Richie Unterberger has written a dozen rock history books, including volumes on the Velvet Underground, the Who, and the Beatles. He teaches community education rock history courses at the College of Marin and the Fromm Institute in San Francisco. Read more of his work at www.richieunterberger.com/wordpress.
By Richie Unterberger
EXCLUSIVE: Unseen Footage of Pink Floyd Playing in 1970
A Total Oddball: Remembering Stephen Parr, Hero of Forgotten Film
'A Good Way to Master the Future': An Interview with Holger Czukay, 1997
'Road to the Summer of Love' a Snapshot of Sweet '60s Madness
Running the Record Plant, Part 4: The Rebirth
Running the Record Plant, Part 3: The End
Running the Record Plant, Part 2: Staying Alive
Running the Record Plant, Part 1: The Early Years
How San Francisco Recording Studios Dealt with Early Punk Rock Bands
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"slug": "pink-floyd-kqed-1970",
"title": "EXCLUSIVE: Unseen Footage of Pink Floyd Playing in 1970",
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"content": "\u003cp>\u003cb>To watch previously unseen video of Pink Floyd playing “Astronomy Domine” in 1970, scroll to the bottom of the story.\u003c/b>\u003c/p>\n\u003cp>In the last week of April 1973, Pink Floyd’s \u003cem>Dark Side of the Moon\u003c/em> reached No. 1 on the American charts. In the last week of April 1970, though, they had yet to crack the U.S. Top 50 after three years of recording and performing. In the midst of their third stateside tour, they weren’t selling out stadiums.\u003c/p>\n\u003cp>It was during this tour, on April 30, that Pink Floyd played an hour-long set in an empty Fillmore Auditorium in San Francisco, filmed for broadcast by small local television station called KQED.\u003c/p>\n\u003cp>“At that point, they were really anxious to have whatever publicity they could,” remembers the program’s co-producer at KQED, Jim Farber. “We did not have much of a budget. Pink Floyd did the performance and offered the rights for a certain number of airings for practically nothing. My memory is we paid them $200.”\u003c/p>\n\u003cfigure id=\"attachment_13814965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Waters-singing-800x419.jpg\" alt='Roger Waters making sound effects during \"Astronomy Domine\"' width=\"800\" height=\"419\" class=\"size-medium wp-image-13814965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-1180x617.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-960x502.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-375x196.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-520x272.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing.jpg 1552w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Waters making sound effects during “Astronomy Domine” \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Widely bootlegged in the decades since, the performance is now officially available on DVD from the band. Recently, KQED unearthed raw footage of Pink Floyd’s performance, which included a half hour of music not included in the original program. After months of negotiations, KQED has been granted the right to exclusively premiere film of one of those songs, “Astronomy Domine.” [Video is at the \u003ca href=\"#video\">end of this post\u003c/a>.]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You might be wondering: in 1970, KQED was more known for \u003cem>Sesame Street\u003c/em> than psychedelic rock. So how in the world did the Pink Floyd program happen in the first place?\u003c/p>\n\u003ch2>Connecting with Pink Floyd\u003c/h2>\n\u003cp>Simulcast on KQED radio, the special was set up as a direct result of Farber’s enthusiasm for the group. He first saw Pink Floyd in a basement club in London in 1967, when Syd Barrett (soon to be replaced by David Gilmour) was still the band’s lead guitarist and principal singer-songwriter.\u003c/p>\n\u003cp>“When I went to work at KQED June of 1969, I proposed the idea that we do a program with them,” he explains. “John Coney, the other producer [who also directed the special], really liked their music. So we decided we might as well make a proposal to them.”\u003c/p>\n\u003cp>The KQED production team brought “a huge mobile truck the size of a boxcar that held the video recording equipment” outside the original Fillmore Auditorium so the performance could be “recorded as well as you could outside the studio at that time. There’s a certain amount of vibration that was caused just from the sound of the amps. Because the technology just wasn’t that advanced yet. Portable video, the way we think of it, didn’t even exist.”\u003c/p>\n\u003cfigure id=\"attachment_13814966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/WRight-Singing-800x632.jpg\" alt=\"Pink Floyd's Richard Wright singing during 1970 performance\" width=\"800\" height=\"632\" class=\"size-medium wp-image-13814966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-960x759.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-375x296.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-520x411.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing.jpg 1039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pink Floyd’s Richard Wright singing during 1970 performance \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original Fillmore wasn’t hosting rock concerts in 1970 — Bill Graham had transferred his operations to the Fillmore West on Market and Van Ness — but it was made available to the band and KQED for this special TV performance. Pink Floyd played a concert in front of paying customers at the Fillmore West the following night, reprising all of the half dozen songs they’d performed for KQED’s cameras, as well as other early favorites like “Astronomy Domine” and “A Saucerful of Secrets.”\u003c/p>\n\u003cp>Unexpectedly, the program opens with aerial shots of desolate fields and marshes in the San Joaquin Valley — indeed, seven minutes of “Atom Heart Mother” pass before any of the musicians are seen on screen. During “Grantchester Meadows,” the performance is interspersed with what Farber calls “nature footage.” The cinematography is marked by close-ups of the casually dressed musicians and slow pans around the band’s perimeter. Periodic smoke effects and solarization add to the late-psychedelic-period mood.\u003c/p>\n\u003cp>“John Coney was doing some very experimental video work at KQED, and KQED at that time was really wide open in terms of they would let you do,” enthuses Farber. “So John mapped out a visual scheme for the production. There’s no narration, there’s not the usual PBS thing of explaining everything you’re going to see. It was very abstract.\u003c/p>\n\u003cp>“We had one go at getting the Pink Floyd performance, and one day to essentially do all of the effects and lay in everything in the studio. There was no such thing as stereo TV. People could put on the FM channel and then watch it on the TV, and that was how we approximated getting the best audio we could out of it.”\u003c/p>\n\u003cfigure id=\"attachment_13814964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-800x450.jpg\" alt=\"Pink Floyd playing for KQED in 1970. L-R: David Gilmour, Nick Mason and Roger Waters\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13814964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason.jpg 1462w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pink Floyd playing for KQED in 1970. L-R: David Gilmour, Nick Mason and Roger Waters \u003ccite>(KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reception\u003c/h2>\n\u003cp>It wasn’t unusual for KQED to broadcast rock concerts in psychedelia’s heyday, especially by local icons. Big Brother & the Holding Company, Jefferson Airplane, and Quicksilver Messenger Service all got airtime. In the more experimental realm, a long raga by minimalist pioneer Terry Riley sparked, reveals an amused Farber, “more nasty phone calls than anything we ever did at the station.” But Pink Floyd, for as strong an underground following as they building in the United States, were so eager for an American audience that they played a free concert at UCLA a week later. (Farber traveled to Los Angeles with the band in the hopes of getting some additional footage, but none was used. The free concert, he explains, “was really a disaster.”)\u003c/p>\n\u003cp>Not broadcast until Jan. 26, 1971, the special “got an incredibly positive response when we aired it in San Francisco,” says Farber. “After that, it had two national broadcasts on PBS.”\u003c/p>\n\u003cp>Pink Floyd’s concert for KQED hasn’t been broadcast on television for many years, and wasn’t made commercially available until its appearance on a massive 27-disc Pink Floyd CD/DVD box set in 2016, \u003cem>The Early Years 1965-1972\u003c/em>. But Farber recently oversaw a meticulous transfer from the two-inch masters to DVD — “we cleaned them up as much as we could and the audio is superb.”\u003c/p>\n\u003cfigure id=\"attachment_13814968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gilmour-staring-800x450.jpg\" alt=\"David Gilmour waiting to play\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13814968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Gilmour waiting to play \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m amazed we got it done,” reflects Farber, now a Los Angeles-based writer. “We did it on such a shoestring, and it all came together at the right moment. You could take out certain little glitches, but I kind of like it for its roughness. ‘Cause it was a reflection of who we were at that time. \u003c/p>\n\u003cp>“The ‘60s were still very alive in San Francisco in 1970, and the thing that I loved about KQED is that you had a public television station, but the people on the staff were exceedingly hip. The amount of energy that was being generated at KQED at that time was remarkable.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca name=\"#video\">\u003ci>Watch Pink Floyd play “Astronomy Domine” in 1970.\u003c/i>\u003c/a>\u003c/p>\n\u003cdiv style=\"width:100%;padding-bottom:75%;height: 0;position: relative\">\n\u003c/div>\n\n",
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"excerpt": "Watch never-before-seen footage of Pink Floyd performing \"Astronomy Domine\" in 1970 and read how KQED came to film the band before they were famous.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>To watch previously unseen video of Pink Floyd playing “Astronomy Domine” in 1970, scroll to the bottom of the story.\u003c/b>\u003c/p>\n\u003cp>In the last week of April 1973, Pink Floyd’s \u003cem>Dark Side of the Moon\u003c/em> reached No. 1 on the American charts. In the last week of April 1970, though, they had yet to crack the U.S. Top 50 after three years of recording and performing. In the midst of their third stateside tour, they weren’t selling out stadiums.\u003c/p>\n\u003cp>It was during this tour, on April 30, that Pink Floyd played an hour-long set in an empty Fillmore Auditorium in San Francisco, filmed for broadcast by small local television station called KQED.\u003c/p>\n\u003cp>“At that point, they were really anxious to have whatever publicity they could,” remembers the program’s co-producer at KQED, Jim Farber. “We did not have much of a budget. Pink Floyd did the performance and offered the rights for a certain number of airings for practically nothing. My memory is we paid them $200.”\u003c/p>\n\u003cfigure id=\"attachment_13814965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Waters-singing-800x419.jpg\" alt='Roger Waters making sound effects during \"Astronomy Domine\"' width=\"800\" height=\"419\" class=\"size-medium wp-image-13814965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-1180x617.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-960x502.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-375x196.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-520x272.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing.jpg 1552w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Waters making sound effects during “Astronomy Domine” \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Widely bootlegged in the decades since, the performance is now officially available on DVD from the band. Recently, KQED unearthed raw footage of Pink Floyd’s performance, which included a half hour of music not included in the original program. After months of negotiations, KQED has been granted the right to exclusively premiere film of one of those songs, “Astronomy Domine.” [Video is at the \u003ca href=\"#video\">end of this post\u003c/a>.]\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You might be wondering: in 1970, KQED was more known for \u003cem>Sesame Street\u003c/em> than psychedelic rock. So how in the world did the Pink Floyd program happen in the first place?\u003c/p>\n\u003ch2>Connecting with Pink Floyd\u003c/h2>\n\u003cp>Simulcast on KQED radio, the special was set up as a direct result of Farber’s enthusiasm for the group. He first saw Pink Floyd in a basement club in London in 1967, when Syd Barrett (soon to be replaced by David Gilmour) was still the band’s lead guitarist and principal singer-songwriter.\u003c/p>\n\u003cp>“When I went to work at KQED June of 1969, I proposed the idea that we do a program with them,” he explains. “John Coney, the other producer [who also directed the special], really liked their music. So we decided we might as well make a proposal to them.”