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Thread: 1967 April Newspaper & Magazine Articles (Text Only)

  1. #41
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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    CONTINUED FROM ABOVE
    (Page SF-22)
    [photo caption: Engineer Walt Payne cuts a master] . . .Recording sessions have been
    held by Topsy’s Topless Band (a female rock group), Judy Mac (a topless dancer), LaVerne Cumins
    (a female impersonator), plus some regular music names . . .

    ‘Studios Amplify Original Ideas’ : It lacks the sophistication, experienced manpower and impressive
    background of nurturing hits, but there’s a recording studio industry developing in San Francisco with
    nothing but the promise of a bright tomorrow.

    Already settled as a base for recording studios are a hardcore number of facilities which feel part of
    the emerging popular music field while concurrently servicing such non-musical recording activities as
    advertising commercials and educational projects.

    Despite San Francisco’s compactness, which causes visiting New Yorkers to automatically compare it
    with Manhattan, the existing recording studios are scattered around the Bay. Probably the leading San
    Francisco proper studio belongs to the United Recording organization—with facilities in Los Angeles and
    Las Vegas— and bears the un-United name of Coast Recorders. Its very large main studio can hold a
    50-piece orchestra with a 50-voice choir on a permanently raised stage. The stage, as manager Walt
    Payne explains, was part of a theater which preceded the studio into the building on Bush Street. Coast
    also maintains a small studio for ad commercial announcers who comprise 70 per cent of the studio’s
    business. San Francisco’s typical structure has been top-heavy with advertising agency business. Now,
    however, with the development of the city’s own breed of long-haired freedom and love rock ‘n’ roll
    groups, the recording studio community is beginning to see the flow of cash for regular music projects
    in increasing amounts.

    The list of charter-member studios so to speak, in addition to Coast, includes: Commercial Records,
    Golden State Recorders, Columbus Studios and Sierra Sound in Berkeley across the Bay.

    Coast, during its four years under the ownership of United, has been the scene of some interesting
    sessions with the Sopwith Camel, Harpers Bizarre, Vince Guaraldi, Vikki Carr, the Rovers, Jimmy
    McCracklin, John Handy,
    the Grateful Dead, Topsy’s Topless Band, (a female rock quintet which swings
    exposingly in North Beach), Judy Mac (a topless dancer who cut a special LP for her “favorite customers”),
    La Verne Cummins (a female impersonator at Finocchio’s who cut a blues LP for his favorite fans), Stark
    Naked and the Car Thieves

