The following is a "what if" piece of fiction. None of it is true, just the musings of my imagination, hopefully done in good taste while still being interesting. If it doesn't appeal, then you only wasted five minutes or so of your time.
LOVE LIVE AT MONTEREY POP: A REVIEW
June 30, 1967
As the sunset slowly faded away and darkness swiftly enveloped the Monterey County Fairgrounds, I pondered what kind of angle to approach this subject, namely the rock band Love, when fate kindly smiled upon me. The band, scheduled to close the festival (even though that honor would go to the Mamas and the Papas-more about that later), faced the unenviable task of following both the Who and the Jimi Hendrix Experience. To clue you in, these two are newcomers to the American scene via England, and play with an abandon rarely seen. At the conclusion of their set, the Who wildly smash their instruments; Hendrix took it one step further, lighting his guitar on fire and then also reducing his instrument to matches. Additionally, both play fast and LOUD. Such was Love's dilemma-how to follow these powerhouses on June 18th, the last night of the three day Monterey Pop Festival. Surely they would be on edge, possibly psyched out at the thought of attempting such a daunting task?
Not a chance. In the wings of the stage stood Kenny, Love's bass player, with a bemused look on his face. When queried as to the reason for the light hearted look, he laughed and pointed to the Hendrix road crew, hurriedly trying to both remove and repair the aftermath of his performance. "Man, look at that. They don't know what they're doing, and neither did the Who's crew. I could repair all this damage myself, in half as much time and far better."
There you have it. Love, the band-supremely confident in their abilities, with the moxy to back it up. They were an odd choice to close the Festival, but such was the price to secure their appearance. They would not agree to perform unless guaranteed to be the headliner. Chances are that you may have never heard of them. They are a local (read California) power, but nationally they are virtual unknowns. With what is going down with them lately I suspect this is all about to change.
The band-Arthur Lee, lead vocalist, main lyricist and de facto head, Johnny Echols, lead guitarist, Bryan MacLean, rhythm guitarist, Kenny Forssi, bassist and Michael Stuart, drums-were initially formed in 1965 by Lee and Echols. Through various personnel changes and two albums for Elektra Records the band has evolved greatly to its current sound. How they got here is one of the their unique aspects. Initially a cover band, then a folk-rock group in the Byrds vein, then a jazz-rock band, they have come far and fast, alot of which can be attributed to the prodigous talent of Arthur Lee.
Lee is one not to mince words. "All that destruction stuff- we don't need to do any of that shit" referring to the Who and Hendrix. "All we have to do is play. When we're on, we're the best." On the headlining demands for the band: "If we don't close, then we don't play. Why should we play before other acts who don't bring what we do to the stage? It's just a simple fact." On closing Monterey: "We knew they (Mamas and Papas) were to be the last act, but I couldn't resist a chance to get a jab in at Lou Adler. I changed the lyrics to one of our songs with a reference to him in mind (note: he would not elaborate) and he knows what I meant. He bullshitted us out of our original name, the Grassroots, and I don't easily forgive and forget."
Lest you think this is simple braggadocio, then lose that thought. Their 45 minute set at Monterey was the best of the whole weekend. Starting off with their best known song "My Little Red Book", the whole band played with a tightness and sureness that only time and talent can provide. They then shifted gears to "Signed DC", slow and stark and wonderful. Next, Bryan took center stage with his own "Softly to Me", before the band went full out with two of their toughest songs, "My Flash On You" and "7 and 7 Is". Then Lee brought out a special guest to sit in with the band ("Love's number one fan" Lee wryly noted), namely Brian Jones from the Rolling Stones who was on hand for the whole weekend. Jones proceded to play sax and flute for the songs from the last album, Da Capo, in place of the departed Tjay Cantrelli. "Stephanie Knows Who", "Orange Skies", and "She Comes In Colors" were all presented with gusto before Lee announced the closing number as simply "This song..." In fact it was "Revelation" and it is a sonic beauty, much better than it was presented on the album. The extended jam fit in perfectly with the mood that Sunday night, with Jones' playing making you wonder if perhaps he would be better suited for Love rather than the Stones... Anyway, the set was fanstastic and the band left to an extended ovation; good luck Mamas and Papas following that.