\u003c/p>\n\u003cp>The KQED production team brought “a huge mobile truck the size of a boxcar that held the video recording equipment” outside the original Fillmore Auditorium so the performance could be “recorded as well as you could outside the studio at that time. There’s a certain amount of vibration that was caused just from the sound of the amps. Because the technology just wasn’t that advanced yet. Portable video, the way we think of it, didn’t even exist.”\u003c/p>\n\u003cfigure id=\"attachment_13814966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/WRight-Singing-800x632.jpg\" alt=\"Pink Floyd's Richard Wright singing during 1970 performance\" width=\"800\" height=\"632\" class=\"size-medium wp-image-13814966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-960x759.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-375x296.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-520x411.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing.jpg 1039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pink Floyd’s Richard Wright singing during 1970 performance \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original Fillmore wasn’t hosting rock concerts in 1970 — Bill Graham had transferred his operations to the Fillmore West on Market and Van Ness — but it was made available to the band and KQED for this special TV performance. Pink Floyd played a concert in front of paying customers at the Fillmore West the following night, reprising all of the half dozen songs they’d performed for KQED’s cameras, as well as other early favorites like “Astronomy Domine” and “A Saucerful of Secrets.”\u003c/p>\n\u003cp>Unexpectedly, the program opens with aerial shots of desolate fields and marshes in the San Joaquin Valley — indeed, seven minutes of “Atom Heart Mother” pass before any of the musicians are seen on screen. During “Grantchester Meadows,” the performance is interspersed with what Farber calls “nature footage.” The cinematography is marked by close-ups of the casually dressed musicians and slow pans around the band’s perimeter. Periodic smoke effects and solarization add to the late-psychedelic-period mood.\u003c/p>\n\u003cp>“John Coney was doing some very experimental video work at KQED, and KQED at that time was really wide open in terms of they would let you do,” enthuses Farber. “So John mapped out a visual scheme for the production. There’s no narration, there’s not the usual PBS thing of explaining everything you’re going to see. It was very abstract.\u003c/p>\n\u003cp>“We had one go at getting the Pink Floyd performance, and one day to essentially do all of the effects and lay in everything in the studio. There was no such thing as stereo TV. People could put on the FM channel and then watch it on the TV, and that was how we approximated getting the best audio we could out of it.”\u003c/p>\n\u003cfigure id=\"attachment_13814964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-800x450.jpg\" alt=\"Pink Floyd playing for KQED in 1970. L-R: David Gilmour, Nick Mason and Roger Waters\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13814964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason.jpg 1462w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pink Floyd playing for KQED in 1970. L-R: David Gilmour, Nick Mason and Roger Waters \u003ccite>(KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reception\u003c/h2>\n\u003cp>It wasn’t unusual for KQED to broadcast rock concerts in psychedelia’s heyday, especially by local icons. Big Brother & the Holding Company, Jefferson Airplane, and Quicksilver Messenger Service all got airtime. In the more experimental realm, a long raga by minimalist pioneer Terry Riley sparked, reveals an amused Farber, “more nasty phone calls than anything we ever did at the station.” But Pink Floyd, for as strong an underground following as they building in the United States, were so eager for an American audience that they played a free concert at UCLA a week later. (Farber traveled to Los Angeles with the band in the hopes of getting some additional footage, but none was used. The free concert, he explains, “was really a disaster.”)\u003c/p>\n\u003cp>Not broadcast until Jan. 26, 1971, the special “got an incredibly positive response when we aired it in San Francisco,” says Farber. “After that, it had two national broadcasts on PBS.”\u003c/p>\n\u003cp>Pink Floyd’s concert for KQED hasn’t been broadcast on television for many years, and wasn’t made commercially available until its appearance on a massive 27-disc Pink Floyd CD/DVD box set in 2016, \u003cem>The Early Years 1965-1972\u003c/em>. But Farber recently oversaw a meticulous transfer from the two-inch masters to DVD — “we cleaned them up as much as we could and the audio is superb.”\u003c/p>\n\u003cfigure id=\"attachment_13814968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gilmour-staring-800x450.jpg\" alt=\"David Gilmour waiting to play\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13814968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Gilmour waiting to play \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m amazed we got it done,” reflects Farber, now a Los Angeles-based writer. “We did it on such a shoestring, and it all came together at the right moment. You could take out certain little glitches, but I kind of like it for its roughness. ‘Cause it was a reflection of who we were at that time. \u003c/p>\n\u003cp>“The ‘60s were still very alive in San Francisco in 1970, and the thing that I loved about KQED is that you had a public television station, but the people on the staff were exceedingly hip. The amount of energy that was being generated at KQED at that time was remarkable.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca name=\"#video\">\u003ci>Watch Pink Floyd play “Astronomy Domine” in 1970.\u003c/i>\u003c/a>\u003c/p>\n\u003cdiv style=\"width:100%;padding-bottom:75%;height: 0;position: relative\">\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "a-total-oddball-remembering-stephen-parr-hero-of-forgotten-film",
"title": "A Total Oddball: Remembering Stephen Parr, Hero of Forgotten Film",
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"content": "\u003cp>The first time I talked to Stephen Parr, it felt like a test. I’d been referred to him as a lead to hard-to-find footage of the Velvet Underground while researching films for a book on the group. At our first meeting, Parr asked me whether it was true that noted avant-garde filmmaker/musician Tony Conrad had been an original member. I had to explain at some length that this wasn’t the case, though Conrad had indeed played with John Cale and Lou Reed before the Velvets formed. My explanation wasn’t enough for Parr, who proceeded to jab me with questions and make me justify myself. \u003c/p>\n\u003cp>Satisfied after several minutes that I did indeed know my Velvet Underground, he went to some lengths to help me view rare footage of the group through contacts at the Andy Warhol museum. Several years after that, he invited me to give a Velvet Underground film night of sorts at his small funky theater of sorts at the Oddball Films archive, near Capp and 18th Streets in the Mission. I presented several other screenings of rare rock films at Oddball over the past few years, and on multiple occasions I witnessed Stephen’s generally pessimistic view give way to fanboy enthusiasm when lights dimmed and the show got underway.\u003c/p>\n\u003cp>The last time I saw him this spring, he had no apparent physical problems, so it came as a shock to myself and the entire Bay Area film community when he died Oct. 24 at 63 years old. According to those close to him, Parr died from complications related to Parkinson’s disease.\u003c/p>\n\u003cp>https://vimeo.com/175884766\u003cbr>\n\u003c/p>\n\u003cp>For the past three decades or so, Parr ran Oddball Films and its massive archive that preserved the kind of footage most other film repositories overlook or even disdain. Educational shorts, industrial movies and early punk performances all found a home at Oddball. He even collected actual home movies, all obtained during “home movie days” when the originals would be given to the archive in exchange for higher-tech copies. Clients who licensed footage ranged from mainstream media corporations like ABC, HBO, and MTV to independent filmmakers struggling to complete their first feature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Steve was down with the underground. There were people approaching him that were advertising agencies, and he would charge them a good amount of money. There were other people who approached him who were, like, some independent filmmaker who lived in the Mission and didn’t really have any money, and he’d work with that,” said filmmaker Sam Green. \u003c/p>\n\u003cp>Green used some of Oddball’s footage in \u003cem>The Weather Underground\u003c/em>, his acclaimed documentary on radical activists the Weathermen. “Steve understood that there were artists were making art, and they didn’t necessarily have the budgets of the ad agencies,” he said. \u003c/p>\n\u003cp>And while Parr could be prickly while you were getting to know him, those who worked with Oddball stress that once he was convinced of the worthiness of your enterprise, he’d go to great lengths to help. \u003c/p>\n\u003cp>“It is a crazy thing to do, film collecting. And there are generally only dribs and drabs of revenue that come in. Without him handling my footage I never would have been able to get it out into the world like that,” director and LGBT film historian Jenni Olson said. Olson’s collection of vintage trailers and 16mm/35mm prints was stored, transferred, and licensed by Oddball.\u003c/p>\n\u003cfigure id=\"attachment_13813547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-800x600.jpg\" alt=\"Inside Oddball Films\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Oddball Films \u003ccite>(Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Thanks to Stephen and his colleagues at Oddball — especially Robert Chehoski — my footage was licensed for dozens of documentaries, including films like \u003ci>I Am Divine\u003c/i>, \u003ci>After Stonewall\u003c/i>, \u003ci>The Battle of AmFAR\u003c/i>, and \u003ci>Regarding Susan Sontag\u003c/i>.”\u003c/p>\n\u003cp>At Oddball, “you never knew what excitement was gonna get thrown at you” during a regular day, said Chehoski, who worked with Parr as Oddball’s project director for 13 years, beginning in 1998. Chehoski handled licensing and client requests — “the business stuff” as Chehoski called it — so Parr could concentrate on collecting.\u003c/p>\n\u003cp>“What made Stephen tick was collecting,” Chehoski said. “He was so skilled at obtaining that kind of stuff because he was relentless. He would literally haunt people until he got what he wanted.”\u003c/p>\n\u003cp>The thousands of reels of films at Oddball — stacked on dozens of shelves, rising dozens of feet high — formed aisles you walked through when attending Parr’s periodic screenings at the archive’s Capp Street headquarters. It was those same reels that Parr mined for the screenings at Oddball, which showcased the simultaneously eclectic and obscure. They ranged from new work by local filmmakers to vintage Asian-American rock performances.\u003c/p>\n\u003cfigure id=\"attachment_13813581\" class=\"wp-caption alignright\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg\" alt=\"A rare photo of Parr smiling on his birthday\" width=\"579\" height=\"872\" class=\"size-full wp-image-13813581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-520x783.jpg 520w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">A rare photo of Parr smiling on his birthday \u003ccite>(Robert Chehoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“His film screenings were the playful side of Stephen,” Chehoski said. \u003c/p>\n\u003cp>The Bay Area is blessed with several venues showing offbeat films, but arguably none could compare with Oddball what had to offer. And though plenty of Oddball’s films could send those with conservative tastes running for the hills, not everything Parr showed was sexy or shocking. For example, for one of my rare rock clip nights, he unearthed excerpts from the forgotten 1970 TV series \u003ci>Something Else,\u003c/i> which showed the singer Melanie and political folksinger Phil Ochs miming in impossibly industrial settings.\u003c/p>\n\u003cp>“Stephen had a great affection for the most unusual vintage films and footage — both obviously appealing campy things, but also materials that were deceptively mundane but deserved our attention,” Olson said.\u003c/p>\n\u003cp>Chehoski said it was when he showed those films that folks saw the best side of Parr.\u003c/p>\n\u003cp>“The first time I saw him onstage, talking about some films he was gonna show, he was so articulate and so well spoken, he just captivated everybody,” Chehoski said. “When he was in his element and it was something that he loved, he was incredible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The founder of Oddball Films was a beloved character dedicated to preserving film footage others would consider detritus. ",
