on October 29,he went to Berry Oakley's house to wish the bassist's wife a happy birthday. After leaving the house about P. He died after three hours of emergency surgery at Macon Medical Center. Duane was He was buried at Rose Hill Cemetery, where he had often gone to meditate and play acoustic guitar in the early days of the band.
Our interview was assembled from an early-'70s Capricorn promo release, Duane Allman Dialogues. A great new album. Thank you. We worked pretty hard on it. We're real proud of it; we think it's pretty good, too. What were you after going into the album? Live sound, like we sound when we play. Can you categorize any of it? Some of it sounds like British blues, a little bit of it gets into some Johnny Winter. Well, everything influences.
As you go along, you pick up stuff. You just can't help it. It's just like how you learn to talk. You hear your folks talking, and whatever you hear, that's how you talk. That's just how people are. So we've all been involved with music, I guess, since our late teens, and stuff just soaks into you. There was all that other slop, like the Searchers remember all that? So we just got sick of traveling around playing it in bars for so long. So finally we just said, "Well, this has been a lot of fun, but we're tired of it," so we all quit our respective groups.
Berry was with the Romans. Gregg and I was with the Allman Joys. You were working where? All over, man! It was killing us, so we just all quit about the same time. Berry was staying down in Jacksonville, and we got together and jammed a lot.
And none of us were working then; it was just like we needed a reprieve from that set. I was doing some sessions in Muscle Shoals well, I was in California before that, but we won't even talk about that.
But it was essentially the same thing I was tired of it, man, because it really gets old. So we were all getting together and jamming, and saying, "Well, before we start anything, let's just say to hell with it, man! Let's don't get that same shit started up. I knew these people at Atlantic Records, and I talked to them about trying to get something for real, something that we could do that would just sound like us, instead of something that they would just try to get to sell.
We're proud of this it's probably the best thing that ever happened to any of us. Compare this to working in studios. Oh, man! Studios that's a terrible thing! You just lay around and you get your money, man. And this one place I know, man, all these cats five cats at one time had Oldsmobile s.
One of them traded on a Toronado, see, and so all of them traded on a Toronado. And now one of them's got a Toronado and a Corvette, and now they're all looking at new 'Vettes! It's sickening. They're just keeping up with the Joneses and not playing their music.
Their stuff sounds like crap now. I was down there working with them for about a half a year, and I got sick of it, man. Any sessions I do now, I just go in there and do it and leave. Do you feel restricted playing in a ballroom as opposed to, say, free concerts in the park? Well, anytime you're getting paid for something, you feel like you're obligated to do so much. That's why playing the park's such a good thing, because people don't even expect you to be there.
And if you're there to play, that's really groovy, and so playing in the park's really a nice thing. About the nicest way you can play is just for nothing, you know. And it's not really for nothing it's for your own personal satisfaction and other people's, rather than for any kind of financial thing.
That hangs a lot of people a lot of bread, and you try too hard. Either you can do something, or you can try to do something. Whenever you're trying to do something, you ain't doing nothing. Bread'll stop you, too. It'll keep you there to make more. Oh, sure! I quit doing sessions because of that.
I was getting to like it too much. Is there a direction back to the roots? Page 5 Well, in a lot of ways there is. There's a lot of groups now where it's coming down to everybody's expending all this energy in various ways to get that same old feeling out of it that Little Richard can get in five minutes. And people are finally waking up to the fact that you can expend just as much energy and get just as much of a good feeling out of a simple thing as you can get out of something that's hard.
A lot of people who would have you believe that they're intelligent musicians are playing bullshit. Music's become intellectualized and everything.
Man, music is fun! It's not supposed to be any heavy, deep, intense thing, especially not rock music. That's to set you free. Anybody that ever listened to Chuck Berry or any of them cats know that. It's hard to believe the amount of emphasis that's been put on rock music and all the money that's been made by people who really are full of shit. And it squashed out a lot of people that was really good folks, kept them from making bread. And it's pathetic!
It's pitiful. Like nowadays you get maybe one good record and ten really crappy ones, and they all go right up the charts together, and it doesn't make any sense. Some people that don't know where rock and roll came from will really settle for a hell of a lot less. They settle for a cheap, cruddy imitation of something that was really intense back maybe 10 or 15 years ago, like something Bo Diddley was really laying down.
