Musician, March 1991: Difference between revisions
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pull up a chair. | pull up a chair. | ||
'''Elvis''' | '''Elvis:''' Certainly a candidate for the world's greatest record | ||
store is [[Village Music]], in [[Mill Valley]]. Every year John Goddard | store is [[Village Music]], in [[Mill Valley]]. Every year John Goddard | ||
has a party for his friends and customers, and he always has a | has a party for his friends and customers, and he always has a | ||
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margaritas, I decided to join him. | margaritas, I decided to join him. | ||
'''Jerry''' | '''Jerry:''' Not only that, but it was one of those situations where I | ||
had the choice of playing either Elvis' guitar, which is low and | had the choice of playing either Elvis' guitar, which is low and | ||
it's stiff, and the strings are quite wide as well, and all this | it's stiff, and the strings are quite wide as well, and all this | ||
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without my own. | without my own. | ||
'''Elvis''' | '''Elvis:''' It was a whole Three Stooges routine -- "Here, you take my | ||
guitar," "No, I'll take your guitar." Of course guitar players | guitar," "No, I'll take your guitar." Of course guitar players | ||
who can play usually don't refer to the fingerings [position | who can play usually don't refer to the fingerings [position | ||
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managed a few songs with changes. | managed a few songs with changes. | ||
'''Jerry''' | '''Jerry:''' A pretty high level of jam-sessionry really, considering | ||
what it was. Really fun. And Elvis' solo set was phenomenal, I | what it was. Really fun. And Elvis' solo set was phenomenal, I | ||
thought. That's one of those things that I can't do at all, just | thought. That's one of those things that I can't do at all, just | ||
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don't miss a band. I always feel like I'm missing a band. | don't miss a band. I always feel like I'm missing a band. | ||
'''Elvis''' | '''Elvis:''' I did start in folk clubs, but I never learned any | ||
technique. When I found it necessary to go out on the road solo, | technique. When I found it necessary to go out on the road solo, | ||
in 1984, I booked these shows, in North Carolina or somewhere, | in 1984, I booked these shows, in North Carolina or somewhere, | ||
and I kind of rehearsed a set in the solitude of my own room. | and I kind of rehearsed a set in the solitude of my own room. | ||
Then I was horrified to find there was 6000 people there [''Jerry | Then I was horrified to find there was 6000 people there [''Jerry laughs'']. And I'd never played solo since before I was a | ||
laughs'']. And I'd never played solo since before I was a | |||
professional. It was sheer fear. | professional. It was sheer fear. | ||
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and sometimes it's a mess, depending on my state of mind. | and sometimes it's a mess, depending on my state of mind. | ||
'''Jerry''' | '''Jerry:''' John Scher talked me into doing a solo show one time. He | ||
kept saying, "Come on, it'll be great, go on out there with an | kept saying, "Come on, it'll be great, go on out there with an | ||
acoustic guitar." Finally I relented--I got weak. Two shows I | acoustic guitar." Finally I relented--I got weak. Two shows I | ||
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bluegrass background? | bluegrass background? | ||
'''Jerry''' | '''Jerry:''' Oh yeah, it comes from my fondness for a clearly spoken | ||
line, a clearly enunciated note. | line, a clearly enunciated note. | ||
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have truth, and to what extent are you perhaps trapped by it? | have truth, and to what extent are you perhaps trapped by it? | ||
'''Jerry''' | '''Jerry:''' I don't have much reality on my stereotype, because I'm | ||
surrounded by it, you know what I mean? So I don't know what it | surrounded by it, you know what I mean? So I don't know what it | ||
includes. For example, is my stereotype famous for being | includes. For example, is my stereotype famous for being | ||
musically very accepting or...? | musically very accepting or...? | ||
'''Elvis''' | '''Elvis:''' It's the balance of the musical stuff and the cultural | ||
stuff. Seeing you in [[London]], it wasn't just ''the Grateful Dead | stuff. Seeing you in [[London]], it wasn't just ''the Grateful Dead | ||
comes to London''. It was ''the Grateful Dead and all their | comes to London''. It was ''the Grateful Dead and all their | ||
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bit more money. | bit more money. | ||
'''Jerry''' | '''Jerry:''' That's true, and it's much larger too. In those days our | ||