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"title": "A Total Oddball: Remembering Stephen Parr, Hero of Forgotten Film | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I talked to Stephen Parr, it felt like a test. I’d been referred to him as a lead to hard-to-find footage of the Velvet Underground while researching films for a book on the group. At our first meeting, Parr asked me whether it was true that noted avant-garde filmmaker/musician Tony Conrad had been an original member. I had to explain at some length that this wasn’t the case, though Conrad had indeed played with John Cale and Lou Reed before the Velvets formed. My explanation wasn’t enough for Parr, who proceeded to jab me with questions and make me justify myself. \u003c/p>\n\u003cp>Satisfied after several minutes that I did indeed know my Velvet Underground, he went to some lengths to help me view rare footage of the group through contacts at the Andy Warhol museum. Several years after that, he invited me to give a Velvet Underground film night of sorts at his small funky theater of sorts at the Oddball Films archive, near Capp and 18th Streets in the Mission. I presented several other screenings of rare rock films at Oddball over the past few years, and on multiple occasions I witnessed Stephen’s generally pessimistic view give way to fanboy enthusiasm when lights dimmed and the show got underway.\u003c/p>\n\u003cp>The last time I saw him this spring, he had no apparent physical problems, so it came as a shock to myself and the entire Bay Area film community when he died Oct. 24 at 63 years old. According to those close to him, Parr died from complications related to Parkinson’s disease.\u003c/p>\n\u003cp>https://vimeo.com/175884766\u003cbr>\n\u003c/p>\n\u003cp>For the past three decades or so, Parr ran Oddball Films and its massive archive that preserved the kind of footage most other film repositories overlook or even disdain. Educational shorts, industrial movies and early punk performances all found a home at Oddball. He even collected actual home movies, all obtained during “home movie days” when the originals would be given to the archive in exchange for higher-tech copies. Clients who licensed footage ranged from mainstream media corporations like ABC, HBO, and MTV to independent filmmakers struggling to complete their first feature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Steve was down with the underground. There were people approaching him that were advertising agencies, and he would charge them a good amount of money. There were other people who approached him who were, like, some independent filmmaker who lived in the Mission and didn’t really have any money, and he’d work with that,” said filmmaker Sam Green. \u003c/p>\n\u003cp>Green used some of Oddball’s footage in \u003cem>The Weather Underground\u003c/em>, his acclaimed documentary on radical activists the Weathermen. “Steve understood that there were artists were making art, and they didn’t necessarily have the budgets of the ad agencies,” he said. \u003c/p>\n\u003cp>And while Parr could be prickly while you were getting to know him, those who worked with Oddball stress that once he was convinced of the worthiness of your enterprise, he’d go to great lengths to help. \u003c/p>\n\u003cp>“It is a crazy thing to do, film collecting. And there are generally only dribs and drabs of revenue that come in. Without him handling my footage I never would have been able to get it out into the world like that,” director and LGBT film historian Jenni Olson said. Olson’s collection of vintage trailers and 16mm/35mm prints was stored, transferred, and licensed by Oddball.\u003c/p>\n\u003cfigure id=\"attachment_13813547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-800x600.jpg\" alt=\"Inside Oddball Films\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Oddball Films \u003ccite>(Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Thanks to Stephen and his colleagues at Oddball — especially Robert Chehoski — my footage was licensed for dozens of documentaries, including films like \u003ci>I Am Divine\u003c/i>, \u003ci>After Stonewall\u003c/i>, \u003ci>The Battle of AmFAR\u003c/i>, and \u003ci>Regarding Susan Sontag\u003c/i>.”\u003c/p>\n\u003cp>At Oddball, “you never knew what excitement was gonna get thrown at you” during a regular day, said Chehoski, who worked with Parr as Oddball’s project director for 13 years, beginning in 1998. Chehoski handled licensing and client requests — “the business stuff” as Chehoski called it — so Parr could concentrate on collecting.\u003c/p>\n\u003cp>“What made Stephen tick was collecting,” Chehoski said. “He was so skilled at obtaining that kind of stuff because he was relentless. He would literally haunt people until he got what he wanted.”\u003c/p>\n\u003cp>The thousands of reels of films at Oddball — stacked on dozens of shelves, rising dozens of feet high — formed aisles you walked through when attending Parr’s periodic screenings at the archive’s Capp Street headquarters. It was those same reels that Parr mined for the screenings at Oddball, which showcased the simultaneously eclectic and obscure. They ranged from new work by local filmmakers to vintage Asian-American rock performances.\u003c/p>\n\u003cfigure id=\"attachment_13813581\" class=\"wp-caption alignright\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg\" alt=\"A rare photo of Parr smiling on his birthday\" width=\"579\" height=\"872\" class=\"size-full wp-image-13813581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-520x783.jpg 520w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">A rare photo of Parr smiling on his birthday \u003ccite>(Robert Chehoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“His film screenings were the playful side of Stephen,” Chehoski said. \u003c/p>\n\u003cp>The Bay Area is blessed with several venues showing offbeat films, but arguably none could compare with Oddball what had to offer. And though plenty of Oddball’s films could send those with conservative tastes running for the hills, not everything Parr showed was sexy or shocking. For example, for one of my rare rock clip nights, he unearthed excerpts from the forgotten 1970 TV series \u003ci>Something Else,\u003c/i> which showed the singer Melanie and political folksinger Phil Ochs miming in impossibly industrial settings.\u003c/p>\n\u003cp>“Stephen had a great affection for the most unusual vintage films and footage — both obviously appealing campy things, but also materials that were deceptively mundane but deserved our attention,” Olson said.\u003c/p>\n\u003cp>Chehoski said it was when he showed those films that folks saw the best side of Parr.\u003c/p>\n\u003cp>“The first time I saw him onstage, talking about some films he was gonna show, he was so articulate and so well spoken, he just captivated everybody,” Chehoski said. “When he was in his element and it was something that he loved, he was incredible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-good-way-to-master-the-future-an-interview-with-holger-czukay-1997",
"title": "'A Good Way to Master the Future': An Interview with Holger Czukay, 1997",
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"content": "\u003cp>Blending insistent, almost tribal rhythms with keening guitars, keyboards, and electronics, Can were among the top German bands of the 1970s. It was something of a miracle, however, that the musicians came together in the first place to play rock. Their backgrounds were in jazz, classical music, and avant-garde composition. Yet they were determined to somehow become a rock band, dissatisfied with the stifling conventions of the more “serious” music in which they’d been schooled.\u003c/p>\n\u003cp>Improvising much of their material, and dedicated to creating their own style rather than emulating American and British rock trends, Can left much of their very career path to chance. When original singer Malcolm Mooney left after their 1969 debut album \u003cem>Monster Movie\u003c/em> to return to the United States, he was replaced by Damo Suzuki, a Japanese busker whom bassist Holger Czukay spotted in a Munich cafe. Suzuki gave his first concert with Can that night, and over the next few years his stream-of-consciousness vocals almost acted as another instrument in the ensemble. Meaning was conveyed by the nuances of his mumbles and hums as much as the actual English lyrics he sang. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/can.ege_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-13807604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When Can were at their peak, they were barely known in the United States. Over the last few decades, however, they’ve built a substantial American cult following. Indeed, their minimalist approach, spontaneity, and incorporation of avant-garde concepts and electronics proved influential on underground bands all over the globe. Sadly, several of the core members of Can are no longer with us. The latest to pass was Czukay, who died near Köln on Sept. 5, aged 79, after a lengthy post-Can solo career.\u003c/p>\n\u003cp>Holger spoke to me from San Francisco’s Phoenix hotel on Jan. 18, 1997, for the chapter on Can in my book \u003cem>Unknown Legends of Rock’n’Roll\u003c/em>. The transcript of the interview appears here for the first time. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>When Can began, the band had little experience with rock music. But you became a rock band.\u003c/strong>\u003c/p>\n\u003cp>We were bloody beginners altogether. Maybe except Jaki Liebezeit, the drummer. Jaki was quite experienced. He played one year with Chet Baker in Barcelona, and was a real jazz drummer. But the rest of Can was different. I was just nothing. I just studied with [composer Karlheinz] Stockhausen; I didn’t have any practical experience. I had some sort of weird ideas. [Michael] Karoli, the guitar player, was my pupil, and he started to study law. He had nothing in his hand too.\u003c/p>\n\u003cp>We were all bloody new beginners, and tried somehow to grow out of our soil. Irmin [Schmidt], he had some sort of experience being a conductor. But he was a beginner in playing in such a group. [Even] counting until four, he had really sort of big problems in the very beginning. [As did] every one of us.\u003c/p>\n\u003cp>\u003cstrong>What were Can’s main influences from the world of rock, as opposed to classical and avant-garde?\u003c/strong>\u003c/p>\n\u003cp>The influence, for me, of Beatles and Velvet Underground was most important. The Velvet Underground especially. They had something achieved which others didn’t achieve. Even Jimi Hendrix didn’t achieve [what they did]. One could have the opinion that this group is not able to play really properly right. They didn’t get the right rhythm, they couldn’t make a real tight rhythm. But the music was incredibly convincing.\u003c/p>\n\u003cp>This feeling made us encouraged to go on with rock music in general, instead of making avant-garde academic music. We liked to do something without notation. We didn’t want to read music off papers. We really tried to make instant compositions from the very beginning. This Can tradition actually [was] achieved very much when we played live.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Can.tago_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-13807605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>What do you see as Can’s influence on German and European progressive music?\u003c/strong>\u003c/p>\n\u003cp>People of our generation, I think they were not influenced at all. When they attended Can concerts, they thought maybe it was exciting. But nobody of these people were ever thinking, “Hey man, this is something we should take as an\u003cbr>\nideal, we should take as a way people follow up.” In Germany, actually, Can didn’t become such an image of being heroes.\u003c/p>\n\u003cp>But younger people who attended our concerts, [the] next younger generation, especially in England, they became addicted, actually, to the way of how Can made music. I found out in the last year, especially in Russia for example, [that] Can will be treated with young people sometimes [like] the Rolling Stones. The Russian people see a good way of making progressive music on their own without being forced to copy rock and roll.\u003c/p>\n\u003cp>\u003cstrong>How do you think Can has influenced the music of today?\u003c/strong>\u003c/p>\n\u003cp>Actually, I think they are not such a direct influence on these electronic people as Kraftwerk. In Germany the DJs and the young people, their fathers [were] not Can, it was Kraftwerk. Can actually was a real band, but the new music is not based on the idea of forming a band.\u003c/p>\n\u003cp>But when it comes, let’s say, of making a party or a live evening, making a big performance of nothing, then Can can become very important, because this was how Can was going on stage. Actually with an empty head, nothing pre-performed or nothing pre-whatever. We just went onstage, and who was throwing the first stone, we caught that and threw it back. And that was the beginning of the concert.\u003c/p>\n\u003cp>I think this music Can made had something to do with football or with sports. That means, you can’t really say in the next minute, where is that ball going to. A team which is playing with such a ball knows very well about those strategies. But actually you can’t say, by definition, when is the ball in this or this area. It’s the same with Can music. We know how to build up the whole thing, but the actual sound and the actual development of the thing was not foreseen.\u003c/p>\n\u003cp>\u003cstrong>In the studio too, each Can album was unpredictable.