After they were done playing I pressed MacLean for what the future plans are for the band. "Right now we're in the middle of recording our third album (as yet unnamed). It will be all originals, mostly by Arthur and some by me. It is going to be different that our previous two, softer and maybe some orchestration. We are also planning our first extensive tour in the fall in support of the album." He further elaborated: "Brian (Jones) told me that we should finish the album using the London Symphony Orchestra if we go that route. He offered to let us stay with him, seeing as how Mick (Jagger) used ideas in some Stones songs from our Whisky gigs that they attended last year." As to the bands status: "Sometimes I get frustrated with my role in the band. But then there are moments like tonight when everything is cool. Right now we are going strong and plan on recording and touring into the far future."
And what a future it will be, if the set at Monterey is any indication.
LoVE Fan Fiction
Moderator: The Freedom Man
-
silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
LoVE Fan Fiction
Last edited by silentseason on Mon Oct 31, 2011 3:42 pm, edited 1 time in total.
You set the scene
-
jamestkirk
- Senior Member
- Posts: 5816
- Joined: Tue Mar 20, 2007 9:11 pm
- Location: The Music Of My Mind
-
BallroomDays67
- Senior Member
- Posts: 1976
- Joined: Mon Dec 10, 2007 12:06 am
-
jamestkirk
- Senior Member
- Posts: 5816
- Joined: Tue Mar 20, 2007 9:11 pm
- Location: The Music Of My Mind
Of course! As you know, Bally, Arthur turned down many an offer to play large venues because they would not give TOP billing to LoVE!BallroomDays67 wrote:Nicely written. Despite such a spectacular lineup, Arthur still demanded that Love close the festival? That's hilarious.
"After silence, that which comes nearest to expressing the inexpressible is music".
-Aldous Huxley
-Aldous Huxley
-
silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
More fan fiction. None of this is true, just an exercise in imagination.
INTERVIEW WITH ARTHUR LEE AND JIM MORRISON
June 15, 1969
What could bring two of LA's rock royalty, Arthur Lee of Love and Jim Morrison of the Doors, together in one room at the same time for the purpose of a co-interview? Friendship? Expounding personal philosophies? Something of a higher realm? Try promotion of upcoming albums, which was what my cynical mind first thought. When I was promised this by an Elektra Records exec I could sense a snow job coming. After all, Love hasn't put out an album in almost two years and Arthur Lee sightings are a rare occurance. Meanwhile Morrison's reputation has slipped some as well, what with a somewhat disappointing third Doors album and erratic behavior by Morrison culminating with an arrest warrant issued after a concert in Miami earlier this year. With new albums coming out this summer, what better way to repair any damage (read selling records) than to pair together the Kings of Sunset Strip in one big happy Elektra family get-together?
Well that was the initial approach I maintained, trying to preserve an unbiased ethical standard (OK time to come clean-I am a big fan of both bands) when writing this piece. After the dust cleared what I was left with was a conundrum: their respective public images were nothing like the actual person. They both were men who gave calm, well thought out answers and were really in touch with the scene today. The following is part one of the interview, which took place at Lee's house overlooking LA. Morrison showed up twenty minutes late from the appointed time.
Q: I don't know if you want to get started yet?
AL: Yeah, lets go ahead. Morrison will get here. He's always late (laughs).
Q: You haven't been heard from much lately. Why?
AL: If you know anything about my band, you know we don't play by the rules. Right after we got done touring after the release of Forever Changes, I was burnt out. I didn't want anything to do with the music business, the guys in the band, nothing. So I thought 'Fuck it'. If I want to take a break, then I'm going to take a break. And that's what I did.
Q: When did this occur?
AL: From spring of last year ('68) through January of this year.
Q: What did you do during this time?