Do you like the idea that rock sometimes talks about the times? Sure, man. It's like a newspaper for people that can't read. Rock and roll will tell you right where everything's at. On the new album, what's your favorite, most satisfying cut? I like everything on there, man. I feel like we got a bunch of stuff done. I like it all. I don't have any particular favorites. Some of it's older we worked it out when we first got together, and then as we went along we became a little bit more proficient.
You can tell by listening to it the earlier stuff's not near as complex as the stuff later on. When we started, we had one drummer, two guitar players, and a bass. And then Gregg came back from California and we had an organ, and then we got Butch Trucks, and that was another drummer. We worked the Muddy Waters song out first ["Trouble No More"], and it's not that particularly impressive it's just a good, hard, funky thing. It just kind of grew, and we're getting more into a straight-time thing now.
It's more fun to play and requires less effort, and it's a nice thing. Yeah, man, that's really our natural element. When bands start to play, they play live. We haven't got a lot of experience in making records. I do, a little bit, from doing sessions and stuff, but not like a polished session man or anything.
Yeah, a lot. And then, of course, the spontaneity of the music. There's rough arrangements, rough layouts of the songs, and then the solos are entirely up to each member of the band. So some nights are really good, and some nights ain't too hot. But the naturalness of a spur-of-the-moment type of thing is what I consider the valuablest asset of our band. We play live, and making records, you can't just do it over and over and over if somebody makes a mistake.
Plus, the pressure of the machines and stuff in the studio makes you kind of nervous. How does it feel, in the case of "Dreams," to have somebody else do your music? Oh, it's real flattering, man. You know, it's nice that someone would like something we did enough to re-record it and do it again. We're talking here about the Buddy Miles version, of course. I wanted Clarence Carter to do that song, but I don't guess he ever will. I sure would like to hear him do it, though.
Who else could do a good job? King could. Page 6 Yeah, he'd do an exceptional job. He can do anything! He could sing ''Happy Birthday" and bring tears to your eyes, man. I'd like to hear Joe Cocker or Elton John do one of them they've both got powerful voices, both very good.
Moving right along now [laughs]. Eric Clapton, man let's talk about him. He's a gas. He's a true professional in his field. He has some nice things to say about you in Rolling Stone. Oh, yeah. Man, it just tickles me to death to hear him say anything about me, ever, man! He wrote the book, you know. But his style and his technique is what's really amazing he's got a lot to say, too, but man, the way he says it just knocks me out.
He does so well. I went down there to listen to them cut, and Eric had heard my playing and stuff, and he just greeted me like an old partner or something. He says, "Yeah, man, get out your guitar, man! We got to play. Incidentally, sides 1, 2, 3, and 4 all the songs are right in the order they were cut from the first day through to "Layla," and then "Thorn Tree" was last on the album.
I'm as proud of that as I am of any albums that I've ever been on, man I'm as satisfied with my work on that as I could possibly be. I was glad to have the opportunity to work with people of that magnitude, with that much brilliance and talent. Eric is just a real fine cat, an awful nice dude. It's hard for me to put him in a street context, but he surely is a man of the street, a gypsy just like everybody else these days. You said before that you thought blues and jazz LP) the same thing.
Yeah, it really is, man. It's just that as human feelings become more complex, as the world gets a little bit more divided and intelligent, complexity is the only difference between blues and jazz. It's all the portrayal of the feelings and the soul in a medium other than words. You can either complain and say, "Oh man, I really feel bad," or you can put your sadness into a musical context and make it desirable.
Nobody wants to hear anybody bellyache, but everybody wants to hear him play the blues. You can say the same things, but make it to where it's a little less offensive to your fellow man by playing it with music. Develop your talent, and leave the world with something.
Records are really gifts from people. To think that an artist would love you enough to share his music with anyone is a beautiful thing. That's fascinated me ever since I piled up my motorcycle. Miles Davis does the best job, to me, of portraying the innermost, subtlest, softest feelings in the human psyche.
He does it beautifully. He's a fascinating talent, man, a marvelous, marvelous man and a great entertainer. And John Coltrane, probably one of the finest, most accomplished tenor players, took his music farther than anybody I believe I ever heard. You mentioned "entertainer. It's sort of like a different means of communication, man. Sometimes you can have things to say, but you can find no words for them and I'm sure everybody gets caught in that position or there's a feeling inside you that there are no words to explain.