\u003c/strong>\u003c/p>\n\u003cp>It was like that. We knew making records, as other groups are doing, means pre-performing the whole thing, practicing songs and something like that, and then going to the studios and just perform[ing] and produc[ing] it. And after a short time, you are getting out of it again.\u003c/p>\n\u003cp>This was not our intention. We didn’t have anything on our mind. We just played together live in the studio as we would do it on stage, without audience.\u003c/p>\n\u003cp>\u003cstrong>Were there any albums you preferred more than others?\u003c/strong>\u003c/p>\n\u003cp>I regard the very first albums being the most important, as Can was most innocent at that time. If a group is new, young, and starting from the very beginning, actually you can’t do anything wrong. You do something wrong when you try to learn, and when you get older, getting experienced, this is when you can do mistakes and have some errors. It’s quite normal, I think, for every group. That’s the reason I really love \u003cem>Monster Movie\u003c/em>, [1971’s] \u003cem>Tago Mago\u003c/em>. \u003cem>Soundtracks\u003c/em> [from 1970] is a great album. \u003c/p>\n\u003cp>\u003cstrong>When Can hooked up with Virgin Records in the mid-1970s after Damo Suzuki left, was there any sort of pressure to go commercial?\u003c/strong>\u003c/p>\n\u003cp>That was one of the reasons what made problems in the group. In the beginning, we were a real group, an entire group. That means we were recording straightaway on two tracks. Then we became successful, we had a hit in Germany, and we were able to afford a multi-track machine. From this moment on, you can say it was the beginning of the end of Can.\u003c/p>\n\u003cp>In such a group, everybody has to criticize the other one about what he’s doing wrong and so on. But when the multitrack machine came out, it was “I want to hear guitar, or I want to hear the bass, who has made this wrong?” [Musicians were] getting a little bit afraid, and said “Okay, okay, I do my part now and play it as good as I can, and the others shouldn’t be in there,” because it makes him nervous. This was the beginning, where the group suddenly was not such a strong group again. Even if they were more sophisticated about production.\u003c/p>\n\u003cp>I knew where the weak point of Can was. There [was] too much dealing just with themselves, and nothing which came from outside. So I looked out for radio and all these sort of devices, including telephone. That means you suddenly get information from outside, getting off from your routine, and getting fresh again from the very beginning. But in terms of becoming more commercial, maybe, the other members didn’t like this idea very much. That was why I got out and started on my own, towards the end of Can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Canmonstermovie-800x797.jpg\" alt=\"\" width=\"800\" height=\"797\" class=\"aligncenter size-medium wp-image-13807606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-800x797.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-1020x1016.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-1180x1175.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-960x956.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie.jpg 1419w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>I wonder if you could compare the band as they were with Malcolm Mooney and as they were with Damo Suzuki.\u003c/strong>\u003c/p>\n\u003cp>With Malcolm Mooney we were very fresh. Malcolm was a great rhythm talent. He was a locomotive. That was the right singer [for] the very beginning. We were creating rhythms, but we were not very stable in doing that. That means someone who was pushing us into the rhythm, and giving us the feel that this is the right thing to do — this was Malcolm Mooney, and he got integrated very much into what all the other musicians did. He was the right singer at the right time.\u003c/p>\n\u003cp>When he left because of psychological reasons, Damo came in. The group was far more experienced by that time. Damo is not such a pusher. He is a different sort of singer, and therefore the group achieved such a stability. Damo fit perfectly into that.\u003c/p>\n\u003cp>The problem was, when Damo disappeared, Can was without a singer. Suddenly we felt a hole in our music. Michael was singing, but he is not…a guitar player actually should not sing, except like Jimi Hendrix or something like that. Actually a guitar player should play guitar. That was our problem. We tried out so many singers at that time, and nobody really fit again into this group. It was somehow Can’s fate, or tragedy, or whatever you can call that, that it happened like it happened.\u003c/p>\n\u003cp>\u003cstrong>It seems you could call Malcolm and Damo joining the group inspired accidents.\u003c/strong>\u003c/p>\n\u003cp>You can say, if you’re a religious person, they were given by god for starting something for mankind.\u003c/p>\n\u003cp>\u003cstrong>Does it come as a surprise to you or other people in Can to learn about the group’s cult following in the US?\u003c/strong>\u003c/p>\n\u003cp>Yes. You see, this following came up by the years. I always thought that if Can makes it, it will make it in America. I thought the way the rhythms were done, the way we played live, it was a hell of rhythmic impact. I thought that would fit far more into America than into Europe.\u003c/p>\n\u003cp>But in England, it was in [the] beginning accepted with greatest enthusiasm. Then the French people reacted on that very, very strong in the beginning of the ‘70s. But from America, we didn’t get really any reaction. We heard that we should come over and play, but somehow all this was so unstable. Nothing was really confirmed in such a way that we could say, “Okay, let’s do it, let’s go over.”\u003c/p>\n\u003cp>\u003cstrong>How have you drawn upon Can’s influence in your solo career?\u003c/strong>\u003c/p>\n\u003cp>When I started my solo career, I only could do that because Can was such a good time for learning everything you need to stand on your own feet. Without Can, that would be completely impossible. I have learned to play all the other instruments. For the first time I could play, you know, whatever. I could go back after more than twenty years to my guitar.\u003c/p>\n\u003cp>Working with other people – with Jah Wobble for example, or with David Sylvian – all this Can experience went into this collaboration with these people. For David Sylvian, it was completely new to have that style of working.\u003c/p>\n\u003cp>This open-minded conception which Can established, I think, is a good way to master the future. I can see that now, working with the young people from the electronic scene. They understand me perfectly. They are able to interact right away. This music now, with all these devices, is perfectly designed for the electronic world, it looks like. This is very living electronic music. Nothing is bad about that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"title": "'A Good Way to Master the Future': An Interview with Holger Czukay, 1997 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Blending insistent, almost tribal rhythms with keening guitars, keyboards, and electronics, Can were among the top German bands of the 1970s. It was something of a miracle, however, that the musicians came together in the first place to play rock. Their backgrounds were in jazz, classical music, and avant-garde composition. Yet they were determined to somehow become a rock band, dissatisfied with the stifling conventions of the more “serious” music in which they’d been schooled.\u003c/p>\n\u003cp>Improvising much of their material, and dedicated to creating their own style rather than emulating American and British rock trends, Can left much of their very career path to chance. When original singer Malcolm Mooney left after their 1969 debut album \u003cem>Monster Movie\u003c/em> to return to the United States, he was replaced by Damo Suzuki, a Japanese busker whom bassist Holger Czukay spotted in a Munich cafe. Suzuki gave his first concert with Can that night, and over the next few years his stream-of-consciousness vocals almost acted as another instrument in the ensemble. Meaning was conveyed by the nuances of his mumbles and hums as much as the actual English lyrics he sang. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/can.ege_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-13807604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When Can were at their peak, they were barely known in the United States. Over the last few decades, however, they’ve built a substantial American cult following. Indeed, their minimalist approach, spontaneity, and incorporation of avant-garde concepts and electronics proved influential on underground bands all over the globe. Sadly, several of the core members of Can are no longer with us. The latest to pass was Czukay, who died near Köln on Sept. 5, aged 79, after a lengthy post-Can solo career.\u003c/p>\n\u003cp>Holger spoke to me from San Francisco’s Phoenix hotel on Jan. 18, 1997, for the chapter on Can in my book \u003cem>Unknown Legends of Rock’n’Roll\u003c/em>. The transcript of the interview appears here for the first time. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>When Can began, the band had little experience with rock music. But you became a rock band.\u003c/strong>\u003c/p>\n\u003cp>We were bloody beginners altogether. Maybe except Jaki Liebezeit, the drummer. Jaki was quite experienced. He played one year with Chet Baker in Barcelona, and was a real jazz drummer. But the rest of Can was different. I was just nothing. I just studied with [composer Karlheinz] Stockhausen; I didn’t have any practical experience. I had some sort of weird ideas. [Michael] Karoli, the guitar player, was my pupil, and he started to study law. He had nothing in his hand too.\u003c/p>\n\u003cp>We were all bloody new beginners, and tried somehow to grow out of our soil. Irmin [Schmidt], he had some sort of experience being a conductor. But he was a beginner in playing in such a group. [Even] counting until four, he had really sort of big problems in the very beginning. [As did] every one of us.\u003c/p>\n\u003cp>\u003cstrong>What were Can’s main influences from the world of rock, as opposed to classical and avant-garde?\u003c/strong>\u003c/p>\n\u003cp>The influence, for me, of Beatles and Velvet Underground was most important. The Velvet Underground especially. They had something achieved which others didn’t achieve. Even Jimi Hendrix didn’t achieve [what they did]. One could have the opinion that this group is not able to play really properly right. They didn’t get the right rhythm, they couldn’t make a real tight rhythm. But the music was incredibly convincing.\u003c/p>\n\u003cp>This feeling made us encouraged to go on with rock music in general, instead of making avant-garde academic music. We liked to do something without notation. We didn’t want to read music off papers. We really tried to make instant compositions from the very beginning. This Can tradition actually [was] achieved very much when we played live.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Can.tago_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-13807605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>What do you see as Can’s influence on German and European progressive music?\u003c/strong>\u003c/p>\n\u003cp>People of our generation, I think they were not influenced at all. When they attended Can concerts, they thought maybe it was exciting. But nobody of these people were ever thinking, “Hey man, this is something we should take as an\u003cbr>\nideal, we should take as a way people follow up.” In Germany, actually, Can didn’t become such an image of being heroes.\u003c/p>\n\u003cp>But younger people who attended our concerts, [the] next younger generation, especially in England, they became addicted, actually, to the way of how Can made music. I found out in the last year, especially in Russia for example, [that] Can will be treated with young people sometimes [like] the Rolling Stones. The Russian people see a good way of making progressive music on their own without being forced to copy rock and roll.\u003c/p>\n\u003cp>\u003cstrong>How do you think Can has influenced the music of today?\u003c/strong>\u003c/p>\n\u003cp>Actually, I think they are not such a direct influence on these electronic people as Kraftwerk. In Germany the DJs and the young people, their fathers [were] not Can, it was Kraftwerk. Can actually was a real band, but the new music is not based on the idea of forming a band.\u003c/p>\n\u003cp>But when it comes, let’s say, of making a party or a live evening, making a big performance of nothing, then Can can become very important, because this was how Can was going on stage. Actually with an empty head, nothing pre-performed or nothing pre-whatever. We just went onstage, and who was throwing the first stone, we caught that and threw it back. And that was the beginning of the concert.\u003c/p>\n\u003cp>I think this music Can made had something to do with football or with sports. That means, you can’t really say in the next minute, where is that ball going to. A team which is playing with such a ball knows very well about those strategies. But actually you can’t say, by definition, when is the ball in this or this area. It’s the same with Can music. We know how to build up the whole thing, but the actual sound and the actual development of the thing was not foreseen.