mystique sort of preceded us, more than people who had actually | mystique sort of preceded us, more than people who had actually | ||
experienced shows. | experienced shows. | ||
'''Elvis''' | '''Elvis:''' The first time I ever saw Jerry's picture was on a | ||
record--it was the first album--that my dad gave to me. This would | record--it was the first album--that my dad gave to me. This would | ||
be about '68. My dad was a little older than I am now, he grew | be about '68. My dad was a little older than I am now, he grew | ||
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almost nobody can dig. | almost nobody can dig. | ||
'''Jerry''' | '''Jerry:''' The West Coast perception of English bands during the | ||
early Rolling Stones was also very cloudy. There was no real | early Rolling Stones was also very cloudy. There was no real | ||
understanding of the complexities of English life, the nuances. | understanding of the complexities of English life, the nuances. | ||
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jazz world. | jazz world. | ||
'''Elvis''' | '''Elvis:''' The image of the Grateful Dead that people had in England | ||
when you first came over was kind of like a biker band, kind of | when you first came over was kind of like a biker band, kind of | ||
creepy. Musically more serious than Steppenwolf, but a similar | creepy. Musically more serious than Steppenwolf, but a similar | ||
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reasons. | reasons. | ||
'''Jerry''' | '''Jerry:''' Well, it is a very potent image. It's been with us all | ||
along. Things that have to do with death, I mean, it's one of | along. Things that have to do with death, I mean, it's one of | ||
the biggies. [''laughter''] As long as death remains mysterious, | the biggies. [''laughter''] As long as death remains mysterious, | ||
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Death is always death. | Death is always death. | ||
'''Elvis''' | '''Elvis:''' It should be pointed out that we're both sitting here | ||
dressed in grim reaper outfits. | dressed in grim reaper outfits. | ||
'''Jerry''' | '''Jerry:''' Discussing the niceties of soul-collecting. | ||
Musician: It's ironic that people now are trying to recapture the | Musician: It's ironic that people now are trying to recapture the | ||
so-called "danger" of rock 'n' roll and-- | so-called "danger" of rock 'n' roll and-- | ||
'''Jerry''' | '''Jerry:''' We're still trying to transcend it. We're living in the | ||
shadow of that reputation and it still haunts us. Every couple | shadow of that reputation and it still haunts us. Every couple | ||
of years a Grateful Dead bashing goes on in the newspapers. In | of years a Grateful Dead bashing goes on in the newspapers. In | ||
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performances can start at a fairly high level. | performances can start at a fairly high level. | ||
'''Elvis''' | '''Elvis:''' You played Broadway; we did that as well. But it's an | ||
expensive place. They are very small theaters and to make it | expensive place. They are very small theaters and to make it | ||
pay, the ticket price has to be higher. Then you look out in the | pay, the ticket price has to be higher. Then you look out in the | ||
audience and you don't see your friends... | audience and you don't see your friends... | ||
'''Jerry''' | '''Jerry:''' Because they can't afford to be there. Being fair is | ||
always a problem. But I really think you can help alleviate some | always a problem. But I really think you can help alleviate some | ||
of that stress by communicating with the audience, by saying, | of that stress by communicating with the audience, by saying, | ||
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they are, you know? | they are, you know? | ||
'''Elvis''' | '''Elvis:''' One immediate similarity between us is that roulette wheel | ||
of material every night, whether it be the physical one I | of material every night, whether it be the physical one I | ||
attempted to use on that tour or... | attempted to use on that tour or... | ||
'''Jerry''' | '''Jerry:''' More metaphorical. | ||
'''Elvis''' | '''Elvis:''' You're hoping they'll enjoy something that you enjoy--maybe | ||
you bring some different musicians, or a new approach. With the | you bring some different musicians, or a new approach. With the | ||
Dead, on every occasion I've seen them over a number of years, | Dead, on every occasion I've seen them over a number of years, | ||
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going to do next. Onstage at the Albert Hall. It was great. | going to do next. Onstage at the Albert Hall. It was great. | ||
'''Jerry''' | '''Jerry:''' Well, if you're not entertained, you can't expect anybody | ||
else to be. The idea is to create challenges, I think. If | else to be. The idea is to create challenges, I think. If | ||
