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. The group decided this first single would be the song that Stein hadfallen in love with on that warm November night back in 75, Love Building on Fire. The B-side would be New Feeling. The firstsessions were produced by T.Erdelyi, aka Tommy Ramone.Linda Stein waspresent at Sundragon Studios in Chelsea she provided the hand claps.Thereal producer of the single, however, was a cat named Tony Bongiovi, a manon the short side with dark hair and mustache.His kid cousin Jon Franciswould form the pop group Bon Jovi in 1983.Back when Bongiovi was eighteen, he engineered sessions with JimiHendrix for Electric Ladyland.In particular, he was the one who was at thehelm when Hendrix ripped through All Along the Watchtower. Bongioviand Hendrix were a freaky match.According to Hendrix biographers JohnMcDermott and Eddie Kramer, Bongiovi had never toked dope before, so one The s e Ar e t he Da y s My F r i e nd: Summe r 76night Hendrix held him down in the control room while Hendrix s girlfriendblew marijuana smoke into his face.A few years later, Tony was elevated to the status of full-fledged producer.He d just masterminded a hit called Never Can Say Good-bye fordisco singer Gloria Gaynor.To couple the Heads with Bongiovi was an obviously culturally perverse choice because the downtown aesthetic hateddisco.Talking Heads of the scene, but not of the scene claimed theyembraced the form.Talking Heads rejected cultural elitism.Disco was themusic of the people.But this was nonsense.Talking Heads was at heart adance band.Lenny Kaye once said that Chris and Tina were central to theband.Talking Heads was also a funk band. That element of blacknessshouldn t be underestimated. And disco wasn t funk.It would take a decade before funkanautslike Nelson George and Rickey Vincent put these sorry days in perspective.They both would write books explaining disco was funk in whiteface.Disco was just going through the motions.Funk was becoming themotions.Worse for disco was its racial fakery.It had been created andpromoted by white Europeans as a way to exterminate black music.Notonly were culture killers like the Bee Gees now broadcast from Harlem,but a soul singer like Millie Jackson had been banished from the airwavesbecause she sounded too black.Ten years before James Brown had sung, Say it loud, I m black, and I m proud. Now the radio bragged thateveryone was beige.Tony Bongiovi was one of the white men responsible for this attempt to diluteblack culture.No surprise that he was just a Hollywood type at heart.Hetold Talking Heads that all he cared about were bullets on the charts. Hispet phrase was Spin.Crash.And burn.Spin.Crash.And burn. Tony B.was a pilot.He lived for flying. Spin.Crash.And burn. Chris and Tina and David decided they were fed up with being anart band.They wanted Love Building on Fire to be Staxed up with horncharts.Bongiovi s Tonto was a guitarist named Lance Quinn.He was the onewho envisioned the horn charts. Hey, Dave, Lance would say. How aboutthey go like dah dah daaahhh. David remembers Quinn as sort of heavy.And blond.David remembers that he responded to this suggestion by saying, Dah dah daaahhh sounds good, Lance. " " "93 THIS MUST BE THE PLACEBeing popular was on everyone s mind after they finished the single andpiled gear in their station wagon to tour New England and Canada. I thinkas we go on we will develop a more commercial product, David told a rockreporter. I think we can be popular like the Carpenters. The Heads played New England.They had been driving Chris sfather s old station wagon, then a van.Now they d sprung for a U-Haul truck.They drove to Canada.Someone other than David would drive I had acertain reputation of being absentminded or impulsive in my driving. They drove back down to Boston to pick up Jerry, who d taken aweek off from school so they could rehearse in a cottage that he had pur94portedly winterized in Ipswich.The first thing he observed was that Davidhad no experience winter driving.Jerry asked to take the wheel.He knewabout snow.There was a blizzard, and by the time they skidded into Ipswich,they had to drag their instruments through deep drifts.The cottage wasn twinterized.It was so cold David saw his breath when he sang.A few days later, the four played The Rat in Kenmore Square.It wasclear to the three original Heads that Jerry s Fender Rhodes parts gave a lotof flavor to the old songs.Jerry would help them become a real band insteadof a sketch.They hadn t reached the popular heights of We ve Only JustBegun or Rainy Days and Mondays, but with Jerry playing 50 percentkeyboards and 50 percent guitar ( I would pick which instrument workedbest ), the band s sound became more physical, thicker, more sensuous.less cerebral.More pop.During this tour, David had begun feeling good onstage.Less likethe existential man [ Pobierz całość w formacie PDF ]