\u003c/p>\n\u003cp>\u003cstrong>In the studio too, each Can album was unpredictable.\u003c/strong>\u003c/p>\n\u003cp>It was like that. We knew making records, as other groups are doing, means pre-performing the whole thing, practicing songs and something like that, and then going to the studios and just perform[ing] and produc[ing] it. And after a short time, you are getting out of it again.\u003c/p>\n\u003cp>This was not our intention. We didn’t have anything on our mind. We just played together live in the studio as we would do it on stage, without audience.\u003c/p>\n\u003cp>\u003cstrong>Were there any albums you preferred more than others?\u003c/strong>\u003c/p>\n\u003cp>I regard the very first albums being the most important, as Can was most innocent at that time. If a group is new, young, and starting from the very beginning, actually you can’t do anything wrong. You do something wrong when you try to learn, and when you get older, getting experienced, this is when you can do mistakes and have some errors. It’s quite normal, I think, for every group. That’s the reason I really love \u003cem>Monster Movie\u003c/em>, [1971’s] \u003cem>Tago Mago\u003c/em>. \u003cem>Soundtracks\u003c/em> [from 1970] is a great album. \u003c/p>\n\u003cp>\u003cstrong>When Can hooked up with Virgin Records in the mid-1970s after Damo Suzuki left, was there any sort of pressure to go commercial?\u003c/strong>\u003c/p>\n\u003cp>That was one of the reasons what made problems in the group. In the beginning, we were a real group, an entire group. That means we were recording straightaway on two tracks. Then we became successful, we had a hit in Germany, and we were able to afford a multi-track machine. From this moment on, you can say it was the beginning of the end of Can.\u003c/p>\n\u003cp>In such a group, everybody has to criticize the other one about what he’s doing wrong and so on. But when the multitrack machine came out, it was “I want to hear guitar, or I want to hear the bass, who has made this wrong?” [Musicians were] getting a little bit afraid, and said “Okay, okay, I do my part now and play it as good as I can, and the others shouldn’t be in there,” because it makes him nervous. This was the beginning, where the group suddenly was not such a strong group again. Even if they were more sophisticated about production.\u003c/p>\n\u003cp>I knew where the weak point of Can was. There [was] too much dealing just with themselves, and nothing which came from outside. So I looked out for radio and all these sort of devices, including telephone. That means you suddenly get information from outside, getting off from your routine, and getting fresh again from the very beginning. But in terms of becoming more commercial, maybe, the other members didn’t like this idea very much. That was why I got out and started on my own, towards the end of Can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Canmonstermovie-800x797.jpg\" alt=\"\" width=\"800\" height=\"797\" class=\"aligncenter size-medium wp-image-13807606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-800x797.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-1020x1016.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-1180x1175.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-960x956.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie.jpg 1419w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>I wonder if you could compare the band as they were with Malcolm Mooney and as they were with Damo Suzuki.\u003c/strong>\u003c/p>\n\u003cp>With Malcolm Mooney we were very fresh. Malcolm was a great rhythm talent. He was a locomotive. That was the right singer [for] the very beginning. We were creating rhythms, but we were not very stable in doing that. That means someone who was pushing us into the rhythm, and giving us the feel that this is the right thing to do — this was Malcolm Mooney, and he got integrated very much into what all the other musicians did. He was the right singer at the right time.\u003c/p>\n\u003cp>When he left because of psychological reasons, Damo came in. The group was far more experienced by that time. Damo is not such a pusher. He is a different sort of singer, and therefore the group achieved such a stability. Damo fit perfectly into that.\u003c/p>\n\u003cp>The problem was, when Damo disappeared, Can was without a singer. Suddenly we felt a hole in our music. Michael was singing, but he is not…a guitar player actually should not sing, except like Jimi Hendrix or something like that. Actually a guitar player should play guitar. That was our problem. We tried out so many singers at that time, and nobody really fit again into this group. It was somehow Can’s fate, or tragedy, or whatever you can call that, that it happened like it happened.\u003c/p>\n\u003cp>\u003cstrong>It seems you could call Malcolm and Damo joining the group inspired accidents.\u003c/strong>\u003c/p>\n\u003cp>You can say, if you’re a religious person, they were given by god for starting something for mankind.\u003c/p>\n\u003cp>\u003cstrong>Does it come as a surprise to you or other people in Can to learn about the group’s cult following in the US?\u003c/strong>\u003c/p>\n\u003cp>Yes. You see, this following came up by the years. I always thought that if Can makes it, it will make it in America. I thought the way the rhythms were done, the way we played live, it was a hell of rhythmic impact. I thought that would fit far more into America than into Europe.\u003c/p>\n\u003cp>But in England, it was in [the] beginning accepted with greatest enthusiasm. Then the French people reacted on that very, very strong in the beginning of the ‘70s. But from America, we didn’t get really any reaction. We heard that we should come over and play, but somehow all this was so unstable. Nothing was really confirmed in such a way that we could say, “Okay, let’s do it, let’s go over.”\u003c/p>\n\u003cp>\u003cstrong>How have you drawn upon Can’s influence in your solo career?\u003c/strong>\u003c/p>\n\u003cp>When I started my solo career, I only could do that because Can was such a good time for learning everything you need to stand on your own feet. Without Can, that would be completely impossible. I have learned to play all the other instruments. For the first time I could play, you know, whatever. I could go back after more than twenty years to my guitar.\u003c/p>\n\u003cp>Working with other people – with Jah Wobble for example, or with David Sylvian – all this Can experience went into this collaboration with these people. For David Sylvian, it was completely new to have that style of working.\u003c/p>\n\u003cp>This open-minded conception which Can established, I think, is a good way to master the future. I can see that now, working with the young people from the electronic scene. They understand me perfectly. They are able to interact right away. This music now, with all these devices, is perfectly designed for the electronic world, it looks like. This is very living electronic music. Nothing is bad about that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "road-to-the-summer-of-love-a-snapshot-of-sweet-60s-madness",
"title": "'Road to the Summer of Love' a Snapshot of Sweet '60s Madness",
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"content": "\u003cp>Back in the late ’80s, I found Ralph J. Gleason’s paperback \u003cem>The Jefferson Airplane and the San Francisco Sound \u003c/em>for $3 at Green Apple Books. I never thought the next copy I’d see would be in a glass case in a Summer of Love exhibit at the California Historical Society — a testament not only to the book’s rarity, but to the sky-high esteem in which the era is now held as it marks its 50th anniversary.\u003c/p>\n\u003cp>Although more modest in scale than the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">de Young’s current Summer of Love extravaganza\u003c/a>, the California Historical Society’s current exhibition \u003cem>\u003ca href=\"https://www.californiahistoricalsociety.org/exhibitions/summer_of_love/\" target=\"_blank\" rel=\"noopener\">On the Road to the Summer of Love\u003c/a>\u003c/em>, running through Sept. 10, offers important context through photos, memorabilia, and audiovisuals. (And at $5, the price is right.) Rooms on the Beats and the Free Speech Movement trace the Bay Area’s proudly rebellious bohemianism back to the late 1950s and early 1960s. The folk revival (check the pictures of a pre-rock Janis Joplin and short-haired Jerry Garcia and Jorma Kaukonen), the San Francisco Mime Troupe, and the experimental music of the San Francisco Tape Music Center all get their due as vital forces in the city’s simmering volcano.\u003c/p>\n\u003cfigure id=\"attachment_13215536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/SOL2-800x558.jpg\" alt=\"Death of Money Parade, Haight Street, 1967. \" width=\"800\" height=\"558\" class=\"size-medium wp-image-13215536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Death of Money’ parade, Haight Street, 1967. \u003ccite>(Photo: Gene Anthony; Collection of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet the heart of the displays focus on that brief time from around late 1965 to late 1967, when psychedelic rock and the counterculture made San Francisco \u003cem>the\u003c/em> place to be. Smack in the middle of those two years, the Grateful Dead played a “Love Pageant Rally” in Golden Gate Park’s panhandle, held on the very day (October 6, 1966) LSD became illegal, as captured in one particularly vivid color shot. As Jefferson Airplane’s Paul Kantner remembers in one of the interviews visitors can hear at audio stations, “It was just Halloween all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13215537\" class=\"wp-caption alignright\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/SOL3.jpg\" alt=\"San Francisco Mime Troupe, c. 1966.\" width=\"788\" height=\"1002\" class=\"size-full wp-image-13215537\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe, c. 1966. \u003ccite>(Gene Anthony; Collection of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of the images will be familiar to visitors well-versed in the time and place, whether it’s Joplin at the Monterey Pop Festival or the “Death of Hippie” procession down Haight Street in fall 1967. However, many pictures are uncommon, even some of the ones that are focused on celebrities. For instance, major collectors might not have seen the poster for a pre-Janis Big Brother & the Holding Company benefit show for Berkeley’s Open Theater, or an ad for the “Jefferson Airplane Loves You” fan club (housed at “Jefferson Airport” in Millbrae, $1 entitling members to a “Far-Out” Flight Card, among other goodies). The Free Speech section features not just the expected shot of Joan Baez, but also a couple shots of folkie Barbara Dane, who was probably even further to the left of Baez.\u003c/p>\n\u003cp>Both the Airplane and Big Brother made big splashes at the Monterey Pop Festival, and photographs of them and others in action at the event make their expected presence. But so do color shots from the Fantasy Fair and Magic Mountain Music Festival, a much smaller yet almost equally vibrant festival on Mount Tamalpais held the weekend before Monterey. Other artifacts remind us the new dawn was far from universally welcomed, whether it’s a somber Lawrence Ferlinghetti standing in front of a “Banned Books” window display at City Lights in 1958, or an issue of \u003cem>Record\u003c/em>, the neighborhood Haight-Ashbury paper, headlined “SUPERVISORS FACE HIPPIE AVALANCHE” nearly a decade later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you have ample time on your visit, one screen shows the full-length documentary \u003cem>The Life and Times of the Red Dog Saloon\u003c/em>, spotlighting the Virginia City venue that hosted a lengthy residency by one of San Francisco’s first psychedelic bands, the Charlatans. As a shorter audio soundbite, there’s a five-minute recording of the Grateful Dead jamming with jazz flutist Charles Lloyd on “Good Morning Little Schoolgirl” at the January 1967 Human Be-In at Golden Gate Park’s Polo Fields. Paul Kantner’s seven-minute history of the launch of the Airplane is quite entertaining, too, revealing how the band considered naming themselves the Other Side before settling on “Jefferson Airplane, [which] was the name of somebody’s dog.”\u003c/p>\n\u003cfigure id=\"attachment_13215534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Revelations2X-800x549.jpg\" alt=\"Revelations 2, 1965\" width=\"800\" height=\"549\" class=\"size-medium wp-image-13215534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-960x659.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-520x357.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Revelations 2, 1965. \u003ccite>(Kelly Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the great music and charismatic figures around which the Summer of Love revolved, some of the most affecting relics remind us that many of the hundreds of thousands flocking to the Haight were ordinary, sometimes struggling youngsters. One shows a group of anonymous young guys – all with backs turned to the camera – looking over the city from a rooftop, some perhaps to make a big impression on the community, like the longhair on the left with a guitar. Others, perhaps, became some of the runaways who ended up on the streets, relying on free food giveaways by the Diggers to survive. A contact sheet of pedestrian traffic on Haight Street shows a mixture of such street kids and hippies, as well as the odd pair of straight businessmen in suits somehow caught in the sweet madness that this exhibit revives.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On the Road to the Summer of Love’ runs through Sept. 10, 2017, at the California Historical Society. In a joint event, the Contemporary Jewish Museum hosts a conversation with Lou Adler, co-producer of the Monterey Pop Festival, on Saturday, May 13, at 3:30pm. For more details about the exhibit and corresponding events, see \u003ca href=\"http://californiahistoricalsociety.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The California Historical Society's current exhibition offers important context through photos, memorabilia, and audiovisuals of late-1960s artists and radicals in San Francisco.",