You can say "heartbreak" or "jubilation," but you can also set it up in music to make people actually feel it without ever saying anything about it. That's the grace of music; that's the blessing. You know, there's a lot of different forms of communication, but that's one of the absolute purest ones, man. You can't hurt anybody with music. You can maybe offend somebody with songs and words, but you can't offend anybody with music it's just all good. There's nothing at all that could ever be bad about music, about playing it.
It's a wonderful thing, man. It's a grace. Page 7. An entire picking approach bears his name. On "Chinatown, My Chinatown," cut aroundChet pioneered the use of artificial harmonics, a little steeler's gimmick now used by guitarists of all styles. Though Les Paul set much of the recording world rolling with his technological acrobatics, Chet Atkins also made important breakthroughs for recorded electric guitar. Guitar], and a wah-wah in on "Boo Stick Beat" [Teensville].
He even concocted a nifty, in-sync boom-boom with a bass octave doubler the "invisible bass man," he called it around this time, not to mention a fuzztone before anyone else though he never could figure out where to use that. Jon Sievert "Mr. Guitar" is only part of Chet's name. He, more than any other single being, created it. Atkins became manager of RCA's Nashville office his real impact went back even further, since he'd been working with Sholes on a freelance basis since InChet became vice president in charge of country music and any and everything.
And Chet was the person who brought pianist Floyd Cramer to Nashville and suggested he learn to play with that "bent-note" piano tweak that became his and Nashville's favorite keyboard embellishment. He signed jazz vibist Gary Burton. The studios in Nashville are like the studios anywhere else. If there is a Nashville sound, it's the musicians. In order to broaden country music's appeal and to just plain surprise the public, he even began adding horns and violins to country music took it "uptown," something for which he has subsequently apologized because he believes the resulting crossover sound came close to crossing out a unique musical identity.
Even so, it is always a pat on the back and not a gauntlet at the feet when people around Nashville say, "If Chet likes it, it'll sell. He was among the first ascendants into Guitar Player's Gallery of the Greats in In fact, Chet was a prime reason for the creation of the Gallery: Unless he were so enthroned and therefore snatched out of competitionpoll ballot tallies showed year after year that no one else would ever have a chance to win Best Country Guitarist Chet usually won Best Overall Guitarist, too.
He used to keep a guitar in every room of his house. A guitar company, Gretsch, has attached itself like a Siamese twin to his name and nicknames and has used his counsel in the design of at least three of its major instruments the Country Gentleman the title, originally, of an early Atkins hit recorded in a garage inthe Super Chet, and the Super Axe. The Country Music Hall of Fame in Nashville has a bas-relief plaque and a display case with his memorabilia.
If there's ever been a guitar player likely to have his face on a stamp, his name on a bridge, his foot in the bow of a boat drifting towards Valley Forge as father of his country and President of the Guitar it's Chet Atkins. But he is one whose wisdom has kept ahead of his success. He knows where he as well as all this potential mammon came from.
Johnny Cash once rhapsodized about Chet: "The downtrodden flock to him because he remembers what it was like to be in a cornfield on a side of a hill in Luttrell, Tennessee. His name itself seemed like a stray: "There used to be some trucks that ran around," he explains, "the C.
Atkins Moving Company," and my dad used to see those signs on them. I guess he liked the 'C. Atkins' part, so he just made up 'Chester Burton. I don't know where he got the Chester. I kind of always wished he would have forgotten that.
But that's it; that's my name. He picked his way through various pieces he'd heard on the family's windup gramophone and through a radio he and neighbors built when Chet was Inspired by George Barnes, Les Paul, Charlie Christian, Carl Farr, and the few other guitarists on record and radio of the day, Chet, nonetheless, intentionally avoided imitating them. It cut him then and still cuts him deep to hear himself compared to anyone. The day he cites as one of the most important of his whole life was one in his early years when he vowed to become a guitarist after seeing a blind street musician.
He became single-minded in the pursuit of his goal. Inhis brother Jim left home, teaming up later with Les Paul in and keeping Chet informed about the world of music outside of the east Tennessee hills. InChet moved to Columbus, Georgia, to live with his father. By then he spent most of his time with a guitar in hand, sometimes even practicing in the bathrooms at school to luxuriate in the natural echo of the stall.