AL: Man, I did nothing. I mainly stayed at home, away from the craziness. Some people out there are nuts. You see here I got my dogs, my birds, my grass and my girlfriend. In other words, my sanity.
Q: Did you write any during this time?
AL: Poetry, and a little music, some of which made it onto our album Gethsemane. But for the most part I was in a dry period creatively. Forever Chages, man that was something that completely drained me. I said at the time that it was released that it was my last work, my swansong. I really thought I was going to die around that time. It was partially true-I did die creatively, but I have been reborn.
Q: You sound somewhat spiritual, religous.
AL: I do believe in God and his plan for me, which right now is to make music.
Q: On that, describe what you upcoming album will be.
AL: The album's name is Gethsemane. Johnny named it, ask him about that. I think it means "Get some money" but I'm not sure. It is a movement away from the sound of Forever Changes; it is going to be more of a harder sound. I wrote most of the songs, with some by Bryan and Johnny. With it we're trying different sounds and lyrics to that end. I think it is a direction we needed to move towards. I don't believe in staying in the same place musically for too long.
Q: How are things in the band now?
AL: It depends on what day you ask. Right now, OK. But sometimes I just couldn't stand any of them. We had internal problems-drugs, ego, money, whatnot. If we hadn't stopped then it would have been the end of Love. But for whatever reason by the time the new year rolled around things were right to restart. So we did.
Q: How did the recording of it go?
AL: Like in the old days. We would meet at my house and woodshed the new numbers. By April we were ready to record. We went back to RCA to do this. Dave Hassinger, who worked on Da Capo, worked with us but I was sole producer. It came together quickly.
Q: Your relationship with Elektra might be described as tenuous.
AL: Well.....let's just say that for right now, it's alright. We've had troubled times. I think that Jac (Holzman, Elektra founder) played us sometimes. Our first album was made cheaply and marketed poorly. Man, he just didn't realize what it takes to make it to the top. I felt trapped with Elektra. But he has since made some financial alterations with us, so it is OK. The first two album's sales were only moderate, but Forever Changes took off and we finally made some real money.
Q: Were the Doors and their success part of the Elektra problem?
AL: No. True, I thought their sound was soft and that Love was the better band, but I don't begrudge them. I was backstage at a show last year, in a non-performing role, and Robby, their guitarist, was also there. Man, that cat's a trip! Really heavy, and also darkly funny. You never hear much about him, but he plays a big role in their success. Anyway, later on I met up with Jim. I used to think he was kind of a punk, but not anymore. I dig his scene.
Q: Do you all hang out?
AL: No, but we sometimes are at the same place, like the Whisky or somewhere. I wouldn't call it a close relationship, but we exchange ideas and whatnot. For example, he told me about the Miami trip earlier this year. The whole scene was a ripoff, from the promoters down to the establishment. There was no indecent exposure; rather him just playing with the audience, trying to get a reaction and entertain, which is what he is paid to do. They were looking for a fall guy and he happened to fit the bill. We were supposed to play Miami in '68 but cancelled. I'm glad-I don't want to play in the Deep South.
Q: On the negative vibe you mentioned, how would you apply it to LA?
AL: It ain't the same anymore, and it is much the worse. When we first came up in '65 and '66, the Strip was a groovy scene. Now it's drugs, cops and sleaze. The club scene is dying, and the ballrooms might not be far behind. I'm not sure where the music is heading, but I do know my band will be able to adapt. At least I hope so.
Just then a knock came from the front door, and a familiar face with a new beard entered.
JM: How's it going...
End of part one
INTERVIEW WITH ARTHUR LEE AND JIM MORRISON
June 15, 1969
What could bring two of LA's rock royalty, Arthur Lee of Love and Jim Morrison of the Doors, together in one room at the same time for the purpose of a co-interview? Friendship? Expounding personal philosophies? Something of a higher realm? Try promotion of upcoming albums, which was what my cynical mind first thought. When I was promised this by an Elektra Records exec I could sense a snow job coming. After all, Love hasn't put out an album in almost two years and Arthur Lee sightings are a rare occurance. Meanwhile Morrison's reputation has slipped some as well, what with a somewhat disappointing third Doors album and erratic behavior by Morrison culminating with an arrest warrant issued after a concert in Miami earlier this year. With new albums coming out this summer, what better way to repair any damage (read selling records) than to pair together the Kings of Sunset Strip in one big happy Elektra family get-together?
