ACME
THE MAGAZINE OF ROCK
ISSUE TWELVE
OTIS Jon Landau 5
PROCOL HARUM Paul Williams 10
HANK BALLARD REVISITED James Payne 14
THREE REVIEWS 17
Earth Music, Clear Light, Pearls Before Swine
DOORS & KINKS Sandy Pearlman 20
WHAT GOES ON? 28
AH , ONTOLOGY! Richard Meltzer 33
A Survey of the Heaven Rock Scene
STAFF: David Flooke
Tim Jurgens
Dale Lewis
Netl Loulson
Richard Meltzer
Sandy Pearlman
Paul Williams
Mel Zimmer
COVER: Jim Morrison , photograph by Mel Zimmer, design and logo by David Flooke
PHOTO CREDITS: Ken Greenberg, 10 , 13; Mel Zimmer , 20; Linda East man, 23 , 24,
39; Tim Jurgens, 28, 48; Roy Meyrich , 33, 35; David Flooke , 49
Advertising: Kenin Associates, 1812 Addison , Philadelphia , Pa . 19146 (215) 545-6666
CRAWDADDY! issue twelve
319 Sixth Avenue, New York 10014 (212) 675-3193
entire contents copyright e 1967 by CRAWDADDY I Magazine, Inc .
2nd class postage paid at New York, New York
Somewhoro out on Long rsland there l s a 9uy who 11 k eeping htmaelf busy by fashlonlng
a Jtm Morrison doll. Some think he ts a stck boy, a very atck boy . But maybe there wos
nothln9 better to do? Why not? So for lock of anythln9 better to do, he did this: he took
o Marine G. I. Joe model, he threw away the camoulla9e clothtno. which left exposed a groovy
ptnk pta1tic body wtth an unprecedentedly la1"9e number of unmutated limbs and organs. and,
then he 9ot hlmaelf some soft black leather, sewed It up (learnln9 how as he went or maybe some
random girl dld It) on a machine, and planned, I think, to top it off with a brow-r ush Barbie doll
wl9 brushed back.
R. Meltzer. too, has spoken of A.1ocrtson and leather: with Mon1sQ:n •teether muat be
treated 11 fllnctlonal--not the Warhol-Reed blt--held up In Ila black aplendor by metal • or
supportln9 a frail yet hoppy chuck-wo9on bell.• Cleorly Morr!aon lo the hero. As Glori•
Staver• of Sixteen Magazine has said: •Moniaon 11 ma9tc. • Obv1o"Ualy. Morrtson can Inspire
faith. He puta ltfe into the scene. Ed Sullivan think• •11n't he handsome. • Ana to quote
the my1Uc a nd voodoo adept L. Stlvestrt, • J believe htm to be a being not of this earth.• Sut,
we ahouldn't be entirely misled . The Doors , os a qroup, have a lot to do with faith. Morr11on
is merely tho prettleat one dressed in leather. But, for example, who knows what evil lurk•
In the heart of Monzerek?
Aa for the Klnk1. If we are to believe the album covert: "TtfY c ame to us from Muawell
HUI, a shabby and aomettm·es violent suburb of North LOndon, the prtde of which wa s e atteetoano
called the Mu111ea ... And of course, os usual, "They came to us from art school." For the
coneumptlon of the public, they hod Ray Dovlea, Jul! ea the Door• heve ]Im Marrison. Now Rey
Davies waa not entirely different from Mon11on. Ftrat of all he was handsome enouqh. And
then he woa alao quite othletlc--ploytnq e lot of football ond oil. And 9otn9 Mon1aon one
better he made up moat of the words-and the music. He alao hed a really handsome brother ,
Dave, auper-chonllng leod 9ultartst 0£ "You Really Got Me" et the e9e of 17, outhor and
perfonner of aeverol oreot oon9s and the owner of the flneat hair In oil of Rock and Roll (with
the poaalble exception of Bob Weir) . But nobody make• Ray Davie• dolls. He Is not , It t=•
out, the aort of hero to lnaplre faith. But he 11 pretty cynical. Thorou9hly dlsenchonted.