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"title": "'Road to the Summer of Love' a Snapshot of Sweet '60s Madness | KQED",
"description": "The California Historical Society's current exhibition offers important context through photos, memorabilia, and audiovisuals of late-1960s artists and radicals in San Francisco.",
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"headline": "'Road to the Summer of Love' a Snapshot of Sweet '60s Madness",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the late ’80s, I found Ralph J. Gleason’s paperback \u003cem>The Jefferson Airplane and the San Francisco Sound \u003c/em>for $3 at Green Apple Books. I never thought the next copy I’d see would be in a glass case in a Summer of Love exhibit at the California Historical Society — a testament not only to the book’s rarity, but to the sky-high esteem in which the era is now held as it marks its 50th anniversary.\u003c/p>\n\u003cp>Although more modest in scale than the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">de Young’s current Summer of Love extravaganza\u003c/a>, the California Historical Society’s current exhibition \u003cem>\u003ca href=\"https://www.californiahistoricalsociety.org/exhibitions/summer_of_love/\" target=\"_blank\" rel=\"noopener\">On the Road to the Summer of Love\u003c/a>\u003c/em>, running through Sept. 10, offers important context through photos, memorabilia, and audiovisuals. (And at $5, the price is right.) Rooms on the Beats and the Free Speech Movement trace the Bay Area’s proudly rebellious bohemianism back to the late 1950s and early 1960s. The folk revival (check the pictures of a pre-rock Janis Joplin and short-haired Jerry Garcia and Jorma Kaukonen), the San Francisco Mime Troupe, and the experimental music of the San Francisco Tape Music Center all get their due as vital forces in the city’s simmering volcano.\u003c/p>\n\u003cfigure id=\"attachment_13215536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/SOL2-800x558.jpg\" alt=\"Death of Money Parade, Haight Street, 1967. \" width=\"800\" height=\"558\" class=\"size-medium wp-image-13215536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/SOL2-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Death of Money’ parade, Haight Street, 1967. \u003ccite>(Photo: Gene Anthony; Collection of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet the heart of the displays focus on that brief time from around late 1965 to late 1967, when psychedelic rock and the counterculture made San Francisco \u003cem>the\u003c/em> place to be. Smack in the middle of those two years, the Grateful Dead played a “Love Pageant Rally” in Golden Gate Park’s panhandle, held on the very day (October 6, 1966) LSD became illegal, as captured in one particularly vivid color shot. As Jefferson Airplane’s Paul Kantner remembers in one of the interviews visitors can hear at audio stations, “It was just Halloween all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13215537\" class=\"wp-caption alignright\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/SOL3.jpg\" alt=\"San Francisco Mime Troupe, c. 1966.\" width=\"788\" height=\"1002\" class=\"size-full wp-image-13215537\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe, c. 1966. \u003ccite>(Gene Anthony; Collection of the California Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of the images will be familiar to visitors well-versed in the time and place, whether it’s Joplin at the Monterey Pop Festival or the “Death of Hippie” procession down Haight Street in fall 1967. However, many pictures are uncommon, even some of the ones that are focused on celebrities. For instance, major collectors might not have seen the poster for a pre-Janis Big Brother & the Holding Company benefit show for Berkeley’s Open Theater, or an ad for the “Jefferson Airplane Loves You” fan club (housed at “Jefferson Airport” in Millbrae, $1 entitling members to a “Far-Out” Flight Card, among other goodies). The Free Speech section features not just the expected shot of Joan Baez, but also a couple shots of folkie Barbara Dane, who was probably even further to the left of Baez.\u003c/p>\n\u003cp>Both the Airplane and Big Brother made big splashes at the Monterey Pop Festival, and photographs of them and others in action at the event make their expected presence. But so do color shots from the Fantasy Fair and Magic Mountain Music Festival, a much smaller yet almost equally vibrant festival on Mount Tamalpais held the weekend before Monterey. Other artifacts remind us the new dawn was far from universally welcomed, whether it’s a somber Lawrence Ferlinghetti standing in front of a “Banned Books” window display at City Lights in 1958, or an issue of \u003cem>Record\u003c/em>, the neighborhood Haight-Ashbury paper, headlined “SUPERVISORS FACE HIPPIE AVALANCHE” nearly a decade later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you have ample time on your visit, one screen shows the full-length documentary \u003cem>The Life and Times of the Red Dog Saloon\u003c/em>, spotlighting the Virginia City venue that hosted a lengthy residency by one of San Francisco’s first psychedelic bands, the Charlatans. As a shorter audio soundbite, there’s a five-minute recording of the Grateful Dead jamming with jazz flutist Charles Lloyd on “Good Morning Little Schoolgirl” at the January 1967 Human Be-In at Golden Gate Park’s Polo Fields. Paul Kantner’s seven-minute history of the launch of the Airplane is quite entertaining, too, revealing how the band considered naming themselves the Other Side before settling on “Jefferson Airplane, [which] was the name of somebody’s dog.”\u003c/p>\n\u003cfigure id=\"attachment_13215534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Revelations2X-800x549.jpg\" alt=\"Revelations 2, 1965\" width=\"800\" height=\"549\" class=\"size-medium wp-image-13215534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-1180x809.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-960x659.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Revelations2X-520x357.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Revelations 2, 1965. \u003ccite>(Kelly Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the great music and charismatic figures around which the Summer of Love revolved, some of the most affecting relics remind us that many of the hundreds of thousands flocking to the Haight were ordinary, sometimes struggling youngsters. One shows a group of anonymous young guys – all with backs turned to the camera – looking over the city from a rooftop, some perhaps to make a big impression on the community, like the longhair on the left with a guitar. Others, perhaps, became some of the runaways who ended up on the streets, relying on free food giveaways by the Diggers to survive. A contact sheet of pedestrian traffic on Haight Street shows a mixture of such street kids and hippies, as well as the odd pair of straight businessmen in suits somehow caught in the sweet madness that this exhibit revives.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On the Road to the Summer of Love’ runs through Sept. 10, 2017, at the California Historical Society. In a joint event, the Contemporary Jewish Museum hosts a conversation with Lou Adler, co-producer of the Monterey Pop Festival, on Saturday, May 13, at 3:30pm. For more details about the exhibit and corresponding events, see \u003ca href=\"http://californiahistoricalsociety.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "running-the-record-plant-pt-4-the-rebirth",
"title": "Running the Record Plant, Part 4: The Rebirth",
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"content": "\u003cp>Walk into one of the two rooms that used to function as studios in the building that used to be the Record Plant, and you’d have a hard time imagining that classic albums like Fleetwood Mac’s \u003cem>Rumours\u003c/em> were recorded here. It’s nearly empty. \u003c/p>\n\u003cp>The sole reminders of Studio B’s storied past are the florid semi-mural of shapes that can’t seem to decide whether to be clouds or balloons, and the partition dividing the main floor from the control room. But Ken Caillat doesn’t have a hard time remembering what it looked like during its glory days.\u003c/p>\n\u003cp>“When we did ‘Go Your Own Way,’ Mick Fleetwood’s drums were on that wall,” he motions. “John McVie’s bass amp was on this wall. Christine McVie had her grand piano over here, and next to the piano was the big B-3 organ and the Rhodes keyboard. So she had a little keyboard station over there. Lindsey Buckingham was back over on that red curtain.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"300\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Caillat, who co-engineered and co-produced much of \u003cem>Rumours\u003c/em> in this Sausalito building, is in town to breathe the studio into life again. With partners Kevin Bartram and Frank Pollifrone, he recently formed the Marin Music Project. Their goals aren’t just to reestablish the Record Plant as a top recording center. They also hope to use the facility to coach young talent, train studio technicians, and stream live performances. On top of that, they want to use part of the space as a museum gallery of sorts honoring rock and R&B from Marin and the rest of the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”vkuuKDVHpU2854s2pBmpm2Qo2QIl3JwW”]\u003c/p>\n\u003cp>It’s an ambitious plan to revive the hallowed space. After weathering legal and financial problems that periodically threatened its survival since it was founded in the early 1970s (see KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/2016/11/21/running-the-record-plant-part-1-the-early-years/\" target=\"_blank\" rel=\"noopener\">three-part series\u003c/a> on the Plant from last year), the studio seemed to have closed down for good almost 10 years ago. Caillat might seem an unlikely savior, given how stormy the \u003cem>Rumours\u003c/em> sessions were back in 1976.\u003c/p>\n\u003cp>Fleetwood Mac “were living in Los Angeles, and didn’t want to have so many of their friends come down and hang out,” he explains. “So they wanted to get up here, get everybody alone, and be able to really focus on their record. Nobody realized that when they were packing their bags, they were also packing all their breakup energy,” with both romantic couples in the band splitting around this time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qLe0cOPrEYQ\u003c/p>\n\u003cp>“I was sitting right there and I turned around, and the girls threw champagne in John McVie’s face because he was trying to bring his girlfriend up to the sessions,” Caillat said. “I never saw that before in a rock band. It was just fight after fight, screaming and yelling at each other about not records, but personal stuff. And I had to learn the room from scratch, basically, under fire.” Much of \u003cem>Rumours\u003c/em> was later recorded and mixed in Los Angeles-area studios, though “the record was in my opinion 80% done by that time.”\u003c/p>\n\u003cp>So why revive a studio home to such troubled times, even if it helped birth one of the top 10 bestselling albums of all time? \u003c/p>\n\u003cp>“I’m an old-fashioned guy and cherish history,” Caillat explains. “Where Jackson Browne was sitting and playing piano with me in studio three in \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener\">Wally Heider’s\u003c/a> [San Francisco studio, at the time one of the best in the country] is now a coffee shop. Texas Opera House in Austin [where] I did a couple albums with Willie Nelson, they put up a concrete computer store. I’m afraid that one day I’m gonna get a call and somebody’s gonna say ‘Hey, the Record Plant burned down.’ So I’m just doing my best to save it.\u003c/p>\n\u003cp>“You can, if you’re good enough, make a \u003cem>Songs in the Key of Life\u003c/em>,” in Studio B, Caillat maintains. “You can make a ‘Go Your Own Way.’ It just seems like it’s got the sort of magic built into the walls, that all I have to do is put some equipment back in here and paint some things, and we can create great music.”\u003c/p>\n\u003cfigure id=\"attachment_12813614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RP4-800x548.jpg\" alt=\"Unknown band having fun at the Record Plant\" width=\"800\" height=\"548\" class=\"size-medium wp-image-12813614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-1180x808.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-960x658.