you're lucky, that band does that. With the grateful Dead it's | you're lucky, that band does that. With the grateful Dead it's | ||
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those things also have their own interest. | those things also have their own interest. | ||
'''Elvis''' | '''Elvis:''' Ironically, when I first wanted to do "Ship of Fools" as a | ||
solo, a friend of mine gave me a tape; it was one of your first | solo, a friend of mine gave me a tape; it was one of your first | ||
gigs after you were ill. And it had an anger about it I'd never | gigs after you were ill. And it had an anger about it I'd never | ||
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ragtime. | ragtime. | ||
'''Jerry''' | '''Jerry:''' Yeah, that's pretty close. | ||
'''Elvis''' | '''Elvis:''' Obviously a big thing in the perception of the Dead was | ||
''Workingman's Dead'' and ''American Beauty'', 'cause it was | ''Workingman's Dead'' and ''American Beauty'', 'cause it was | ||
acoustic-based. But from that period on for maybe the next seven | acoustic-based. But from that period on for maybe the next seven | ||
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think. And then it changed again. | think. And then it changed again. | ||
'''Jerry''' | '''Jerry:''' You're right, they're definitely connected. Well, we had | ||
something in mind, actually, when we started. In fact it's so | something in mind, actually, when we started. In fact it's so | ||
pragmatic it's almost silly. We spend so much money on our third | pragmatic it's almost silly. We spend so much money on our third | ||
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very much. | very much. | ||
'''Elvis''' | '''Elvis:''' And also, presumably, music that had always been in the | ||
background. You played banjo... | background. You played banjo... | ||
'''Jerry''' | '''Jerry:''' Yeah. We're kind of on the far fringe of it, but we're | ||
part of that California Bakersfield school of country and western | part of that California Bakersfield school of country and western | ||
rock 'n' roll--[[Buck Owens]], [[Merle Haggard]]. We used to go see those | rock 'n' roll--[[Buck Owens]], [[Merle Haggard]]. We used to go see those | ||
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style of music, although they're not real obvious. | style of music, although they're not real obvious. | ||
'''Elvis''' | '''Elvis:''' You can see the connection between Haggard's "[[Workin' Man Blues|Working Man Blues]]" and "Cumberland Blues." | ||
'''Jerry''' | '''Jerry:''' Absolutely. I can elucidate it point by point, in fact, | ||
if you want to spend a million years studying it. I don't think | if you want to spend a million years studying it. I don't think | ||
anybody wants to get into it that far. But certainly there was a | anybody wants to get into it that far. But certainly there was a | ||
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get the point the first time you play it, it's a failure. | get the point the first time you play it, it's a failure. | ||
'''Elvis''' | '''Elvis:''' It's funny, it's like a light went on when you said Don | ||
Rich. Because even in a very simple country-structured song, | Rich. Because even in a very simple country-structured song, | ||
you're likely to begin a solo on a very unusual note. Which is a | you're likely to begin a solo on a very unusual note. Which is a | ||
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the wrong key. | the wrong key. | ||
'''Jerry''' | '''Jerry:''' I got that from him. Roy Nichols, he's another one. Both | ||
of them are important influences for me. I heard them both live | of them are important influences for me. I heard them both live | ||
lots of times. And Don Rich's attitude was always so cool. His | lots of times. And Don Rich's attitude was always so cool. His | ||
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sounded good on anything he picked up. | sounded good on anything he picked up. | ||
'''Elvis''' | '''Elvis:''' The parallel thing that I always enjoyed about Jerry's | ||
soloing is that way he can appear to paint himself into a corner | soloing is that way he can appear to paint himself into a corner | ||
and then sort of wriggle out. Another one who does that is a | and then sort of wriggle out. Another one who does that is a | ||
guitar player who you don't hear much about Amos Garrett. | guitar player who you don't hear much about Amos Garrett. | ||
'''Jerry''' | '''Jerry:''' Amos! Oh yeah, he's an old buddy of mine. | ||
'''Elvis''' | '''Elvis:''' Was that style of improvisation just a natural development | ||
for you? | for you? | ||
'''Jerry''' | '''Jerry:''' Well, I get my improvisational approach from Scotty | ||