Welcome. the Doors new album Strange Daya and the Xlnta• newest, ltte Uve X:tnks •
8ot.h feature an unusual beeF--ton;ue density, t.e. a huge den1lty of really fat or e.ffecttve un-
known tonouea. They a.re nonetheless separated by month• of release time and maybe even ,
I should think, some differences of intent. Now mere difference, mere differences, can ba
merely superftctal, but that doesn't mean they don't make a difference. We ought to give tho
aupetflclol o folr ahoke. But behold thot--ln thla porUculor coae--beyond all possible dlfferonce1,
there la on ebyas problem (moybe even the abyss problem) bothering the Doors, the Kinks ond (at
lea1tl some or u1. or course, the abyss has always been big, deep , awesome, attractive, fear-
some. Which ts to aay--exaclly what you can maKe of tt. And that should mean, to gtve the
superftctal tta blQ break , we've ootta know t.h at everybody ta tt.xed on the abyss In his own way.
Here. then, are your Doors and your Kinks at the ever-cla11tcal abyss. ln the footsteps of all
of hie predeceasora--frocn the miscellaneous eorlleot Greeks on--and probably influenced by
them aa well, since this boy went to coll99e * ts Morrison. Morrtaon h.as spok·en (now a quote
from one ol the many lntetchanqeoble spots In the now tlektro Doors P.R. kit), •1 om Interested
In anythtn9 about revolt, dtaocder, chaos , ••Pttctally ac tivity that seems to have no meanin9. •
21
potential idea of an ab1olute lock. Not yet even a vision. Secouae vtslon1 are far too 1pecilic
end d1sopp0lntln9. If you Ulto, lhe oby11 con be acory. If You like. And If you were ottrocted
or scared you could relfy the lnttmatton1 of the abyss. 'That 11 you could make disorder a bsolute,
comprehentlve, modular. By mer•Jy offertno ln1tances of dl1order you C4n order it. Which ls
not neceaaertly your standard avo1donce reaction at all. Pleu11bly it could be Just a mere
reaction. A formal sort of thing that ta Just alwoy1 done . Or it could even be love {1.e.
ottracuon react.Ion). But what.ever, that reaction tmpllcttly overcomes the aby11. I oue11
merely reoct1n9 would have to unde.nnlne disorder. And that'• how the Doora found comfoct ln a
name qome. And that's how Morrt1on 9ot fixed on the abys1.
The Door.. "Book Door Man" and tha Kinks' "Dandy" •.• of these two, there are tho1e who
would dare soy "no confluence . • And yet. And yet "Back Door Man" seen live many Ume1,
and then heard-at last..-<fead on the o-rooves ts a very neat thtno. WI.th o il those orunt1 and
atuff, it's where the tnordtnancy really it.arts. <A• well as the leather.) •t em,• Montaon
aays, •the back door men. The men don't know but the little 91rl1 underatand. • lht• 11 the
apot for eateoottcal statoment. After too many yeara of blue1y overuse, thte 1on9 can't even
prove cUsconcertlng throuoh embaraaament. ·1 am," And we are ln the preaenco of de!lnltlve
chart.sma. Mere cat99ortcel assertion altppln9 u.p end off lnto orTOQan.ce. "I om." Abaolutely
<:ale9or1cal 111-erUon haa here become 1y1tema.Ucally asserUve. (U yov 1ey 1omethino atranoely
enough tt a11wnes an Inexplicable aura of atrenvth.) The a~nqth of thla c:.etegoricat 111ertion
11 ao enonnoua that not only does lt encompass the whole world {I .e. as a a y1tematic con1tr\J:c..
tton), but tt becomes unnatural. That'• when it surpasses all reason and an1ves at Melt~er's
cate;ortcal ma9tca.l. StorUn9 wtth hou1ehold !omtcouon we've 9otten to a ma9tcal oollepae of
lhe world. This Is no sly boy . Thia Bock Door Mon hos absolute folth ("I om.") and la also
ln1plrtn9.
