GEORGE CARLIN YOUTUBE ROTHSCHILD FREE

The songs were simple, but hip, built as much on ragtime as string band music and blues. Jug bands made do with what they had on hand, using banjos, guitar and mandolins, but also employing jugs, stovepipes, washboards and dimestore kazoos for buzzing, scratching percussive backgrounds. What truly set the Spoonful apart was the fact that they drew so heavily on the American jug band tradition, homemade good-time music from Memphis, Louisville, Cincinnati and other urban centers in the south. We were head and shoulders above the playing capability of so many of the bands of the time.” We had played eight sets a day and these guys were getting praise for doing 40 minutes at Ciro’s. That was what we saw when we landed in L.A. These were great bands and great players but there was a sameness and a tameness to them. So many bands were getting on their feet at that time, but until they did, they used the Wrecking Crew as the rhythm section. “It wasn’t the Wrecking Crew (a group of elite L.A. “We played our own shit,” Sebastian says, sitting on his porch in Woodstock, NY, surrounded by two dogs and a cat. The Spoonful, Sebastian points out, was different than other pop bands of the day in that they played their own instruments in the studio, as well as on stage (although session drummer Gary Chester did man the skins on “Magic”). It was in trying to meet with their approval that I learned to play the Autoharp.” It turned around for me when summer came and a lot of the kids, specifically the young pretty girls, were not that interested in rock ‘n’ roll. “People think I came from folk music and moved into rock ‘n’ roll but the fact was that I had been playing electric guitar for five winters at Blair Academy, basically the Duane Eddy and Chuck Berry songbooks, the kind of things you’d expect a young guitarist of that era to be playing. “Rock up folk groups” is key to Sebastian’s early ethos. “(Future Mountain bassist) Felix Pappalardi and I had become a unit,” Sebastian says, “which was hired to rock up folk groups a little bit.”

GEORGE CARLIN YOUTUBE ROTHSCHILD FREE

Sebastian, born on March 17, 1944, was already a session musician playing on demos by Tim Hardin, Fred Neil and Bob Dylan among others by the time the Spoonful coalesced under Jacobsen’s direction – pulling Yanovsky from the Mugwumps (leaving Cass Elliott and Denny Doherty free for the Mamas and the Papas) and the Long Island-bred rhythm section of Steve Boone and Joe Butler from Greenwich Village rock band the Sellouts. It was our observation – me and Zal Yanovsky and Erik Jacobsen – that the British stuff was heavily rooted in American music, and we could, perhaps, eliminate the middleman.” “The Spoonful got going at the height of Beatlemania, and it was a time when a lot of American bands were aping the English bands in order to work. In this 2015 interview with Best Classic Bands, he remembers his Spoonful days fondly, pointing out that, from the start, the plan was to be an American Beatles.

John Sebastian, of course, wrote and sang “Magic,” as well as the bulk of the band’s other hits. “Do You Believe in Magic,” the title track to the quartet’s debut album, was also its first single, one of nine to make the Top 20 in a stunning two-year span (at a time when top groups were expected to release a new LP every few months). 50+ years later, the tune’s distinctive, chiming autoharp and bouncing groove still sounds vibrant. In the spring of 1965, enough teenyboppers did to drive The Lovin’ Spoonful song of the same name to the Top 10 on the Billboard charts. George Carlin Documentary Premieres on HBO.Bauhaus Live Review: A Commanding Tour de Force.

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