They came to be called Mixtapes (or Mix Tapes) and were/are looked upon with scorn but they started out a way to share music without having to drag people to your house and forcing them to drink while you played records. They were an outlet for frustrated disc jockeys and vinyl junkies because even though an unusually high percentage of tapes passed from hand to hand were never played, a person had poured over an entire music collection to put together “sets,” a DJ term regarding playing certain songs in a certain sequence. I know. I made them and passed them out like candy. I am sure most who received them rolled their eyes and exited at first chance, but for me it was about the music. For vinyl junkies, it is always about the music.
Archive for segarini
There’s Brian and his Beach Boys, most obviously. Then there were Crosby, Stills, Nash and sometimes Young, those Eagles, and my own personal favorite Turtles, Byrds, Mothers of Invention and possibly even Runaways. Not to mention Lindsey Buckingham’s Big Mac.
Frank Gutch Jr: A Journey and the Soundtrack to my Life; Angharad Drake’s New Album; The Big Bright In the Studio; Plus Notes…Posted in Opinion, Review with tags Alternate Root Magazine, Angharad Drake, Beth Ditto, Beth Garner, Blue Sky Boys, David Gogo, DBAWIS, Don & The Goodtimes, Don't Believe a Word I Say, fotheringay, Frank Gutch Jr., House of Records, Indie Artists, Indie Music, Jesse Ed Davis, John K. Samson, Journey, Larry Coryell, Leonard Bernstein, Mario Lanza, music, music videos, radio, Records, Red Foley, Road Runners, Rock & Roll Hall of Fame, Sandy Denny, segarini, Six Fat Dutchmen, Sweet Home Oregon, T. Texas Tyler, The Big Bright, The Live Five, The Moguls, The Record Company, Victory At Sea, Wes Swing on April 19, 2017 by segarini
And I don’t mean the band Journey recently inducted into the supposed Rock & Roll Hall of Fame. God knows what those clowns think when they make their choices but when I look at the possible choices they could have made besides those guys… well, I won’t go there. Let me just say that I understand when people are upset when I make such statements because they have a soundtrack to their lives as well, but this isn’t their column, is it? I look at it this way— Journey had hits, yes, and made CBS one hell of a lot of money, but they didn’t have an original bone in all of their collective bodies and you will never change my mind. Hall of Fame? Not even close. Not while the hundreds more deserving are locked out. Change that to thousands.
Editor’s Note: An annual event for boys and girls who believe in rabbits laying eggs, Spiral Cut Ham, and dressing up for a parade. Originally posted in 2015 but with some minor changes, expect this column to run every year on Good (why is it good…everything is closed) Friday. Yay Jesus! …and pass the mashed potatoes.
It’s that time of year again.
Get out your traditional Chocolate Bunny Shot Glass and bottle of Easter Tequila, put on your Wooden Cross brand Easter Bunny Onesie, put the dog out, and lock the kids in the basement.
It’s time to get your Jesus on….
Frank Gutch Jr: Musicians on a Mission: Dan Phelps, Julian Taylor, Wes Swing, and Jimmy Lee (formerly Lee’s Company)… Plus a lugubrious panorama of NotesPosted in Opinion, Review with tags ...and the heart, Amy van Keeken, Bill Baird, Bill Pillmore, Colleen Brown, Crushed Out, Curtis Mayflower, Dan Phelps, danny schmidt, DBAWIS, Devon Sproule, Diet Cig, Don't Believe a Word I Say, Elephant Revival, Frank Gutch Jr., Indie Artists, Indie Music, jess Pillmore, Jimmy Lee, Julian Taylor, Kelly MacGregor, Lila Blue, Lisbee Stainton, Matt Chamberlain, Modular, music, music videos, radio, Records, Reveal, segarini, Sweet Home Oregon, The Secret Sisters, Thee Holy Brothers, Through a Fogged Glass, Tift Merritt, Viktor Krauss, Wes Swing, White Mansions, Zmei3 on April 11, 2017 by segarini
Meet Dan Phelps, if you have not already done so. I first ran across him over a decade ago when he was working with both Bill Pillmore and his daughter Jess Pillmore on their respective albums, Look In Look Out and Reveal. Bill was an original member of Cowboy and I had heard through Scott Boyer, another original member of that venerable band, that he was recording for the first time, to my knowledge, since Cowboy‘s excellent 1971 release, 5’ll Getcha Ten. When I contacted him, he was in full recording mode, working with Phelps, whom he had chosen to produce. To my amazement, Phelps did more than just produce. He was a sideman and a damn good one, a creator of good licks and solid musical ideas. It was a first look at a musician I would follow from that point on.
“Your Son is your Son ‘till he takes a wife, but your Daughter is your Daughter for the rest of your life”
No one seems to know who first uttered this quote, but it has definitely stood the test of time. The first time I ever heard it was from my mother when my wife and I had our one and only child. At first I thought my mother was just being (as always) supportive, because, being Italian, it is assumed I wanted a boy child to carry on the family name and be a ‘chip off the old block’. The truth of the matter is that I prayed for a little girl…and we were blessed with one of the best.
Frank Gutch Jr: All Things Must Pass— Thoughts On the Record Business; No Small Children and the Radio; plus Notes To Plant In Your Head (Yes, It is Spring, Sports Fans)…Posted in Opinion, Review with tags All Things Must Pass, Barbed Wire Dolls, Dave Coker, DBAWIS, Don't Believe a Word I Say, Flashback, Frank Gutch Jr., Indie Music, KASH, Ken Sockolov, KFLY, KGAL, KISN, KRKT, Lisa Mychols, love, Lovers & Madmen, music, music videos, No Small Children, Petunia & The Vipers, radio, Real Don Steele, Records, Russ Solomon, segarini, Sweet Home Oregon, Takashi Miyaki, The Gestures, The Grass Roots, The Leaves, The Merry Go Round, The Mojo Men, The Vejtables, Tower Records, Wes Swing on April 6, 2017 by segarini
I just finished watching the documentary titled All Things Must Pass about Tower Records and their rise and fall and am going to try to tell you a bit about the record business in which I worked. First, though, a few people to whom I have talked about the film have made comments about Russ Solomon, the man behind the chain, which were none too complimentary. When I heard them, I didn’t say much because I had yet to see it and thought maybe the comments were more toward the film than Russ himself. So let me now respond to those few, none named because the conversations were private and thus not fodder for public consumption.