Dandy la, on the other hond, found "K.nock1no on the back door, cllmbtno throuoh the
window." Knocking. Evon cll.m.btng . Ha surely 1ounds sly. But only In Henna.n's fa.moue
version. Not•• tamoua ....but far more questionable---are tho waya the Kink• do lt. Hennon' a
Dendy 11 obaolutely aly. With hJm lh• aklll of lhe 1ly boy Ju1tlfle1 obsolui. confidence.
Going to ahow you that ther11 ts no neceasary c.l eavaoe between the sly and the faithful. But
the Xinkl' two verstona? They are certalnJy different Crom Herman's. I mean, they're realty
exemplary of the KLnks' moat up .. to ..date methods. When Roy Davies shouta ..... over and over--
"Dandy, you'r• all rtoht, •that' s an all ume desperatton tonoue. (Rlvallno even the platinum
atandard for lheae rongulnga, Mick Jo9gor's "lt'a All Right. •) It tums lhe ao119•s cynlcel brul41-
Ju.tion omtnou•~ whtJe atmultaneou1ly oeneratino such a seeml1\9ly complex d.lapartty of ln-
tentlons 01 to render ell po11tble stnole conclu1ton1 unquestionably queattonable . Thia 1•
the Kinks' "1ntorferenee offeot" .. -and lt'1 as effective o ploy a1 was Herman' a contradteUon,
which ls now unfortunately played out due (perhapa ?) to Herman'• ever-lncrea1ln9 aoe and
1oph1stlcot100. Thul! Ille U9ht·••-1now skip of "O..ndy'a" melndy llltarfeno1 with Ille de1P<1ra·
tlon tonque which llltarforaa with lh• aly words which lllterfore wllh Ray Davies' unique tone
of volca, and 10 forth. At last everythln9 ts merely questionable. But cwnulaUvely all this
brtnos us back to the abyaa. The simple accumulation of the que1ttonable i i preparaUon for
a bJgoer tumble. Intere1Unoly th.la interference oflect ts eompre11ed 1n the ltve (on The Live
;or.;.,
Klnlta) •• opp01ed to Ille deed version (on Face '!:2. l'•ce). by 1ub1umlll9 lhe P<>rfonooiic;
under the amphetamine rove which En9IJ1h rock guy1 like to a11ume when confrontln9 an audience.
'11\at ta to aay, the dead •..oenc1y• 11 far more que1Uoneble.
Everyone knows that the Enol.1ah aoene 9ot tta s tart on r6b. It even bloomed that wuy.
A• the Br!Uah corresp0ndent for one American pulp throwowoy aold on lhe eve of 1965: "1965 will
be on r&b veer. • But who could hove lme9ined It oa1umln9 ouch o 9lorlou1ly cyntcel ouro. Why
Ju•t last wMlt R. Meltzer awoke wtth • Rtde on Baby• wrtt torve tn hts mtnd. And Flowera,
Between !h..!. Buttons, Serveant Pepper, Happy Jack. not to m• ntion the fabulous Kink Kontroversx
and Face To Face , a.re further evidence for the rtao of cynicism. For these bto boys cyn_tci1m
noturally oppeara ••a long-term byproduct (or raUonollzotlon) of the wr!Ung proce11, A 1ort
of lntemol nece11.l ty. Bui, tumlll9 bock lhe clock, we do find that the Kink• atartad out trodl-
tJona.lly sincere .