    and the Beau Brummels (a fully clothed group). The studio has also done some intriguing sessions for the
    Voice of America in Russian and Latvian. Payne says the Grateful Dead’s all night record-in, with
    locked doors, was
    the most unusual session thus far booked by a newly emerging local group.
    Payne and engineer Mel Tanner work with 4-track equipment, cut masters and handle remote work
    around
    town. In-studio jobs since 1962 have exceeded the 3,250 mark. The large studio may be rented
    for $37 an hour weekdays for four to seven people. While Coast is strictly a service accommodation,
    Leo
    de Gar Kulka’s Golden State Recorders on Harrison Street is heavily involved with the pop-rock scene on
    severa! levels. The owner of Sound Enterprises in Hollywood for 10 years, tall, balding Kulka opened his
    facility in San Francisco
    in September 1965 after feeling Bay Area popsters could use a sympathetic ear
    and a cat who knew how to merchandise
    an unknown act. Kulka’s aggressiveness has resulted in his not
    only recording acts under production
    pacts, but he releases them on his two labels. Golden State and
    Captain, publishes their songs in his three companies and negotiates with
    other labels for the lease of the
    masters. He has signed
    on as co-producers three Los Angeles rock ‘n’ sock a&r men, Rene Hall, Hank
    Levine and Larry Goldberg, to help with the
    sessions, in the first significant affiliation with experienced
    LA-based record
    -men. Kulka tapes some 20 local groups in his two-studio set-up ($30 per hour for
    2-track; $45 for 4-track) in addition to cutting the Sopwith Camel, Jefferson Airplane, the Oakland
    Symphony and the Art Van Damme Quintet. “We look at our company,” Kulka
    says beaming, "as an all
    encompassing
    service for the artist.”
    Columbus Studios, owned by entrepreneur Frank Werber, is a basement facility originally designed for
    the Kingston
    Trio, now used by Werber’s flock of fledgling local acts and overseen by engineer Hank McGill.
    There are
    3 and 4-track machines and echo chambers, with lathe equipment on the second floor of
    Werber’s own building. The tiny studio is available
    for rental.
    At six-year-old Sierra Sound in Berkeley, owner Bob De Sousa calls his one studio the largest in the East
    Bay community. The 3
    1-year-old owner has done work for Dolton, Era, Atlantic, Vanguard, Beechwood
    Music, and Arhoolie, a Berkeley-based blues now turning to rock label. De Sousa’s hourly rate
    for a 4-track
    machine is
    $30. He says he does some mastering for Westmont Recording, San Jose and Commercial
    Recorders in San Francisco. De Sousa was formerly an engineer with Sound Recorders, the firm which is
    now Coast
    Recorders.
    Commercial Recorders, man, is a large studio in the downtown area owned by a musician, former group
    b
    assist Lloyd Pratt, who has been servicing the San Francisco advertising-music fields four years. The studio
    was formerly part of an old firehouse. Among Pratt's clients have been Capitol, RCA, Columbia and Elektra,
    with
    $35 his hourly 4-track rates. The new groups, Pratt complains, "are tough to record because they're
    inexperienced record-wise, they're groping
    for their sound and then their electrical instruments are not
    always in the
    best condition. . . . But we can't deny this music any longer." Neither can a number of small
    shops which dot the Bay Area and
    also stand ready for custom assignments.
    [photo captions: ‘Leo de Gar Kulka consoles a session’; ‘The raw truth’.]
    ‘The Name Game’ ‘Goodbye Ames Bros., Hello Kookiness’ Kookie names. Put them all together and they spell
    . . .
    what? Dick Cook, a youthful resident and observer of the pop-hippie musical movement, offers his own
    eclectic version of
    the San Francisco scene through the pop groups playing the area.
    The Surrealistic Game Co. announces that its Soul Purpose is to pack The Great Society into the 13th Floor
    Elevator[s] and wait for The Purple Earthquake, while Earth Mother And The Final Solution suggest Grass Roots
    as
    the Only Alternative And Other Possibilities.
    The Wildflower recently asked The Electric Train about its Motor and The Sparrow has declared The Sopwith
    Camel and
    Jefferson Airplane to be Charlatans.
    Junior Peaches, Steve Miller and Canned Heat were seen floating down the New Delhi River in The Jim Kweskin
    Jug and the CIA feels that they are
    part of the Love Outfit conspiracy behind the Haymarket Riot.
    Country Joe And The Fish used their Blue Crumb Truck to squash Moby Grape in the Factory Loading Zone of
    Big Brother And The Holding Co. The Quick Silver Messenger Service reports that a Blue Cheer was heard
    for
    The Grateful Dead.
    In Ever Present Fullness, The Living Children embraced The Family Dog as the Anonymous Artists of America
    turned off their Tiny Hearing Aid and took their Living Impulse to
    the All Night Apothecary.
    Regarding the Immediate Family, The Justice League is back from its Congress of Wonders to tell the Sons of
    Champlin that
    the whole Ensemble is part of a vast Mystery Trend.
    (Page SF-23) [half page ad for Leo de Kulka’s Golden State Recorders] photo of the Columbus Tower building
    and an ad for
    ‘Mad Mod Posters’ featuring a psychedelic Jefferson Airplane concert poster
    (Page SF-24) ‘Managers, Bookers The Gray Flannelled Hipsters’ [photo caption: Tuned-in quartet: Bill Graham,
    Chet Helms
    ; Tom Donahue; Frank Werber] Ron Polte is….etc
    “We feel a strong responsibility toward those groups, who along with ourselves and the light shows have made the
    San Francisco phenomenon happen.”