InChet got his first real job as a professional musician. In the same year, he made the important switch to full-time guitar playing. He held the position of staff guitarist at WNOX for four years before skipping out and over the waves of some rough radio jobs elsewhere, from which he was usually fired for being "too modern" or "not commercial enough. His first significant instrumental recording was "Galloping Guitar" produced in Atlanta's Fox Theatre in That cut in and of itself reversed the vocal trend that had been developing at the Grand Ole Opry.
That, anyway, is what some people would say. Chet shrugs off the claim in the previously cited interview with John Wilson: "You can only eat so much caviar, then you want something else. I filled a void as an instrumentalist. There were no others around. Since then he has recorded in the neighborhood of fourscore others on both electric and nylon-string guitars he switched away from steel-string acoustics in the '50s when he discovered classic guitar strings did not tear up his nails.
He records in enough styles to prove that no one need be entrapped by his or her background: Classical, jazz, country, pop, and theatrical standards are all part of his repertoire. And over the past 20 years, there have been plenty of nights he could watch himself on any given season's favorite TV shows: Jimmy Dean and Perry Como, NET specials with the Boston Pops, and Mike Douglas and Johnny Carson if he could stay up late enough after all, he did quit producing Elvis when Presley's superstardom began necessitating night recording sessions.
Chet's live performances have ranged from solo spots to duos, to those at the Newport Jazz Festival, to others with symphony orchestras around the world.
His restless pursuit of excellence is matched by a keen awareness of the underdog's scramble up and out of the ditch; for years he's doled out prizes and scholarships to unknown guitarists. In spite of the superlatives, Chet winces at anyone's attempts to puff him up beyond the natural and perfectly fitting confines of his own history and flesh. He would not like being launched as a kind of guitarists' Goodyear blimp floating slowly but regularly around the country scaring kids with his size and hurting the necks of old-timers trying to glimpse him on an endless PR job on behalf of guitar.
He accepts credit for only one thing, and then only when stated with the proper perspective and joint credit he knows is due and is always quick to extend: "Merle [Travis] and I taught this country to play fingerstyle guitar, and I want credit for that sometime. No one uses it more effectively than does Chet Atkins. He is a prophet with honor in his own community. What percentage of a Chet Atkins show is acoustic? It's half acoustic and half electric. It's weird I feel comfortable with both, because I have played them for so many years.
It takes me just a few seconds onstage to get acclimated to the difference in neck width. What advantage does the electric guitar offer you? You have the volume when you're in an auditorium or when you're playing with a group of musicians. Another advantage is the amount of sustain you're able to get. A major disadvantage with the electric at least for me is the lack of control when I'm playing solo, because sometimes if I don't set the amp exactly right it will be too loud.
I play with both hands, naturally, so I can't usually stop in the middle of a tune to readjust the volume if it's too high. That's the big disadvantage; another is the wear and tear on my nails. I don't play more electric onstage because the steel strings chew up my nails. I play a lot of my solos on acoustic.
What are the major advantages and disadvantages of an acoustic instrument? The lack of sustain is a definite disadvantage. You know, if you're trying to duplicate the sound of an electric particularly on the treble strings a nylon-string guitar doesn't sustain enough. Also, the nature of the instrument makes it difficult to amplify properly. When you get into an auditorium, a lot of the soundmen think that you've got to knock the people over with volume.
They can turn it up too loud, and you then get feedback. I would rather have people strain a little to hear me than have a booming, loud sound that resonates and can feed back. Do you classify yourself as a country artist? Yeah, I guess so. And I don't like to play for country audiences. I never did like to work the Grand Ole Opry though I worked it for years because all the time you're playing there are kids running up and down the aisles, and they're hawking songbooks and popcorn out in the aisles, and everybody's standing behind you talking about going fishing next week.
It's a very difficult show to work. But the country fans are more devoted, and they stick with you. You can have one hit and play for the rest of your life. So it comes down to survival, and you survive more with those country folks. Do you think that when country music first started to become more popular you played a part in changing the guitar from acoustic to electric? I was accused of, and I've apologized for, moving country music too far uptown. But I did very little, compared to what has been done since I almost quit producing.