X2J! Really Got M!.. wos (mosUy) Just another 9roat En91l1h r&b album from 1964·65. (The
Ume, ofter •II, of lhe Naahvllle Teeno .) It wao dlaUngulshed by lho tlllo 1on9 which unveiled
lhelr •wall of sound" (a tochntcal t.ertn oU an album cover) and 1ounded aatrtnoent. SO the Ktnlt1
are 45trin9enUy ktnetJc. They oet a lot of movement and denalty from the10 trtcks: percu11tve
1uper-chordln9 9ultar, aoemlng rbythmlc constancy In lhe ba11 (which 11 heavy and atlcky) and
22
Ray Oaiv1e1, on the other hand, confronted with wha~looks to me ltke the abyss, said thta:
.. Someone told me a very funny 1tory obout Jim Baxter, who scored tho winning goal tot Scotland
agatnat tn;land a [ew seasons ooo. He beat three men and drove the ball past Banks, then threw
ht• arm1 up tn the a.Jr and proclaimed: 'Tho•a the 9reote1t gule y'ule ayer see.• I Uk.a that.•
Ray Dovte1 11 circumspect. Well, to be ironical is to assume a delicate stance at the Up of the
aby11. And that•s dilferent from Momaon'•·
Tho Doors are spectral. Moybe more than anybody. Whet counts la the Lmpresston for
which no atgnlflcant referent detail pan or should be found. The muatc ends and there la no
detotl which you can refer to actually justify your lmpr~•sion 1 But you have that lmpresaton.
And It's not even embfguous ...The little girls they understand.• Understand? Most Jmporto.ntly,
thero la a statement belnq mado. But how? Take the words of a Doors sonq . Lots of people
think tho 1on91 make them "swim In mystery.• And If they think 10, then they do. But u1uolly
the words aren't really bluarre or neat enouQh to do that. Everybody 1 lc.now thought that Strange
Dax• wa1n't half aS muc.h fun aa the flr1t album. They figured Momaon would be a better old
time typo poet by now. Give the boy tlmo, you know, he'll grow. But In an old Umesy poetry
sen1e hl1 1on91 weren't any better. The words were good enouo.h to be unambf9uously es1ertJve,
to literally make a statement. Not oood enough to automatically otve you the creeps. Slnce
the company men prt.n ted aJl the words (even some that weren't there) on the inner record sleeve.
there wae disappointment ln homes all over America. At last everything could be understood all
at once. The context of mystery, a hangover from what the ftr1t album dtd to us all, and retn-
forced by the resemblance of so much of the mustc on the 1econd to that of the first album,
seamed threatened by clarity. Manz.arok talks th.ts way: "We're aaytno that you're not only
spirit, You're olso this very aen1uou1 being. That's not ovU, thot's o really beoutlfu.1 thing.
Holl appears so much more fasctna ttno aind bizarre than heaven. You have to 'break on throuoh
to the other aide' to become the whole being . • Talking, thot 11, like everybody else, about how
the Doors are gotng to tclke you somewhere else. As tf there were somewhere else to oo. t
mean it would only be somewhere elae If you couldn't thtnk of it. Conceivable things, thtl\91
thought of, are well on their woy to becomtno famlUar. The blUrTe ta only a name for potentlolly
something you might think of.
SO here ore the points. The Door•' words aren't blza.rTe enouoh. But even the words of
really conventlonolly neot stuff CT'he Bible: Baudalalre; mlSoelloneoua botwlnged English poets.
I.e. Bloke/Coleridge; R. Meltzer, ot<:.) stop being bl•orre w~en you sot eyes upon tham. Fa-
m11Jarlty nibbles away surprise, and suppose than somebody 1et1 out not to surprise you, but
Just to toll you what's gotto be. Et blen, Cod only knows thot this 11 whot the Doors hod In
mind. Probaibly not, from the serloueneas of their comments tn Newsweek, the now defunct
New Yori< World Journal Ttlbune, tho lJ .C. L.A. Dally Bruin, Los Angeles Free Press, Hullabe-
loo, Tho New York Post, Teen Screen, Crawdaddy!, the East Village Other and other, other
rog1. But It hoppened anyway. Not good enough to be even Bluno blurre, their words ere
oood enough to dtrec-t our intentton toward1 the mysterious. Good enouc;ih to make lmpraaalon1
apeclflc, direct, and to lmprlaO<'I out Ott4ntlon; not good enough to get us oil excited and pro-
voked. Thot'1 why they don't road 10 nice ond nobody ahould have printed them. Printing thom
gove folks the wrong Idea.