    END OF SF SPECIAL
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  2. #42
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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Friday 28 April (6 May) 1967
    USA
    CASH BOX (page 28) [full page B&W ad] ‘Already No. 3 In England… Destined To Become 67’s Foremost
    Soul Exponent’. ‘
    Jimi Hendrix[in a semi-circle above the ‘floating heads’ photo, and below this in
    ‘vibrating’ text]
    Hey Joe”. #0572 Another singles chart imperative from [reprise logo]’ [They’ve changed
    their minds since last week the same ad had ‘Psychedelic’ instead of ‘Soul’ in the text.
    See above chart
    prediction Ed.]

    (Page 54) Great Britain
    ‘Great Britain’s Best Sellers'
    wk
    05 11 04 Purple Haze Jimi Hendrix (Track) Yameta
    ------------------------------------------------------------
    King George and the Harlem Kiddies in Britain for a series of concerts. . .
    (Page 56) French EP Top Ten
    06 Hey Joe—(Johnny Hallyday) Philips
    10 My Friend Jack [‘eats sugar lumps’ Ed.]—(The Smoke) Festival

    Friday 28 April (6 May) 1967
    USA
    RECORD WORLD (page 15) [same full page Hey Joe ad as in above Billboard]
    ‘Already #3 In England... DESTINED TO BECOME ‘67’S FOREMOST SOUL EXPONENT!’
    The Jimi Hendrix[in a semi-circle above the ‘3 floating heads’ photo, and below this] Experience’.
    HEY JOE’ 0572 Another Singles Chart Imperative From [reprise logo]’
    (Page 28) EYEVIEW EUROPE by Fraser White
    ‘BBC Top 20’
    16 Purple Haze — 2 Jimi HendrixExperience (Track) Yameta Yameta
    (Page 56)French EP Top Ten
    06 Hey Joe—(Johnny Hallyday) Philips
    10 My Friend Jack [‘eats sugar lumps’. Ed.]—(The Smoke) Festival
    (Page 61) Coast Capers by Jack Devaney
    . . . Reprise Records on an all-out push for English sensation Jimi Hendrix and his single “Hey Joe” . . .

    Saturday 29 April 1967
    USA (Pasadena, CA)
    INDEPENDENT STAR-NEWS (page 20) ‘Will It Be a Hit or a Miss?’
    Editorial Advisers Preview Pop Releases [Banner B&W photo of 2 DJ’s holding LP’s to a girl student’s ears,
    ‘NOW HEAR THIS—Nancy Wallace of Westridge discusses respective merits of albums and singles with Don
    Curtis, left, and Jack Hopper, who operate KSLA, campus radio
    station of Cal State, Los Angeles. Don and
    Jack brought soon-to-be-released pop records for Independent Star-News Youth Editorial Advisers to hear
    and discuss.' B&W photo, ‘PSYCHEDELIC COMING IN OR GOING OUT? — Richard Drew, right, whose,
    "Listen Hear'" record column appears in Upbeat each week, talks over the "sounds" of 1967 with Mary Jo
    Pappalarda of Duarte High and Mike Healy of La Salle. Advisers rejected new discs which "copy" hits, noted
    a trend toward the oriental instruments.

    -------------------------------------------------------------------
    ‘Record Buyers Spot Newest Sound Trends’ By Ron Ripley: “Today's high school students know their music—
    and they feel they know what's going to happen with pop music in the days ahead.

    This was evident when The Independent Star-News Youth Editorial Advisers for April discussed music this
    week and reviewed some records — current hits and some hot off the presses but not released publicly.

    Most of them agreed the so-called psychedelic-sound is "In" right now,' but that a change is in the offing......
    "I think psychedelic music is going to go out the door, or the window, or something," said Regina Ayala of El
    Monte High School. "I think it's going to change to a hippie sound. Now, maybe that sounds like a weird
    remark, but I think music is going to get weirder, I talked with a leader of a group who says he intends to
    use a lot of percussion and lutes. I think that would be really great, I mean really Eastern music. I think the
    kids, will catch on to it, and the hippies will appreciate it."