Stoneman, the fiddle player, who is the guy who first set me on | Stoneman, the fiddle player, who is the guy who first set me on | ||
fire. Where I just stood there and don't even remember | fire. Where I just stood there and don't even remember | ||
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approach? | approach? | ||
'''Jerry''' | '''Jerry:''' Well, it's always been a part of my playing. But sure you | ||
can. The whole thing is that you have to not mind failing. | can. The whole thing is that you have to not mind failing. | ||
There's all those times you have to paint yourself into a corner | There's all those times you have to paint yourself into a corner | ||
and not get out. | and not get out. | ||
'''Elvis''' | '''Elvis:''' Before I became a solo folkie, which led to what I do | ||
professionally, I had a little band in the pub rock scene, and at | professionally, I had a little band in the pub rock scene, and at | ||
times I had ambitions to play guitar. But I didn't have the | times I had ambitions to play guitar. But I didn't have the | ||
nerve for it. | nerve for it. | ||
'''Jerry''' | '''Jerry:''' You have to have a certain attitude, I think. To say, "I | ||
don't care if I blow it. If 80 percent is good and 20 percent | don't care if I blow it. If 80 percent is good and 20 percent | ||
sucks, hey." Of course, Elvis has his guitar working against | sucks, hey." Of course, Elvis has his guitar working against | ||
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juices flowing? | juices flowing? | ||
'''Jerry''' | '''Jerry:''' I do. There's a definite threshold for me. I like to | ||
leave no longer than a week between playings. Otherwise, my | leave no longer than a week between playings. Otherwise, my | ||
technique starts to slide to the point where it takes me three | technique starts to slide to the point where it takes me three | ||
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can work out just this much to my satisfaction...." | can work out just this much to my satisfaction...." | ||
'''Elvis''' | '''Elvis:''' I don't have any comparable discipline to that, since I | ||
can't play and I can't read either. [''laughter''] But in the last | can't play and I can't read either. [''laughter''] But in the last | ||
couple of years I did a similar thing: Whereas I once would get | couple of years I did a similar thing: Whereas I once would get | ||
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I can't properly play an instrument in any expressive way. | I can't properly play an instrument in any expressive way. | ||
'''Jerry''' | '''Jerry:''' But your songs get more complex, or have more language to | ||
work with. | work with. | ||
'''Elvis''' | '''Elvis:''' And you usually achieve that by the basic model we were | ||
talking about early on, like the decision to make the country | talking about early on, like the decision to make the country | ||
record, just 'cause it was expedient. At a certain point, about | record, just 'cause it was expedient. At a certain point, about | ||
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emotionally. | emotionally. | ||
'''Jerry''' | '''Jerry:''' That's right. Sometimes the effect is really indirect. I | ||
don't seek specific influences; I don't want to end up sounding | don't seek specific influences; I don't want to end up sounding | ||
like Art Tatum. But just observing somebody else's approach | like Art Tatum. But just observing somebody else's approach | ||
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a solo? | a solo? | ||
'''Elvis''' | '''Elvis:''' A few years after the ''American Beauty/Workingman's Dead'' | ||
period, there are certain ensemble pieces of playing which you | period, there are certain ensemble pieces of playing which you | ||
can see repeated, but in a whole song structure-contained way; | can see repeated, but in a whole song structure-contained way; | ||
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jazz band but inside a very tight song structure. | jazz band but inside a very tight song structure. | ||
'''Jerry''' | '''Jerry:''' I don't know exactly where that comes from. Actually, I | ||
think it comes partly from my misperception of how English rock | think it comes partly from my misperception of how English rock | ||
'n' roll works. [''laughter''] If you made a big loop starting in | 'n' roll works. [''laughter''] If you made a big loop starting in | ||
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north of North Carolina... | north of North Carolina... | ||
'''Elvis''' | '''Elvis:''' You would have that music. From about '70 to about '76, | ||
the bar scene, which preceded punk in London, was very influenced | the bar scene, which preceded punk in London, was very influenced | ||
by bands like Little Feat, who worked using New Orleans riffs and | by bands like Little Feat, who worked using New Orleans riffs and | ||