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. The group decided this first single would be the song that Stein hadfallen in love with on that warm November night back in 75, Love Building on Fire. The B-side would be New Feeling. The firstsessions were produced by T.Erdelyi, aka Tommy Ramone.Linda Stein waspresent at Sundragon Studios in Chelsea she provided the hand claps.Thereal producer of the single, however, was a cat named Tony Bongiovi, a manon the short side with dark hair and mustache.His kid cousin Jon Franciswould form the pop group Bon Jovi in 1983.Back when Bongiovi was eighteen, he engineered sessions with JimiHendrix for Electric Ladyland.In particular, he was the one who was at thehelm when Hendrix ripped through All Along the Watchtower. Bongioviand Hendrix were a freaky match.According to Hendrix biographers JohnMcDermott and Eddie Kramer, Bongiovi had never toked dope before, so one The s e Ar e t he Da y s My F r i e nd: Summe r 76night Hendrix held him down in the control room while Hendrix s girlfriendblew marijuana smoke into his face.A few years later, Tony was elevated to the status of full-fledged producer.He d just masterminded a hit called Never Can Say Good-bye fordisco singer Gloria Gaynor.To couple the Heads with Bongiovi was an obviously culturally perverse choice because the downtown aesthetic hateddisco.Talking Heads of the scene, but not of the scene claimed theyembraced the form.Talking Heads rejected cultural elitism.Disco was themusic of the people.But this was nonsense.Talking Heads was at heart adance band.Lenny Kaye once said that Chris and Tina were central to theband.Talking Heads was also a funk band. That element of blacknessshouldn t be underestimated. And disco wasn t funk.It would take a decade before funkanautslike Nelson George and Rickey Vincent put these sorry days in perspective.They both would write books explaining disco was funk in whiteface.Disco was just going through the motions.Funk was becoming themotions.Worse for disco was its racial fakery.It had been created andpromoted by white Europeans as a way to exterminate black music.Notonly were culture killers like the Bee Gees now broadcast from Harlem,but a soul singer like Millie Jackson had been banished from the airwavesbecause she sounded too black.Ten years before James Brown had sung, Say it loud, I m black, and I m proud. Now the radio bragged thateveryone was beige.Tony Bongiovi was one of the white men responsible for this attempt to diluteblack culture.No surprise that he was just a Hollywood type at heart.Hetold Talking Heads that all he cared about were bullets on the charts. Hispet phrase was Spin.Crash.And burn.Spin.Crash.And burn. Tony B.was a pilot.He lived for flying. Spin.Crash.And burn. Chris and Tina and David decided they were fed up with being anart band.They wanted Love Building on Fire to be Staxed up with horncharts.Bongiovi s Tonto was a guitarist named Lance Quinn.He was the onewho envisioned the horn charts. Hey, Dave, Lance would say. How aboutthey go like dah dah daaahhh. David remembers Quinn as sort of heavy.And blond.David remembers that he responded to this suggestion by saying, Dah dah daaahhh sounds good, Lance. " " "93 THIS MUST BE THE PLACEBeing popular was on everyone s mind after they finished the single andpiled gear in their station wagon to tour New England and Canada. I thinkas we go on we will develop a more commercial product, David told a rockreporter. I think we can be popular like the Carpenters. The Heads played New England.They had been driving Chris sfather s old station wagon, then a van.Now they d sprung for a U-Haul truck.They drove to Canada.Someone other than David would drive I had acertain reputation of being absentminded or impulsive in my driving. They drove back down to Boston to pick up Jerry, who d taken aweek off from school so they could rehearse in a cottage that he had pur94portedly winterized in Ipswich.The first thing he observed was that Davidhad no experience winter driving.Jerry asked to take the wheel.He knewabout snow.There was a blizzard, and by the time they skidded into Ipswich,they had to drag their instruments through deep drifts.The cottage wasn twinterized.It was so cold David saw his breath when he sang.A few days later, the four played The Rat in Kenmore Square.It wasclear to the three original Heads that Jerry s Fender Rhodes parts gave a lotof flavor to the old songs.Jerry would help them become a real band insteadof a sketch.They hadn t reached the popular heights of We ve Only JustBegun or Rainy Days and Mondays, but with Jerry playing 50 percentkeyboards and 50 percent guitar ( I would pick which instrument workedbest ), the band s sound became more physical, thicker, more sensuous.less cerebral.More pop.During this tour, David had begun feeling good onstage.Less likethe existential man [ Pobierz całość w formacie PDF ]