    "Songs should have some meaning in the words," said Nancy Wallace of Westridge. School in Pasadena.
    "Most kids are beginning to resent the continual harping on Love — the love that broke up — they're really
    saying the same thing in each song. I think a lot of kids like the psychedelic sound, the way-out sound."

    Cecilia Enrique of St. Andrews High School in Pasadena agreed, "The psychedelic sound has its place," she
    said, "but I don't think it will last. It appeals to only one group."

    Mike Healy of Pasadena's La Salle High School said, "I like rhythm and blues, the Rolling Stones," and I think
    the psychedelic sound will last. My dad thinks there will be a return to dancing in the old-fashioned sense,
    but I don't agree with him."

    [...]
    Mike admitted that quite often, in listening to the radio, he's a station switcher, "If a new song comes on, I'll
    listen to it," he said, "but if I don't like it, I'll push the button for another station."

    Sitting in on the discussion was Richard Drew, Upbeat record columnist, who asked for opinions on currently
    popular musical groups. "What do you think about diversity?" he asked. .... "Well some songs are meant
    for dancing and others for just listening," Cecilia said. "Some of the Beatles earlier songs, for instance, are
    danceable while some of their current ones are not. Some of the lyrics are good poetry."

    "I like happy music,” commented Regina, "something fast."
    Singles vs. LP's
    All five advisers are record buyers but are divided on which is best to buy, singles or albums. Nancy, likes
    singles. "If there's one song you really like, you can go out and buy it. I'm not mad on any one group so much
    that I'd want a whole album of their songs."

    "I always get albums," said Cecilia. "When a group has about 10 good singles; you can often get maybe three
    of them on the one album. And the other song maybe weren't singles, but you might like them."

    Mike also buys albums, "I buy a lot because I like one particular singer or one group.
    Regina, too. "I always buy albums unless the group doesn't have an album out, just singles. Some groups
    record songs that are four and five minutes long, and you don't hear them on the radio,"

    "I combine my buying, both singles and albums," said Mary Jo. "If it's a group that I know I like from the
    beginning, then I'll buy the album. But if it's a new song, and I like it, I often buy the single rather than wait
    for the album."

    Records reviewed by the panel were both singles and albums.
    Here are their comments:
    "Hey Joe," by the Jimmy Hendricks Experience. All but Cecilia disliked this one."Experience?"said
    Mike, "They need it." "This song was recorded before by another group, and I don't like 'people
    trying to copy," said Mary Jo.

    "Hold Me Closer," by the Equals. — All except Regina liked this. "It's good for dancing," Cecilia noted, "but I
    didn't like the words.”

    "Time," by Ed Ames - All five advisers liked this one and all five said they'd buy it, "He has a beautiful voice,"
    said Nancy. "I like slow songs," said Mary Joe.

    "Lonesome Fugitive," by Merle Haggard — This one was unanimously rejected. "I like Bobby Darin's type of
    country and western music," said Regina.

    "Got to Have You Back," by the Isley Brothers. All liked it, but only Cecilia and Regina said they'd buy it.
    "It's good to dance to," said Cecilia. "It's going to make it."

    "Miniskirts in Moscow, or .. . "—by Bob Crewe—There were divided views on this record. Nancy was
    indifferent, Mike didn't like it, Cecilia liked it and would buy it, and Regina really liked it— "it's a bit different."

    "The Whole World is a Stage" by the Fantastic 4. No one liked il. "I'd listen to it on the radio," Cecilia said,
    "but I doubt if I'd buy it, even though the words are good."