But suddenly that prevtously mentioned 1pecter rear• up. A really awesome monster , It
comes on rushing like Otz-Bustors with too much Iron tn Its bloodstream and zero invisibility.
The first words are a simple assertion: '"Strange days have found ua... More ale.in to o command
than o provocation. Nelthor ta the music too provo~tive. There are a lot o! a prtort mystery
sounds. Likely to conform to a ll 1tener•s preconceived and typical Ideas of what sounds
mystorJoua . Movie music could have been a bto Influence. Chee~ the aurre.alJst 0C'9an on
'"Strenoe Days .. and • unhappy Girl," or that bass entrance on .. You're Lost Uttle Girl" which
smack• of the pulp mystery (crime-dotectlve) movie music of the oro 1940-60. I con see the
Door• scoring the "Jnvo slon of the Body Snotchers" or even the fobul01J1 "Mysterlons. • But
It 11 your Kreiger who really outdoes hlmaell . This nice boy, often looking parplexed on stage,
moy be the first with the Jlml Hendrix hair, who plays slowly with not as many notes as 1orne,
Is reveoled 01 o master of the leJt hand. A gultor scientist Uke the obove "Hendrlx, he u1e1
the Instrument to produce explicitly technol09lcal..sou.ndlng 1ound1. R4dlcolly distending all
sort.I o( notes on "Moonlight Drive." An tnordtnete number aome m19ht think, without reallzln;
thot with tho Doors lespeclolly on Scrango Days) lnordlnanoy (oa with Hendrix) hos become
stylistic. By the woy, "Moonl19ht Drive" Is olso ok as holf or on extroordlnary Turkey Tongue
continued on paoe 36
25
continued from pac;ae 25
1y1tem. A Turkey Ton9ue occurs when one cut ts so obvtoualy lnadequai.t••at least wlthtn
the lmmedlate context·-as to require the followln9 cul to 1dequately/ ec1taUcally complete lt.
(Some classic Turkey Tonoue 1y1tems are: "Mtnd Garden•-"My Back P1901• ond •nte
StrQe•nt Pepper Reprtse"-"A O<ly Jn The Life Of.") The Sttonqe O<iys Turkey Tongue ta et the
exeruelat1ng Juncture of "'Horse Latitudes" and "Moonlt9ht Drive ... Thia ecstatic unton turns
their lmpltctt comparison into 1ymbtosls and their quality differential tnto a relatton1hlp. As a
good Turltey Tongue It rescues everythtnq tn 1tgbt.
The Doore' mustc functions as an ab1olute context. Certainly tnordlnancy (or even simple
over statement) had m.ich to do with th.ls . They put tOQother a strtklngly dense combtnatton of
a1serttve word1. qutntes1enUal pulp sounds, Morrison•• tone of votce, his clothtn9, antmal
nol1e1 and at.hleUcs, makln9 a statement which works for everybody. And that generated an
unmlstakeobly expllc1t mystery field. They really stated thta end thet: "Swnge da ys have
tracked us down.• • You're loat IJttle qtrl, • '"Unhappy qlrl. fly fast away . don't m11a your
chance to 1w1m 1n mystery,• "'People are strange when you•re a stranger, .. etc. Who ever
could have bellevod that the mysterious could come out of auch unambt9uou1 overstatement?
They did It by dropping the lfadttlonol provocative appeal• to the tmaotnetlon end replacing the m
with tnstrucUon1. At last my1tery and tmaolnatton have been dtvorcod. By the Doora. Thls ls
• aurprtse. ni11 ts tronJc. Th.ta ts lnqenlou1.