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Some of the Dead's music from that period has that same flavor. | Some of the Dead's music from that period has that same flavor. | ||
'''Jerry''' | '''Jerry:''' At that time, in the early '70s, we were listening to the | ||
old Neville Brothers—[[the Meters]]—and also the early reggae stuff | old Neville Brothers—[[the Meters]]—and also the early reggae stuff | ||
that was coming in. So that was in our ears. The interesting | that was coming in. So that was in our ears. The interesting | ||
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on those records. So they copped that idea that way. | on those records. So they copped that idea that way. | ||
'''Elvis''' | '''Elvis:''' Plus the way the Meters played on [[Lee Dorsey]] records, that | ||
was a similar sort of blueprint. | was a similar sort of blueprint. | ||
'''Jerry''' | '''Jerry:''' It's all been stolen back and forth at several different | ||
levels. | levels. | ||
'''Elvis''' | '''Elvis:''' That was the time at which my first record came, and I put | ||
some voltage into it--not in terms of volume, but in terms of | some voltage into it--not in terms of volume, but in terms of | ||
speed--which was a quite self-conscious attempt because I realized | speed--which was a quite self-conscious attempt because I realized | ||
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to move in an improvisational direction? | to move in an improvisational direction? | ||
'''Jerry''' | '''Jerry:''' Not really. By then I'd forgotten I'd even had thoughts | ||
like that. I'm thinking about how I felt when I was 15. It was | like that. I'm thinking about how I felt when I was 15. It was | ||
a very youthful point of view. By then I'd "gotten over" rock | a very youthful point of view. By then I'd "gotten over" rock | ||
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along and all that and I went--"Oh, okay, sure." | along and all that and I went--"Oh, okay, sure." | ||
'''Elvis''' | '''Elvis:''' When you're 15...I remember there was six months where I | ||
wouldn't buy a record that had an electric guitar on it. I | wouldn't buy a record that had an electric guitar on it. I | ||
thought I'd left that behind when I was 10. [''laughs''] There'd | thought I'd left that behind when I was 10. [''laughs''] There'd | ||
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really--there's no mysterious message. | really--there's no mysterious message. | ||
'''Jerry''' | '''Jerry:''' In the early days of rock n' roll, every record sounded | ||
real different: Starting around 1970 or so, things got really | real different: Starting around 1970 or so, things got really | ||
homogeneous. I remember a friend of mine saying there was no | homogeneous. I remember a friend of mine saying there was no | ||
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Those cultural pockets of isolation don't exist anymore. | Those cultural pockets of isolation don't exist anymore. | ||
'''Elvis''' | '''Elvis:''' That's really true, though I'm nobody to talk because I learned music mostly through English bands who imitated American bands, or from American bands. Therefore I developed a sort of transatlantic style. But I appreciated the totally English rock 'n' roll sense of which there have only really been three — [[Ray Davies]], [[Ian Dury]] and Johnny Rotten. Even [[Joe Strummer]] really could have been an American with a strange accent. Now everybody's from a certain neighborhood, in the Bronx. Even the people in Manchester. | ||
'''Jerry''' | '''Jerry:''' Now you hear the strains of South African music in your | ||
neighborhood. | neighborhood. | ||
'''Elvis''' | '''Elvis:''' I do feel that sometime in the last 18 months we've | ||
slipped into a Bizarro World, where Manchester is the center of | slipped into a Bizarro World, where Manchester is the center of | ||
the universe [''laughter''] and Donovan is a folk hero and Bob | the universe [''laughter''] and Donovan is a folk hero and Bob | ||
Dylan isn't any good anymore. | Dylan isn't any good anymore. | ||
'''Jerry''' | '''Jerry:''' It's a strange world. | ||
'''Elvis''' | '''Elvis:''' And part of that might be that the only person who grosses | ||
more money in the concert than the Grateful Dead is [[Frank | more money in the concert than the Grateful Dead is [[Frank Sinatra]]. On the other hand, it's a funny world where Frank can | ||
Sinatra]]. On the other hand, it's a funny world where Frank can | |||
write a letter to the ''L.A. Times'' about George Michael, where | write a letter to the ''L.A. Times'' about George Michael, where | ||
Frank is actually hipper than this multi-million-selling pop | Frank is actually hipper than this multi-million-selling pop | ||
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lessons. | lessons. | ||