Well that was the initial approach I maintained, trying to preserve an unbiased ethical standard (OK time to come clean-I am a big fan of both bands) when writing this piece. After the dust cleared what I was left with was a conundrum: their respective public images were nothing like the actual person. They both were men who gave calm, well thought out answers and were really in touch with the scene today. The following is part one of the interview, which took place at Lee's house overlooking LA. Morrison showed up twenty minutes late from the appointed time.
Q: I don't know if you want to get started yet?
AL: Yeah, lets go ahead. Morrison will get here. He's always late (laughs).
Q: You haven't been heard from much lately. Why?
AL: If you know anything about my band, you know we don't play by the rules. Right after we got done touring after the release of Forever Changes, I was burnt out. I didn't want anything to do with the music business, the guys in the band, nothing. So I thought 'Fuck it'. If I want to take a break, then I'm going to take a break. And that's what I did.
Q: When did this occur?
AL: From spring of last year ('68) through January of this year.
Q: What did you do during this time?
AL: Man, I did nothing. I mainly stayed at home, away from the craziness. Some people out there are nuts. You see here I got my dogs, my birds, my grass and my girlfriend. In other words, my sanity.
Q: Did you write any during this time?
AL: Poetry, and a little music, some of which made it onto our album Gethsemane. But for the most part I was in a dry period creatively. Forever Chages, man that was something that completely drained me. I said at the time that it was released that it was my last work, my swansong. I really thought I was going to die around that time. It was partially true-I did die creatively, but I have been reborn.
Q: You sound somewhat spiritual, religous.
AL: I do believe in God and his plan for me, which right now is to make music.
Q: On that, describe what you upcoming album will be.
AL: The album's name is Gethsemane. Johnny named it, ask him about that. I think it means "Get some money" but I'm not sure. It is a movement away from the sound of Forever Changes; it is going to be more of a harder sound. I wrote most of the songs, with some by Bryan and Johnny. With it we're trying different sounds and lyrics to that end. I think it is a direction we needed to move towards. I don't believe in staying in the same place musically for too long.
Q: How are things in the band now?
AL: It depends on what day you ask. Right now, OK. But sometimes I just couldn't stand any of them. We had internal problems-drugs, ego, money, whatnot. If we hadn't stopped then it would have been the end of Love. But for whatever reason by the time the new year rolled around things were right to restart. So we did.
Q: How did the recording of it go?
AL: Like in the old days. We would meet at my house and woodshed the new numbers. By April we were ready to record. We went back to RCA to do this. Dave Hassinger, who worked on Da Capo, worked with us but I was sole producer. It came together quickly.
Q: Your relationship with Elektra might be described as tenuous.
AL: Well.....let's just say that for right now, it's alright. We've had troubled times. I think that Jac (Holzman, Elektra founder) played us sometimes. Our first album was made cheaply and marketed poorly. Man, he just didn't realize what it takes to make it to the top. I felt trapped with Elektra. But he has since made some financial alterations with us, so it is OK. The first two album's sales were only moderate, but Forever Changes took off and we finally made some real money.
Q: Were the Doors and their success part of the Elektra problem?
AL: No. True, I thought their sound was soft and that Love was the better band, but I don't begrudge them. I was backstage at a show last year, in a non-performing role, and Robby, their guitarist, was also there. Man, that cat's a trip! Really heavy, and also darkly funny. You never hear much about him, but he plays a big role in their success. Anyway, later on I met up with Jim. I used to think he was kind of a punk, but not anymore. I dig his scene.
Q: Do you all hang out?
