I saw the band at Massey Hall in Toronto, just after their productive years were over. It was a different set with many hanging curtains and not quite as many musicians on stage. A special kind of music.
In his storied four-decade career in radio, that rainy September afternoon remains a highlight. “I’m so happy that it literally has stood the test of time,” Elsas said. “It was totally unscripted and off the cuff. John was just a musician up to chat about his new album, very happy, and talking to a fan who just happened to be a disc jockey with a radio show. It captured a moment in time. I’m still so pleased that I got to do it.”
Very interesting article. I love that solo too but I always thought Walter Becker did that solo.
Guitarist Elliott Randall only took two takes to nail his part, only because the studio engineer hadn’t recorded the first one
“If John were alive, there’s been a lot of time for him to make some bad records, but he also might have made something really great. That’s one thing about dying young: it’s good for the ‘iconic’ status. “The positive thing is that it’s good that The Beatles didn’t play at Live Aid or Live 8, which they probably would have. Eventually they would have been talked into it. This is something that nobody will ever fucking understand any more: for once somebody broke up and meant it. They came in, got their hands dirty, did their task in hand and left.
What’s the story about Johnny Rotten joining Devo? 1234Ramones
Mothersbaugh: In winter 1978, we were sleeping on couches at a friend’s house. In Bob Casale’s room the windows had blown open and in the morning he was covered in a foot of snow. [Virgin Records boss] Richard Branson called and ask if we wanted to get together in Jamaica. Bob and I went to this hotel, where there was a pile of really strong marijuana. Richard waited until we got really stoned and told us that Johnny Rotten was in the next room and he wanted him to be the singer in Devo. I couldn’t stop laughing and told him it was the most absurd suggestion I’d ever heard. Later, Richard almost killed us. He took us to eat in the mountains and afterwards drove so fast the Jeep slid off the road and got stuck on a tree. We were in the back seat, Bob had landed on top of me and, as I looked down, it was a 100ft drop. Richard started laughing like a crazy ninny.
Upon Hendrix’s arrival in London, whispers soon spread about his mystical abilities on the guitar, and The Beatles soon made it their mission to catch him live. It took them a while to finally see him in action, and it was an event that was more than worth the wait for McCartney. The evening created a memory that continues to live vividly in his mind.Although Hendrix’s arrival on British shores occurred towards the back end of 1966, it wouldn’t be until the following June that McCartney would finally see for himself what all the fuss was about. He rose to the top of the ladder in the blink of an eye and also had a cunning trick up his sleeve, especially for Macca.
Todd Rundgren on his public bust-up with a Beatle, the “freaking circus” of the New York Dolls, and why he doesn’t pay much attention to Bon Jovi
The New York Dolls weren’t presented to me, they were just part of the milieu I was involved in at the time. I was still living in New York in an apartment that was walking distance from Max’s Kansas City which is where everything was happening; there was no CBGB yet. There were a lot of bands that were performing what was referred to as ‘the New York Scene’; it was not called punk rock yet.Advertisement
I knew I was going to be leaving New York to move upstate to Woodstock and entering a new phase, so I wanted to do one of these bands as a farewell to my New York lifestyle. The band that was creating the most excitement and actually got signed first was the New York Dolls.
I was such a fixture on the scene and was having wild success with my production work, it was a logical step for me to work with them. I went to see the band play a couple of times and met up with them, and knew that were certain members with whom the musical responsibility lay and then there were guys who were living the dream.
If you ever want to feel depressed, disenchanted, or incredulous towards the typical grandeur and epic nature that is associated with rock and roll, just watch End of the Century: The History of the Ramones. Over an hour and a half, the documentary makes being in the Ramones, one of the most legendary and important bands of all time, look like an insufferable experience.From a lack of mainstream success to disheartening failures that seem to follow the band like a bad incurable disease, life as a Ramone is about as unglamorous as can be. Gross touring vans, dingy clubs, constant internal conflict, and drug abuse are everyday realities within the group, and it only gets worse once the original foursome fractures. For any bass player or drummer who comes in, a disappointing lifestyle, lack of income, and a dictator-like rule from Johnny quickly dashed the joy of being a part of punk’s greatest band.
Bob and Lauren Bacall in Australia 1986
That was one of the ones where it was very notable that he showed us on piano. I started playing on the piano. I think I may have said, “Why don’t you play piano?” It took a long time to get it, but we got it. Yeah, I was on that. I need to listen to that again, because I remember thinking it was a beautiful song at the time. He knows a lot about that war. He knows a lot about a lot.The other thing touring with him was, the rehearsals for the ’87 Temple in Flames tour, when he played over and over again the chords for “Frankie Lee and Judas Priest,” he also would be playing something beautiful just in the corner. I’d say, “What’s that?” It was like a Child Ballad or something from the 18th century or 19th century.
Magic and Loss was released on January 14, 1992. Despite its difficult subject matter it became one of Lou Reed’s most successful albums. The single What’s Good topped the Modern Rock Tracks Billboard chart and the album reached a new high for Reed, No. 6 on the UK LP chart. Asked if he was surprised by the unlikely popularity of the album, Reed responded: “Astonished would cover it. It’s very strange. In a sense it’s my dream album, because everything finally came together to where the album is finally fully realized. I got it to do what I wanted it to do, but commercial thoughts never entered into it, so I’m just stunned.” Reviews were mostly favorable spare an idiotic one by Robert Christgau calling it the dullest Reed album since Mistrial and not worth of repeated listening. Oh well.