And now for the Doore• 1peccer. It flret oppear·s full 9rown, hovertno like St. Elmo's
famou• fire, around "Back Door Man. " But more of that later. Absolute contex tualization has
fully directed our ottentton 10 that household phrases ftnalty become lnordlnantly expanalve .
lmaql.n.e •When the music' 1 over, turn out the ltgbts, .. wlndtnq up with the long awatted
reawrect1on. lmao:lne that, But we shouldn't be too shocked. Word upenaton {vta an expttclt
0r Implicit field) ts en old trick of both 'ieatl and the Beetle•. The specter ttsalf 11 e l10 overly
femtllar. rta aptrtt has a plenitude of orro;ant and assertive disorder. Ol1order ha1 been
rotlonalizod by the Door& into somethlno both comprehensive and modular. The aptrtt ls com-
prehensive •o a• to taint anything they tum to. And modular 10 a s to be opplleable e nywhere.
Thet'• bow th• Doors taint the world. But understand there are kind• of purity. And the world
cen be purified by tatnUng It. Morrison ho1 1eJd: "It 11 e 1eerch, en openlnq of doors. We're
trylnq to break through to• clearer, purer realm ... (And alonq these ltnea don't you for;et that
the melody for "My Eyes Have Seen 'iou• starts off llke the AJ•x ad, "Stron9er Than Dirt.")
Now lf th.t ngs hove been ab1olutely tainted, they have also a ttained a certain absolute purity .
An arrangement according to a perfect order. Purity ls aft.or all only a neutral, modular term.
And for where good end/or evll come In , let'• tell e story.
Once there was a man called Gille De Ratz. Be wa1 unique becau1e he managed to dls-
ClPllne both hlm1el! and hls world accordlno to a Scieneo PJcUon tma9lnauon. After lt was all
over they celled him "Bluebe•r<l." But he 1terted out es o btq noblemen, Marshell of Fronce
and Chief Aide to Joan of Arc. Inspired by the golno examples, he wonl<>d to make It 11 e aetnt.
But hevino felled et that, he 1<1med enUtheUceJ and became e real, little devil Instead. This
meant he stuck pltcbforks up vlrgtn.s and 1wam ln the entroll• of even the youn9est children.
There was also some black conJurlnq involved. Anyway, whatover he did, he dtd con1tatently.
purely and absolutely. Terrific discipline directed his dtsor<ler. Science Ftcuon we1 In the
saddle.
The Aby11. The Aby11 11 e potenual--elwey• potentlal--ldee of eb1olute dJaorder, and
I think that everybody has it ot ona time or another. Only potential bee.auae mJnds never
actually 9ra1p or encompass anything that bizarre . Because that sort or cognition would !mpl y
!amllto.rlzatlon. And, truthfully, nothinq can be both familiar and bizarre. J mean, that tJfa these
days ts so constat.enUy wonde.rful, and you aee so much, e1pectaJJy at home on the tv, tha t the
formerly blzarnt ha.1 become (et best) charming. And so the bizarre ts deed. And meybe mice,
bull&Jo• (bece u1e of their fringe) oc even the Bonzo Dogs will be the next big tblnq. Be thet
11 It may, the death of the blurre moke1 It hard on tradlUonal tmaqlnatton. Now maontflcent
lmaoes are ployed out at birth. And that maide It easy enough (or the Ooor1 to substitute their
inordinate method for o.rchato lmaotna.t.tve provocation. Retum.lnq to The Abyss. lt•s only a
36
~af!lc wtll •in9 their new release, "Rlllg Around the Mulbeny Buell,• ea featured guesta In the
Beatlea' Chrtatmaa t. v. special. ~ ~ Fantasy la the Utle of thalr first album which ahould
be out abortly and hopefully will contain the uncut veralon of "Paper Sun.•
THE WHO'S RECENT VISIT HERE COINCrDED NICELY WITH THE SUCCESS OF "I CAN SEE FOR
MILES," THE BEST THING THE BOYS HAVE DONE AND CERTAINLY ONE OF THE MOST SATISFY-
ING SINGLES OF THE YEAR. THEIR NEW ALBUM, !!:!! WHO SELL OUT, SHOULD BE OUT ON
DECCA BY THE TIME YOU READ THIS, BUT IF YOU'RE STTI.L WAITING OR EVEN IF YOU AREN'T
DIG "MARYANNE WITH SHAKY BANDS,• THE PUP SIDE OF "Mll.tS." SO PRETTY.