When you're making records, you are trying to keep your job; you're trying to make money for the company you work for. You're compelled to try new things because you're trying to sell a record. The public wants to be surprised. You give them new effects or they won't buy.
So you get into a slot where you move in a certain direction, and if they tend to buy that then you give them more of it. Because of this, the music moves in certain directions. I think it's natural, and it's determined by the disc jockeys, the record- buying public, and the musicians.
Musicians have very little to do with it, though, because we put on records what we think will sell. If something does sell, then we make more of it. That's the reason country music moved uptown. Also, there are social reasons. Back when I first got into the business, there was a lot of bigotry and prejudice towards country music: Middle-class people were afraid to say they liked it because people would look down on them.
They thought they were supposed to like folk music and jazz; they wouldn't admit they liked country. Its songs have become more palatable to city audiences, and some of the musicians are now big stars. So it's socially accepted now to like country music. Rhythm and blues once had the same problem. What would you like to see happen to the electric guitar? I'd like to see it keep its standardizations. I don't want to see 7- and 8-string guitars. I would like to see the standard tuning kept, and I would also like to see the guitar become more respected as a solo instrument.
There are some great electric soloists. Unfortunately, some of them have not had the popularity or the attention from the public that I think they should have: People like Johnny Smith, Joe Pass, George Van Eps, and Lenny Breau are some of the great electric players.
Do you feel that the guitar is limited compared to, say, the piano? In a few ways. It would be nice to play a melody line up high and a bass line down low like you can on a piano. There are limitations in the playability, but not in the sound. I love the sound. I have never especially admired the sound that I get, and I keep trying to improve it. I never disliked it enough to give up and stop trying, though. Does the electric guitar sound pretty to you?
I love the sound of it, although I don't like a lot of highs. Most of the time, I tend to use the two pickups combined together. Sometimes on a very raucous tune I use the pickup close to the bridge. I will also use it when I play a real foot- stomper.
I don't like it too trebly, either; I like a mixture and a pretty sound. At what point does electric music become simply noise to you? Is it a function of volume, or too many highs?
It's both. I don't like a lot of screechy highs with a massive volume. The two of them together are really too much for me, especially in a club, because sometimes you can be sitting where the speaker hits you in the ear like a drill. It's very disconcerting. I have some earplugs that I carry in my pocket in case I run into situations like that.
Are there any rock and roll guitar players you like? Yeah, I like some. There are some great ones around now. That style of guitar has come a long ways since Chuck Berry. When did you find it sounding good enough for you to like? I've always liked it, and there was a period in my life, back in the '40s, early '50s, when I wanted very much to play that style. I kept thinking, "How can I get a sound like a saxophone and make it sustained? I never tried to do it, but I loved it.
Guitar has replaced saxophone on records almost completely. There's some great players around too many to mention. I used to love that Allman boy [Duane]. My daughter used to hang around with those kids when they were in Nashville. And she took me out to hear him one night, and boy, he was playing some super stuff.
When he was 17 or 18 years old, his coordination was so good between his right and his left hand. I've never heard any of that stuff on his records sound as good as when I heard him at a little club. What about jazz or fusion players? I don't listen to a hell of a lot. I like Earl Klugh. And I like George Benson. And I like Jim Hall's playing.
And Lenny [Breau], of course.
Hymne I - Wolf And Fear - Ulver - Nattens Madrigal - Aatte Hymne Til Ulven I Manden (Vinyl, LP), Lil Kim - Crush On Kim (Vinyl), These Words Have Gone Before (Alternate Version 3) - Mister X (7) - Crunchy In Milk Variations (File, Carl Maria von Weber / Gioacchino Rossini - Euryanthe / La Cenerentola (Aschenbrödel) (Vinyl), The God Of Abraham Praise! - Various - Hymns International - South America (Cassette), Miss You So - Various - Hitbreaker Vol. 2 (16 Original Hits) (Vinyl, LP), Antiloop - Fastlane People (Cassette, Album), Ball Of Destruction - Madball - Demonstrating My Style (CD, Album), Burn Black - Hole (2) - Unplugged & Unloved (Cassette), Deadlock - Mutoid Man - Bleeder (CD, Album), Fine Corsa - Massimo* - Siamo Nati Liberi (CD, Album), Mazurka - Debussy*, François-Joël Thiollier - Clair De Lune And Other Piano Favourites (CD, Album)