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-520x356.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unknown band having fun at the Record Plant. \u003ccite>(courtesy of Ken Caillat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drawing on his experience as founder of the music mentorship program \u003ca href=\"https://artistmax.org/\" target=\"_blank\" rel=\"noopener\">ArtistMax\u003c/a>, Caillat also wants the coaching of budding performers’ vocal, videography, and engineering skills to be a big part of the Plant’s purpose. Working with his daughter, the Grammy-winning singer and songwriter \u003ca href=\"http://colbiecaillat.com/\" target=\"_blank\" rel=\"noopener\">Colbie Caillat\u003c/a>, “I realized that bringing that kind of expertise into the artist’s life can accelerate their career by 10–15 years.”\u003c/p>\n\u003cp>“Our intention going into this is to provide access to those folks that are qualified to be able to come in and to want access,” adds Kevin Bartram, “and to be able to provide professional training to youth and others with talent who wouldn’t otherwise be able to afford it.” \u003c/p>\n\u003cfigure id=\"attachment_12813617\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-800x600.jpg\" alt=\"Gold Record for John Fogerty's 'Centerfold'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gold Record for John Fogerty’s ‘Centerfold.’ \u003ccite>(Richie Unterberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s another goal for the group, too. Unless you’re a musician or aspiring to work in the business, you normally wouldn’t be able to see the gold records by the likes of John Fogerty and Heart that still adorn the walls, or walk through Studio A, where Metallica recorded. But that could soon change. \u003c/p>\n\u003cp>“Part of the plan is to have essentially an experience space, a gallery, and interactive exhibits that would bring to life the music that’s been created here at the Plant, and music from Marin and the Bay Area in general,” says Bartram. “If we have it set up where people can come in in small groups and see someone actively creating music and learning how a recording studio works, we want to try to figure that out. Most people wouldn’t really know that until they’ve experienced it and seen it.\u003c/p>\n\u003cp>“Another thing we need to explore is, there’s this surface of all the big hit records and the ones that are kind of easy to call out,” he adds. “But then it’s all those other layers.” For instance, “the Rolling Stones came here and recorded. They didn’t record albums. But when they were in the area for a show, and they needed to do some recording, they got helicoptered in, went to \u003ca href=\"http://www.thetrident.net/history.html\" target=\"_blank\" rel=\"noopener\">the Trident\u003c/a>, partied at night, and came here. Those are the kind of stories that we’re in the process of trying to collect.”\u003c/p>\n\u003cfigure id=\"attachment_12813623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/StudioBWall-800x600.jpg\" alt=\"Record Plant's Studio B today\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Record Plant’s Studio B today. \u003ccite>(Richie Unterberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’ll take a lot of time and money to get everything up and running, though the three partners plan on getting at least some part of the project in operation here by fall 2018. The trio are trying to line up investors to buy the building, part of which is now rented by Harmonia wellness center. \u003c/p>\n\u003cp>“We have 10,000 square feet here, plus additional space outside,” Bartram points out. “That’s enough to be able to do what I think we want to do. But it will require that every inch of this space is really thought through and used effectively.”\u003c/p>\n\u003cp>Caillat returns to the scene of \u003cem>Rumours\u003c/em> in Studio B to illustrate how that particular space could be utilized. “How cool it would be to duplicate that setup, with the exact same instruments,” he enthuses. “I have the multitracks of the whole \u003cem>Rumours\u003c/em> album. So you could, on certain Sundays or certain Wednesdays, set the room up like it was set up. You could go out there and hear the multitracks playing through speakers at each drum station, and each instrument station.\u003c/p>\n\u003cp>“One of the secrets that we never told anybody: we tuned Mick Fleetwood’s drums every single day. So if you’re an aspiring drummer, you might want to come see, and maybe play ‘em.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" class=\"aligncenter size-full wp-image-12288414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Ken Caillat, who produced Fleetwood Mac's 'Rumors,' has stepped up to the task of restoring the Record Plant to its former glory. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walk into one of the two rooms that used to function as studios in the building that used to be the Record Plant, and you’d have a hard time imagining that classic albums like Fleetwood Mac’s \u003cem>Rumours\u003c/em> were recorded here. It’s nearly empty. \u003c/p>\n\u003cp>The sole reminders of Studio B’s storied past are the florid semi-mural of shapes that can’t seem to decide whether to be clouds or balloons, and the partition dividing the main floor from the control room. But Ken Caillat doesn’t have a hard time remembering what it looked like during its glory days.\u003c/p>\n\u003cp>“When we did ‘Go Your Own Way,’ Mick Fleetwood’s drums were on that wall,” he motions. “John McVie’s bass amp was on this wall. Christine McVie had her grand piano over here, and next to the piano was the big B-3 organ and the Rhodes keyboard. So she had a little keyboard station over there. Lindsey Buckingham was back over on that red curtain.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"300\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Caillat, who co-engineered and co-produced much of \u003cem>Rumours\u003c/em> in this Sausalito building, is in town to breathe the studio into life again. With partners Kevin Bartram and Frank Pollifrone, he recently formed the Marin Music Project. Their goals aren’t just to reestablish the Record Plant as a top recording center. They also hope to use the facility to coach young talent, train studio technicians, and stream live performances. On top of that, they want to use part of the space as a museum gallery of sorts honoring rock and R&B from Marin and the rest of the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s an ambitious plan to revive the hallowed space. After weathering legal and financial problems that periodically threatened its survival since it was founded in the early 1970s (see KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/2016/11/21/running-the-record-plant-part-1-the-early-years/\" target=\"_blank\" rel=\"noopener\">three-part series\u003c/a> on the Plant from last year), the studio seemed to have closed down for good almost 10 years ago. Caillat might seem an unlikely savior, given how stormy the \u003cem>Rumours\u003c/em> sessions were back in 1976.\u003c/p>\n\u003cp>Fleetwood Mac “were living in Los Angeles, and didn’t want to have so many of their friends come down and hang out,” he explains. “So they wanted to get up here, get everybody alone, and be able to really focus on their record. Nobody realized that when they were packing their bags, they were also packing all their breakup energy,” with both romantic couples in the band splitting around this time.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qLe0cOPrEYQ'\n title='//www.youtube.com/embed/qLe0cOPrEYQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I was sitting right there and I turned around, and the girls threw champagne in John McVie’s face because he was trying to bring his girlfriend up to the sessions,” Caillat said. “I never saw that before in a rock band. It was just fight after fight, screaming and yelling at each other about not records, but personal stuff. And I had to learn the room from scratch, basically, under fire.” Much of \u003cem>Rumours\u003c/em> was later recorded and mixed in Los Angeles-area studios, though “the record was in my opinion 80% done by that time.”\u003c/p>\n\u003cp>So why revive a studio home to such troubled times, even if it helped birth one of the top 10 bestselling albums of all time? \u003c/p>\n\u003cp>“I’m an old-fashioned guy and cherish history,” Caillat explains. “Where Jackson Browne was sitting and playing piano with me in studio three in \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener\">Wally Heider’s\u003c/a> [San Francisco studio, at the time one of the best in the country] is now a coffee shop. Texas Opera House in Austin [where] I did a couple albums with Willie Nelson, they put up a concrete computer store. I’m afraid that one day I’m gonna get a call and somebody’s gonna say ‘Hey, the Record Plant burned down.’ So I’m just doing my best to save it.\u003c/p>\n\u003cp>“You can, if you’re good enough, make a \u003cem>Songs in the Key of Life\u003c/em>,” in Studio B, Caillat maintains. “You can make a ‘Go Your Own Way.’ It just seems like it’s got the sort of magic built into the walls, that all I have to do is put some equipment back in here and paint some things, and we can create great music.”\u003c/p>\n\u003cfigure id=\"attachment_12813614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RP4-800x548.jpg\" alt=\"Unknown band having fun at the Record Plant\" width=\"800\" height=\"548\" class=\"size-medium wp-image-12813614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-1180x808.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-960x658.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RP4-520x356.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unknown band having fun at the Record Plant. \u003ccite>(courtesy of Ken Caillat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drawing on his experience as founder of the music mentorship program \u003ca href=\"https://artistmax.org/\" target=\"_blank\" rel=\"noopener\">ArtistMax\u003c/a>, Caillat also wants the coaching of budding performers’ vocal, videography, and engineering skills to be a big part of the Plant’s purpose. Working with his daughter, the Grammy-winning singer and songwriter \u003ca href=\"http://colbiecaillat.com/\" target=\"_blank\" rel=\"noopener\">Colbie Caillat\u003c/a>, “I realized that bringing that kind of expertise into the artist’s life can accelerate their career by 10–15 years.”\u003c/p>\n\u003cp>“Our intention going into this is to provide access to those folks that are qualified to be able to come in and to want access,” adds Kevin Bartram, “and to be able to provide professional training to youth and others with talent who wouldn’t otherwise be able to afford it.” \u003c/p>\n\u003cfigure id=\"attachment_12813617\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-800x600.jpg\" alt=\"Gold Record for John Fogerty's 'Centerfold'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/GoldRecordCenterfield-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gold Record for John Fogerty’s ‘Centerfold.’ \u003ccite>(Richie Unterberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s another goal for the group, too. Unless you’re a musician or aspiring to work in the business, you normally wouldn’t be able to see the gold records by the likes of John Fogerty and Heart that still adorn the walls, or walk through Studio A, where Metallica recorded. But that could soon change. \u003c/p>\n\u003cp>“Part of the plan is to have essentially an experience space, a gallery, and interactive exhibits that would bring to life the music that’s been created here at the Plant, and music from Marin and the Bay Area in general,” says Bartram. “If we have it set up where people can come in in small groups and see someone actively creating music and learning how a recording studio works, we want to try to figure that out. Most people wouldn’t really know that until they’ve experienced it and seen it.\u003c/p>\n\u003cp>“Another thing we need to explore is, there’s this surface of all the big hit records and the ones that are kind of easy to call out,” he adds. “But then it’s all those other layers.” For instance, “the Rolling Stones came here and recorded. They didn’t record albums. But when they were in the area for a show, and they needed to do some recording, they got helicoptered in, went to \u003ca href=\"http://www.thetrident.net/history.html\" target=\"_blank\" rel=\"noopener\">the Trident\u003c/a>, partied at night, and came here. Those are the kind of stories that we’re in the process of trying to collect.”\u003c/p>\n\u003cfigure id=\"attachment_12813623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/StudioBWall-800x600.jpg\" alt=\"Record Plant's Studio B today\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/StudioBWall-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Record Plant’s Studio B today. \u003ccite>(Richie Unterberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’ll take a lot of time and money to get everything up and running, though the three partners plan on getting at least some part of the project in operation here by fall 2018. The trio are trying to line up investors to buy the building, part of which is now rented by Harmonia wellness center. \u003c/p>\n\u003cp>“We have 10,000 square feet here, plus additional space outside,” Bartram points out. “That’s enough to be able to do what I think we want to do. But it will require that every inch of this space is really thought through and used effectively.”