'''Jerry''' | '''Jerry:''' He sure could! Well, there is a certain thing [Sinatra] | ||
does with songs that anybody can learn from. I don't know what | does with songs that anybody can learn from. I don't know what | ||
that thing is exactly, but he has a way of turning a song into | that thing is exactly, but he has a way of turning a song into | ||
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sure. | sure. | ||
'''Elvis''' | '''Elvis:''' If you compare Sinatra's original stuff on Columbia to the | ||
later period on Capitol--I don't know whether he did this | later period on Capitol--I don't know whether he did this | ||
consciously or just in terms of aging naturally from a young man | consciously or just in terms of aging naturally from a young man | ||
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them. | them. | ||
'''Jerry''' | '''Jerry:''' The microphone produced that style of singing. Starting | ||
with Bing Crosby. The thing of being able to sing at a | with Bing Crosby. The thing of being able to sing at a | ||
conversational level--"crooning"--so you didn't have to below from | conversational level--"crooning"--so you didn't have to below from | ||
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There's almost no accompaniment when he's actually singing. | There's almost no accompaniment when he's actually singing. | ||
'''Elvis''' | '''Elvis:''' I have a track on the new record where we're doing a lot | ||
of things with bells, and celeste, toy piano. Trying to record | of things with bells, and celeste, toy piano. Trying to record | ||
the vocal, I had really difficulty because the register of the | the vocal, I had really difficulty because the register of the | ||
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end. Then we used an old RCA mike-- | end. Then we used an old RCA mike-- | ||
'''Jerry''' | '''Jerry:''' It takes the overtones out-- | ||
'''Elvis''' | '''Elvis:''' And suddenly you could hear it. You realize there's a lot | ||
of overtones in your voice you don't need. | of overtones in your voice you don't need. | ||
'''Jerry''' | '''Jerry:''' I've always had a problem with Sennheisers and the other | ||
German microphones, because they're designed for the Germanic | German microphones, because they're designed for the Germanic | ||
percussives for the language, linguistically. So they're really | percussives for the language, linguistically. So they're really | ||
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and they make it so don't lean so much on that gravelly shit. | and they make it so don't lean so much on that gravelly shit. | ||
'''Elvis''' | '''Elvis:''' But you can sing rock 'n' roll into those microphones, | ||
because they distort. They do the same thing as when you hear | because they distort. They do the same thing as when you hear | ||
those Little Richard records: They seem to take up the whole | those Little Richard records: They seem to take up the whole | ||
room, because there's no high end at all. | room, because there's no high end at all. | ||
'''Jerry''' | '''Jerry:''' He definitely distorted with that voice. | ||
'''Elvis''' | '''Elvis:''' There are people who attack a song so hard that the mike | ||
actually winces. I have a problem with a gap in my teeth. It's | actually winces. I have a problem with a gap in my teeth. It's | ||
disgusting to talk about, but I spit on them. And that's then | disgusting to talk about, but I spit on them. And that's then | ||
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the good microphones!" | the good microphones!" | ||
'''Jerry''' | '''Jerry:''' Get the sponges. | ||
Musician: When you're writing songs do you think about how your | Musician: When you're writing songs do you think about how your | ||
voice will carry it over? | voice will carry it over? | ||
'''Jerry''' | '''Jerry:''' I wish I were that meticulous about it. I'm not. I | ||
always have to rewrite it into a more singable key for me. I | always have to rewrite it into a more singable key for me. I | ||
write a lot on the piano, not on the guitar that much, and my | write a lot on the piano, not on the guitar that much, and my | ||
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as if I'm writing it for somebody to sing besides me. | as if I'm writing it for somebody to sing besides me. | ||
'''Elvis''' | '''Elvis:''' Do you have ambitions for any of your songs to be done by | ||
other people? 'Cause once again the whole Grateful Dead "thing" | other people? 'Cause once again the whole Grateful Dead "thing" | ||
is probably a barrier to that: You couldn't really imagine | is probably a barrier to that: You couldn't really imagine | ||
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Blue," you know? | Blue," you know? | ||