According to Reprise th ore will not be another Kinks' o lbum until January or February, but
since the 9l'OUP will be In the U.S. on o promotional vllll In late December we may oet
Somethln11.fil.!§...!U'.!t!!.Klnks sooner then expected. The Ip, which was released In Britain
in October~ lncludea the great .. Waterloo Sunset"' 4nd thelr new stn9lo, •oavid Watts."
Evervone ahould Uaten to the Kinks.
DAVE DAVIES HAS A NEW SINGLE, "SUSANNAH'S STILL ALIVE"/"FUNNY PACE. " BU'i IT.
Bio new Brillah oroup, Foundollons, plannlno U.S. television ser i es
along lines of the Monkeea show.
ATLANnc AND ITS SUBSIDIAIUES HAVE BEEN BOUGHT BY WARNER BROTHERS FOR $15 MILLION.
Who-Who Dept.: Hendrix Is seeking on Injunction to prevent the release by London of "Hush
Now, • a little something he and Curtis Knloht made several years aoo In New York to domon-
atrate the use of a wha-wha peda.l. The new J1ml Hendr1K album, "Axis: Bold As Love,• on
which the Experience tokes a little trip Into space, coll approximately $25,000 to produce, of
which $7, 000 went for the ort wori< of tho rather Incredible cover.
Heard of the Zombies lately ? In the past year and a half they've had
ftv• or alx atn;lo1 out on Parrot whtch you should look Into tf you
enjoyed thetr old atu!f at all: particularly 9ood are "Don't Go Away,'"
"I• Thts the Dream, • "'Remember When t Loved Her"'/"( Want You Baek
Aqotn," and ... Love You" which ts backed with their classic, "When-
ever You're Ready," a !antaattc record. They are reportedly now re-
cording an album, and have a new stn9le release entitled ·caae of
Cell 44. •
SLY AND THE FAMILY STONE (EPIC) REALLY IS A WHOLE NEW THING.
Smokey and His Sister are now beinQ produced by Felix Pappalanil and will record an album
for Columbia In January.
On £very Mother•• Son recent sln9le, •Pony With A Colden Mane ,•
the only lnstrumenta are their voices filtered, distorted, spliced .
speeded and/or alowed, etc.
THE BLUES MAGOO$ NOW HAVE ELECTRIC UNIFORMS.
Both the Doors and Jeffer100 Airplane hope to record ltve albums for release som.e·t:1me I n the first
half of 1968. The Doora would tnclude their brilliant performance of "Gloria, • completely new
approaches to songs like "Uoht My Fire, • and , hopefully, a lon9 structureless jam. It will
be an exceUant opportunity for the oroup to get Into some really groovy Informality. The Air-
plane wtll try to ;et on tape super-ltvo performances of aon;s not written by people In the
group--"Another Side of This Life,• "Go To Her,• maybo Gr~ce singing "I Don't Need No
Doctor," aa well 0 1 new and better recordings of the be1t ttve st.uH: '1tunnln9 Round Thl1 World•
end "It's No Secret.• The 9reat value of a live Ip II that ll allows you to 9et away from all
the rules you've aet up for yourself about recording album s.
contitlued on pa9e 48
31