AL: No, but we sometimes are at the same place, like the Whisky or somewhere. I wouldn't call it a close relationship, but we exchange ideas and whatnot. For example, he told me about the Miami trip earlier this year. The whole scene was a ripoff, from the promoters down to the establishment. There was no indecent exposure; rather him just playing with the audience, trying to get a reaction and entertain, which is what he is paid to do. They were looking for a fall guy and he happened to fit the bill. We were supposed to play Miami in '68 but cancelled. I'm glad-I don't want to play in the Deep South.
Q: On the negative vibe you mentioned, how would you apply it to LA?
AL: It ain't the same anymore, and it is much the worse. When we first came up in '65 and '66, the Strip was a groovy scene. Now it's drugs, cops and sleaze. The club scene is dying, and the ballrooms might not be far behind. I'm not sure where the music is heading, but I do know my band will be able to adapt. At least I hope so.
Just then a knock came from the front door, and a familiar face with a new beard entered.
JM: How's it going...
End of part one
You set the scene
-
jamestkirk
- Senior Member
- Posts: 5816
- Joined: Tue Mar 20, 2007 9:11 pm
- Location: The Music Of My Mind
YES!
The original Love is STILL together, and they RECORDED "Gethsemane"!!!
So legend & myth becomes our tripped out reality!! Thank the gods and Arthur Lee!!
Can't wait to buy "Gethsemane" at my local record shop
....I wonder if it will be on 8-track?! Now that is MY fantasy!!
Cheers, John!!
The original Love is STILL together, and they RECORDED "Gethsemane"!!!
So legend & myth becomes our tripped out reality!! Thank the gods and Arthur Lee!!
Can't wait to buy "Gethsemane" at my local record shop
....I wonder if it will be on 8-track?! Now that is MY fantasy!!Cheers, John!!
"After silence, that which comes nearest to expressing the inexpressible is music".
-Aldous Huxley
-Aldous Huxley
-
silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
Lee/Morrison interview pt. 2
Morrison had finally arrived, late but none the worse. He was accompanied by an unknown friend/hanger on. The friend had the unofficial job as designated beer dispenser. After pleasantries were exchanged and jokes were bantered about, the interview continued.
Q: What do the Doors have coming out?
JM: Our new album, called Soft Parade, will be a new sonic concept for us....strings and horns full scale. There isn't as much theatricality this time, more jazz improvisations set to poetic visions. We've already released some singles that will be included on the album so that is a good indication of where we're at.
Q: On this album you also are listing individual writing credits for the first time. Why?
JM: At this point I think it's important to know who's saying what. On 'Tell All The People', that is Robby saying "get your guns", not me.
AL: That's the way you should have always done it, individual credits means more money for the writer.
JM: We still split everything evenly.
AL: Don't you believe in capitalism (laughs)?
JM: Yeah, but the Doors are a democracy....although money beat soul everytime.
Q: Since you mentioned that Soft Parade will use strings and horns for the first time ever for the band on a Doors record, would you maybe consider Forever Changes as an influence in that respect?
JM: Nah...I've found that being in a band is almost like living in a sacred cacoon. You're in your larvae stage in the creation of an album, cordoned off from the rest of the world in the studio or house or stage or selected asylum. Through stages you create the finished product. True, there are influences, some subconscious, that permeate your processes, but ultimately what we create is unique to ourselves. The use of strings and horns was more of Ray and John's decision.
Q: What does the future hold for the Doors?
JM: Immediately we want to get Soft Parade out and finally we are able to get bookings for gigs after some forced time off. I have some film projects and ideas to pursue.
Q: What are your thoughts on LoVE?
JM: Initially they were THE band; sound, following, record contract, hip. But then I got sort of tired of LoVE, and didn't follow or listen to them for a while. Their vibe turned kind of negative. But I had a chance meeting with Arthur last year and got back into them. Bryan has been a friend, and Johnny as well. In fact, I went with Johnny to the circus. It was a trip. We have an upcoming gig at the Aquarius next month. I might try and use some of the trapeze artists moves in the show.