    "Ciao Baby," by Lynne Randall [sic. ‘Ciao Baby’ by the Montanas had been promoted in a US trade paper
    advert (22 Apr.), at the top of the list, with 5 other singles – as ‘Best of British’, by Reprise, Hey Joe was at
    the bottom of the list. Randell would appear as a support act on the Monkees tour along with JHE, in two
    month’s time. Ed.]
    — All but Regina liked this. "I like the beat," said Mike. "But, I thought she could have had
    more feeling. I wouldn't buy it."
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  3. #43
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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Sunday 29 April 1967
    UK
    RADIO LONDON {broadcast}, ‘Fab Forty’ presented by Ed (‘Stewpot’) Stewart
    NE–17. Children - Pretty Things
    02 -18. Purple Haze - Jimi Hendrix Experience
    NE–25. The Wind Cries Mary - Jimi Hendrix Experience

    [Date?] 29 April? 1967
    UK
    [UNKNOWN paper] (page?) [title?] SOME groups have been banned for being wild. But the Jimi
    Hendrix Experience
    has been banned for LOOKING wild. A Spanish TV company, hearing about the
    success of the
    Hendrix group in Britain, wrote saying they'd like to book the group for a live show
    because they read the rave reviews about the
    Hendrix group on stage. The company asked for
    photographs. The photos were sent. Back came an indignant letter from Spain, saying in no
    circumstances would they book the group. Reason? 'They look far too wild!'

    [Date?] April? 1967
    UK
    TREND (page?)THREE EXPERIENCED PEOPLE (INCLUDING JIMI HENDRIX)
    EXCLUSIVE TO TREND’: JIMI HENDRIX sat cross-legged on the floor of a friend's flat. Mitch Mitchell
    and
    Noel Redding sat behind him on either side. They looked rather like the three wise monkeys.
    There were seven chairs in the room, but they all felt more at home on the floor, so I joined them. Said
    Jimi, politely offering me a cup of tea:
    "We are very unconventional people. Why should we sit in chairs just because they are there?" Mitch
    interrupted with a dignified, "One lump or two?" and Jimi went on:
    "We believe in taking things as they come, particularly where our music is concerned. We often
    go into the studios with nothing more than an idea; then we work out an arrangement straight
    on to the demo disc. We made
    Purple Haze that way."
    Jimi grinned as he remembered the fuss there was about his latest hit record. "We were supposed to
    play
    Purple Haze on a television programme. We were due to record it the next day, so obviously
    the producer thought we had a good idea as to the tune.

    "In fact, we hadn't the faintest idea. We got on the set and started playing. Surprisingly enough,
    we muddled through very well, and I don't think we have ever played it so well since.
    "
    Jimi Hendrix and his Experience have been decked with every musical compliment going in the pop
    world. They are called the most exciting thing to happen since the Beatles; they are heralded as genius;
    they have been elected kings of the musical elite. With all that, one would think that these three boys
    would be excused a little feeling of self-congratulation - yet they are the most modest people in the pop
    world.

    Every record they finish, they dislike almost as soon as it's on the tape. Jimi played me a pile of demo
    discs. With
    each one, he excused the bad musicianship, or singing, or backing. He earnestly asked
    my honest opinion
    , and every time I said I liked the record, he accused me of 'just being nice'. He
    and
    theExperience are constantly looking for perfection.
    The only real pleasure they get out of their music is the moment that they are actually working on an
    arrangement. Then it is unfinished so there is still hope that this may be the perfect song.
    When the
    song is finished they see flaws that are invisible to the naked eye of the record buying public.

    Jimi described his music as a picture: "My music is a painting, but instead of oils I use sound
    and imagination on my brush. When we stand, preparing to play, it's like a bare canvas made
    up of three musicians and a few instruments. It's when we start playing that the painting
    starts to take form.
    "
    Typical of Jimi's perfectionist outlook on his music is his hatred of compliments. He said: "I love
    criticism. When you hear only goody-goody things you begin to get worried."

    Another thing that bugs Jimi is this accusation that he plays the guitar with his teeth as a
    gimmick. "It's not true,
    " he exploded. "I play as I feel the mood of the music. In fact, the agent
    booking my act often insists that I play with my teeth. But I'm ready to turn down work
    rather than do as I'm told."

    The rest of the rebellious Experience nodded in agreement, gently set down their dainty teacups,
    scrambled to their feet and politely showed me to the door!
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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  5. #44
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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Wierd how widespread was news of Jimi burning his guitar - even to Kabul, Afghanistan!
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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