'''Jerry''' | '''Jerry:''' Oh, yeah, [[Tony Bennett]] could definitely do "Stella Blue." | ||
I bet he'd do a wonderful job of it. I think it's got the kind | I bet he'd do a wonderful job of it. I think it's got the kind | ||
of imagery those guys are used to, you know, that smoky barroom | of imagery those guys are used to, you know, that smoky barroom | ||
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guys can probably get behind. | guys can probably get behind. | ||
'''Elvis''' | '''Elvis:''' Has there ever been a Grateful Dead show where you decide, | ||
well, tonight we're just not going to go anywhere? 'Cause | well, tonight we're just not going to go anywhere? 'Cause | ||
obviously, there are people who come for the moment when they can | obviously, there are people who come for the moment when they can | ||
lose themselves. | lose themselves. | ||
'''Jerry''' | '''Jerry:''' Well, this is all part of a large misperception that goes | ||
on with the Grateful Dead. We think we are playing normal. | on with the Grateful Dead. We think we are playing normal. | ||
[''laughter''] But we are constitutionally unable to do it. | [''laughter''] But we are constitutionally unable to do it. | ||
Line 731: | Line 729: | ||
since the late '60s. | since the late '60s. | ||
'''Jerry''' | '''Jerry:''' Well, those people all have real, authentic lives. Their | ||
sense is as authentic as anybody else's. We've seen the cycle | sense is as authentic as anybody else's. We've seen the cycle | ||
now several times. The people who were our fans in the '70s are | now several times. The people who were our fans in the '70s are | ||
Line 742: | Line 740: | ||
surrounding culture; now it's more of an aberration. | surrounding culture; now it's more of an aberration. | ||
'''Jerry''' | '''Jerry:''' We didn't fit into that much better than anything else. | ||
We were part of the times, but certainly we didn't typify the | We were part of the times, but certainly we didn't typify the | ||
experiences. We were more San Francisco while the rest of the | experiences. We were more San Francisco while the rest of the | ||
Line 749: | Line 747: | ||
late '60s and early '70s. | late '60s and early '70s. | ||
'''Elvis''' | '''Elvis:''' Plus, that's the approved ''Newsweek'' version of the '60s. | ||
All the ''National Lampoon'' parodies of the alternative culture | All the ''National Lampoon'' parodies of the alternative culture | ||
have come true--now you really can get '''60s Golden Protest | have come true--now you really can get '''60s Golden Protest | ||
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control on it even before it's finished. | control on it even before it's finished. | ||
'''Jerry''' | '''Jerry:''' We are still living out that history. Our original | ||
alternative decisions are still alternatives. We're still acting | alternative decisions are still alternatives. We're still acting | ||
it out; in that sense our revolution never ended. | it out; in that sense our revolution never ended. | ||
'''Elvis''' | '''Elvis:''' The ''Newsweek'' version is explaining real life to people | ||
who haven't got time to live it. What I find difficult to take | who haven't got time to live it. What I find difficult to take | ||
seriously now is some groups we have in England who are | seriously now is some groups we have in England who are | ||
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that's been true with drugs as well. | that's been true with drugs as well. | ||
'''Jerry''' | '''Jerry:''' I think some part of being human is to seek other levels | ||
of consciousness. It's human curiosity. If you watch kids play, | of consciousness. It's human curiosity. If you watch kids play, | ||
they love to spin around in a circle until they get real dizzy, | they love to spin around in a circle until they get real dizzy, | ||
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turned into such a cheap cause. | turned into such a cheap cause. | ||
'''Elvis''' | '''Elvis:''' There are also bands taking very serious cocktails and all | ||
kinds of stimulants, and it's not the same thing as doing it to | kinds of stimulants, and it's not the same thing as doing it to | ||
reach some pleasantly changed state of mind, which might have | reach some pleasantly changed state of mind, which might have | ||
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much more important. | much more important. | ||
'''Jerry''' | '''Jerry:''' Part of music's primary function has always been to get | ||
people to celebrate or to produce changes of consciousness. | people to celebrate or to produce changes of consciousness. | ||
That's what music is about. It changes your mood; it produces | That's what music is about. It changes your mood; it produces |
Revision as of 21:19, 13 January 2013
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