Q: Any chance of a collaboration in some form between you two or your band's?
JM: Arthur can handle this one.
AL: Thanks (sarcastically). Probably not. We're an isolationist band. We don't hang out with other bands off stage or in the studio. The distractions are time and money from what your purpose is.
JM: You never know, you might end up in a film with me.
AL: Probably not. We've had people try and film our shows, but I won't allow it.
Q: What is you view of the current political climate in the US?
JM: Nixon and Agnew are the manifestation of harsh reality. A couple of years ago I really thought there would be a revolution and we would win. I put that in some songs. But the cruel realities are that hate almost always destroys whatever good your are trying to bring to fruition. I guess it seems naive now.
AL: Nixon is like a vote for stupidity. He's going to send your son off to war. Why? The answer they give is just smoke. I won't buy their line as truthful at any time.
Q: You both have used allegories for war in your lyrics.
AL: My writing style is personal. I can see or hear something in just everyday existance and use it. For example, Johnny and I met a Vietnam vet in San Francisco a while back. I use that experience in 'A House Is Not A Motel'.
JM: War is the ultimate death trip. So terrifying yet so fertile with images that it can't help but be a topic of fascination.
Q: What will be the themes of your upcoming albums?
AL: Ours would be loss. Loss of faith, hope, friendship and so on. I'll quote some songs and lyrics. 'I keep building my hopes up, you keep tearing them down' from Laughing Stock. 'And if it's mine, throw it away' from Your Mind and We. Doggone is full of loss.
JM: If I had to pick a single theme...then I'd say isolation and the search for it and trying to escape from it.
Q: If your music careers ended today, what would you do?
AL: What, get a real job? Damn, I guess maybe an animal job, like a vet or a breeder. No music? That would be devastating.
JM: I often envision a life without rock'n'roll. Probably filmmaking of some sort, or maybe a writer.
Q: Both of you are notorious interviewees, for different reasons. What is your opinion of the media?
JM: I view the interview as an art form, a platform to build a facade of puzzles which the listener must unravel in order to decipher the meaning...
Q: Does this include giving purposely false answers?
JM: That's part of the puzzlement. I want to leave you guessing.
AL: That's right. I hate the media sometimes-too intrusive. So I have the right to treat them as I see fit. For example, right now: Have I been truthful through this or not? No one knows for sure and that's the way I want it. But there is one truth I am going to say, right now.
Q: What's that?
AL: I'm tired of this interview. All of you get the hell out of my house.
Morrison had finally arrived, late but none the worse. He was accompanied by an unknown friend/hanger on. The friend had the unofficial job as designated beer dispenser. After pleasantries were exchanged and jokes were bantered about, the interview continued.
Q: What do the Doors have coming out?
JM: Our new album, called Soft Parade, will be a new sonic concept for us....strings and horns full scale. There isn't as much theatricality this time, more jazz improvisations set to poetic visions. We've already released some singles that will be included on the album so that is a good indication of where we're at.
Q: On this album you also are listing individual writing credits for the first time. Why?
JM: At this point I think it's important to know who's saying what. On 'Tell All The People', that is Robby saying "get your guns", not me.
AL: That's the way you should have always done it, individual credits means more money for the writer.
JM: We still split everything evenly.
AL: Don't you believe in capitalism (laughs)?
JM: Yeah, but the Doors are a democracy....although money beat soul everytime.
Q: Since you mentioned that Soft Parade will use strings and horns for the first time ever for the band on a Doors record, would you maybe consider Forever Changes as an influence in that respect?
JM: Nah...I've found that being in a band is almost like living in a sacred cacoon. You're in your larvae stage in the creation of an album, cordoned off from the rest of the world in the studio or house or stage or selected asylum. Through stages you create the finished product. True, there are influences, some subconscious, that permeate your processes, but ultimately what we create is unique to ourselves. The use of strings and horns was more of Ray and John's decision.
Q: What does the future hold for the Doors?
JM: Immediately we want to get Soft Parade out and finally we are able to get bookings for gigs after some forced time off. I have some film projects and ideas to pursue.
Q: What are your thoughts on LoVE?
JM: Initially they were THE band; sound, following, record contract, hip. But then I got sort of tired of LoVE, and didn't follow or listen to them for a while. Their vibe turned kind of negative. But I had a chance meeting with Arthur last year and got back into them. Bryan has been a friend, and Johnny as well. In fact, I went with Johnny to the circus. It was a trip. We have an upcoming gig at the Aquarius next month. I might try and use some of the trapeze artists moves in the show.
Q: Any chance of a collaboration in some form between you two or your band's?
JM: Arthur can handle this one.
AL: Thanks (sarcastically). Probably not. We're an isolationist band. We don't hang out with other bands off stage or in the studio. The distractions are time and money from what your purpose is.
JM: You never know, you might end up in a film with me.
AL: Probably not. We've had people try and film our shows, but I won't allow it.
Q: What is you view of the current political climate in the US?
JM: Nixon and Agnew are the manifestation of harsh reality. A couple of years ago I really thought there would be a revolution and we would win. I put that in some songs. But the cruel realities are that hate almost always destroys whatever good your are trying to bring to fruition. I guess it seems naive now.
AL: Nixon is like a vote for stupidity. He's going to send your son off to war. Why? The answer they give is just smoke. I won't buy their line as truthful at any time.
Q: You both have used allegories for war in your lyrics.
AL: My writing style is personal. I can see or hear something in just everyday existance and use it. For example, Johnny and I met a Vietnam vet in San Francisco a while back. I use that experience in 'A House Is Not A Motel'.
JM: War is the ultimate death trip. So terrifying yet so fertile with images that it can't help but be a topic of fascination.
Q: What will be the themes of your upcoming albums?
AL: Ours would be loss. Loss of faith, hope, friendship and so on. I'll quote some songs and lyrics. 'I keep building my hopes up, you keep tearing them down' from Laughing Stock. 'And if it's mine, throw it away' from Your Mind and We. Doggone is full of loss.
JM: If I had to pick a single theme...then I'd say isolation and the search for it and trying to escape from it.
Q: If your music careers ended today, what would you do?
AL: What, get a real job? Damn, I guess maybe an animal job, like a vet or a breeder. No music? That would be devastating.
JM: I often envision a life without rock'n'roll. Probably filmmaking of some sort, or maybe a writer.
Q: Both of you are notorious interviewees, for different reasons. What is your opinion of the media?
JM: I view the interview as an art form, a platform to build a facade of puzzles which the listener must unravel in order to decipher the meaning...
Q: Does this include giving purposely false answers?
JM: That's part of the puzzlement. I want to leave you guessing.
AL: That's right. I hate the media sometimes-too intrusive. So I have the right to treat them as I see fit. For example, right now: Have I been truthful through this or not? No one knows for sure and that's the way I want it. But there is one truth I am going to say, right now.
Q: What's that?
AL: I'm tired of this interview. All of you get the hell out of my house.
You set the scene
-
jamestkirk
- Senior Member
- Posts: 5816
- Joined: Tue Mar 20, 2007 9:11 pm
- Location: The Music Of My Mind
Very cool. We know Jim used to hang out at Arthur's house....sometimes Arthur wouldn't let him in, so Jim just hung outside. Yeah, I can imagine keeping the Lizard King just hanging on my front steps.
It is true Jim got Arthur's old girlfriend by the name of Pam (something) & a dog just like Arthur's....
But an interview--Jim & Arthur together?....great fantasy & well done, John....would't it be nice!!
It is true Jim got Arthur's old girlfriend by the name of Pam (something)
& a dog just like Arthur's....But an interview--Jim & Arthur together?....great fantasy & well done, John....would't it be nice!!
"After silence, that which comes nearest to expressing the inexpressible is music".
-Aldous Huxley
-Aldous Huxley