\u003c/p>\n\u003cp>Caillat returns to the scene of \u003cem>Rumours\u003c/em> in Studio B to illustrate how that particular space could be utilized. “How cool it would be to duplicate that setup, with the exact same instruments,” he enthuses. “I have the multitracks of the whole \u003cem>Rumours\u003c/em> album. So you could, on certain Sundays or certain Wednesdays, set the room up like it was set up. You could go out there and hear the multitracks playing through speakers at each drum station, and each instrument station.\u003c/p>\n\u003cp>“One of the secrets that we never told anybody: we tuned Mick Fleetwood’s drums every single day. So if you’re an aspiring drummer, you might want to come see, and maybe play ‘em.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Arne Frager took over the Plant in Sausalito in 1988, he wasn’t much interested in sex, drugs, and rock and roll.\u003c/p>\n\u003cp>“I was really interested in rebuilding the studio into a really great sound emporium for making records,” Frager said. \u003c/p>\n\u003cp>If hits are what a studio’s judged by, it generated plenty of those over the next decade and a half or so. It held sessions for big albums by Carlos Santana, Metallica, Dave Matthews, John Lee Hooker, and Mariah Carey, as well as for lesser-selling but celebrated artists like the Kronos Quartet.\u003c/p>\n\u003cp>“It was a party studio throughout the ’70s, until the government seized it in 1985,” says Frager, as the first two parts of this series illustrate. “I had Herbie Herbert, the manager of Journey, tell me he’d never go there, even though he knew I was rebuilding it and was more serious about business. He said, ‘I tried to talk Journey out of going there, and they went there and wasted lots of money just partying. I didn’t like that.’”\u003c/p>\n\u003cp>So if the partying, if not eliminated, was no longer as much the focus, what was drawing so many acts to the Plant, both from the Bay Area and beyond? \u003c/p>\n\u003cfigure id=\"attachment_12504456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-800x600.jpg\" alt=\"Arne Frager with the Dave Mathews Band\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12504456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arne Frager with the Dave Mathews Band \u003ccite>(Courtesy of Frager)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You would have the ability to step outside and be surrounded by these gorgeous, tall eucalyptus trees, and walk a few steps out to a beautiful dock by the edge of the bay,” remarks producer/engineer Enrique Gonzalez Müller (now also a professor at Boston’s Berklee College of Music), who was on the staff for several years starting in 1999, and continued to work on Plant projects until its 2008 closure. “But at the same time, you didn’t really feel the need to step out of the studio because the vibe was amazing!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the studios that had a lot of use, called ‘the Garden’ — which used to be Sly Stone’s personal room back in the day —- the lounge for that studio was literally outside, in the open air. The lounge was this beautiful little garden that had fish in a pond and a Jacuzzi that you could relax in. It wasn’t really the type of atmosphere that you find in a lot of big studios where you do want to step out for air and escape the pressure of making records. People just relaxed, hung out, and that level of ease and comfort definitely transpired onto the music being captured within those walls.”\u003c/p>\n\u003cp>Just because Frager was the owner didn’t mean he always got special treatment. When Van Morrison was booked for an album, “the only words he spoke to me in the month he was at the Plant were ‘Hi, I’m Van’” as Arne was waiting to greet Van the Man at the studio’s front door on the first day of the sessions. When Frager went to Studio C to introduce himself to Starship, their manager “blocked the door and said ‘hey, you can’t come in here,’ and locked the door in front of me.” When Stephan Jenkins from Third Eye Blind kept parking his motorcycle in Arne’s space by the front door, according to Frager, Metallica bassist Jason Newsted relieved himself on the vehicle in rebuttal, though by the time Jenkins came out at night hours later, the stink had evaporated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=52u8eGVqdsI\u003c/p>\n\u003cp>Such hijinks, however, seemed to take a back seat to more serious work, such as sessions Gonzalez Müller worked on for the Kronos Quartet’s \u003cem>You’ve Stolen My Heart\u003c/em>. “Kronos decided that they were going to record and re-create every single element heard in these [vintage] Bollywood scores, which have gigantic orchestral, super-quirky, unconventional instruments,” he recalls. “We needed to do a ton of overdubs. If they wanted to record one melody, they would record it three, six, eight times to create the sound of a larger orchestra. It became this beautiful monster for us engineers. We had to be on top of this massive amount of musical input that then we had to filter, sift through, and condense into something palatable.\u003c/p>\n\u003cp>“They brought in Asha Bhosle,” the Indian singer on the original recordings of this material, composed by her late husband, R.D. Burman. Then in her early seventies, “Asha had more energy than any of us, and the Kronos Quartet are an energetic bunch. When she started singing, it was an exact photocopy of what you had heard her do in the ’50s. Every single peak and valley of her vibrato seemed to be performed perfectly, deliberately, and assertively.\u003c/p>\n\u003cp>“Here we were in a laboratory making this beautifully layered, complex Persian rug one little tedious hair at a time. I might be misquoting the year, but to paraphrase, she shared this anecdote: ‘In 1943, I had to do two albums in one day. I remember reading the score as a young singer, and it had instructions for when to ‘duck,’ because the entire orchestra was recorded with one single microphone, live!’ The flutes were behind her, and if she didn’t duck, the microphone couldn’t capture their fragile sound accurately. That was such a profound story for me for how there’s a million ways that you can capture emotionally captivating music.”\u003c/p>\n\u003cfigure id=\"attachment_12480853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg\" alt=\"Carlos Santana and Arne Frager at the Record Plant\" width=\"800\" height=\"540\" class=\"size-medium wp-image-12480853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-520x351.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A.jpg 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Santana and Arne Frager in the Record Plant’s Studio A \u003ccite>(Courtesy of Arne Farger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Frager takes great pride in hits like Santana’s \u003cem>Supernatural\u003c/em> (where a Polygram executive who signed Carlos came to sessions for a couple weeks just to hang out because he was such a big fan of the guitarist), he’d also sometimes let up-and-coming bands use the facilities. “We did a band on spec, just to help them, called the Monophonics,” who are from San Francisco and are “kind of a funky horn band. They’re out there touring all over the world doing really well. We gave ‘em the time at the Plant just for their first record. No charge.\u003c/p>\n\u003cp>“I always felt it was a crime to see a studio with a million-dollar investment, or 2 million, sitting there empty. If people approached me, and had a project — sometimes I had an interest in the project — sometimes we just gave ‘em the studio,” though he acknowledges he also did so for “a long list of bands nobody’s ever heard of.” 4 Non Blondes’ 1993 hit “What’s Up” was also cut at the Plant. But as Arne notes, singer-guitarist-songwriter Linda Perry never brought “another dollar’s worth of business into the Plant” after leaving the band for a solo career.\u003c/p>\n\u003cp>Frager sold the studio in 2008, although it kept running for another month or two. Since then the Plant in Sausalito has ceased operations, though the building’s now being used by Harmonia, “a health and well-being social club” (as its website describes it). \u003c/p>\n\u003cp>[contextly_sidebar id=”Q1xZAMEjQP2AntO1a0PCKxdFJA8XDpyA”]\u003c/p>\n\u003cp>“We started losing money in 2000 because of Napster,” says Frager. “Young people who used to buy records suddenly found out that you could get music for free. I kept it alive for eight more years with my own money. I put [in] over $1 million, thinking ‘this can’t possibly stay this way. These record companies are gonna figure this out.’ I ran out of the ability to use my own personal funds. By the end of 2007, I could no longer afford to keep the doors open. Nobody’s making any records there, and that’s really what that building is for. They’ve been trying to sell it ever since I closed the doors.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While Frager has moved on to a new chapter in his life and is now “signing and developing unknown artists,” he maintains the \u003ca href=\"http://plantstudios.com/\" target=\"_blank\" rel=\"noopener\">Plant Recordings Studios site\u003c/a> “because that’s my brand. Above any studio I’ve ever been in that was a major studio, this place kind of had a laid back, relaxed feel. It was very conducive to making records. I always felt there was magic in that building. I still do.”\u003c/p>\n\n",
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"title": "Running the Record Plant, Part 3: The End | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Arne Frager took over the Plant in Sausalito in 1988, he wasn’t much interested in sex, drugs, and rock and roll.\u003c/p>\n\u003cp>“I was really interested in rebuilding the studio into a really great sound emporium for making records,” Frager said. \u003c/p>\n\u003cp>If hits are what a studio’s judged by, it generated plenty of those over the next decade and a half or so. It held sessions for big albums by Carlos Santana, Metallica, Dave Matthews, John Lee Hooker, and Mariah Carey, as well as for lesser-selling but celebrated artists like the Kronos Quartet.\u003c/p>\n\u003cp>“It was a party studio throughout the ’70s, until the government seized it in 1985,” says Frager, as the first two parts of this series illustrate. “I had Herbie Herbert, the manager of Journey, tell me he’d never go there, even though he knew I was rebuilding it and was more serious about business. He said, ‘I tried to talk Journey out of going there, and they went there and wasted lots of money just partying. I didn’t like that.’”\u003c/p>\n\u003cp>So if the partying, if not eliminated, was no longer as much the focus, what was drawing so many acts to the Plant, both from the Bay Area and beyond? \u003c/p>\n\u003cfigure id=\"attachment_12504456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-800x600.jpg\" alt=\"Arne Frager with the Dave Mathews Band\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12504456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DMB-group-photo-RP.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arne Frager with the Dave Mathews Band \u003ccite>(Courtesy of Frager)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You would have the ability to step outside and be surrounded by these gorgeous, tall eucalyptus trees, and walk a few steps out to a beautiful dock by the edge of the bay,” remarks producer/engineer Enrique Gonzalez Müller (now also a professor at Boston’s Berklee College of Music), who was on the staff for several years starting in 1999, and continued to work on Plant projects until its 2008 closure. “But at the same time, you didn’t really feel the need to step out of the studio because the vibe was amazing!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the studios that had a lot of use, called ‘the Garden’ — which used to be Sly Stone’s personal room back in the day —- the lounge for that studio was literally outside, in the open air. The lounge was this beautiful little garden that had fish in a pond and a Jacuzzi that you could relax in. It wasn’t really the type of atmosphere that you find in a lot of big studios where you do want to step out for air and escape the pressure of making records. People just relaxed, hung out, and that level of ease and comfort definitely transpired onto the music being captured within those walls.”\u003c/p>\n\u003cp>Just because Frager was the owner didn’t mean he always got special treatment. When Van Morrison was booked for an album, “the only words he spoke to me in the month he was at the Plant were ‘Hi, I’m Van’” as Arne was waiting to greet Van the Man at the studio’s front door on the first day of the sessions. When Frager went to Studio C to introduce himself to Starship, their manager “blocked the door and said ‘hey, you can’t come in here,’ and locked the door in front of me.” When Stephan Jenkins from Third Eye Blind kept parking his motorcycle in Arne’s space by the front door, according to Frager, Metallica bassist Jason Newsted relieved himself on the vehicle in rebuttal, though by the time Jenkins came out at night hours later, the stink had evaporated.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/52u8eGVqdsI'\n title='//www.youtube.com/embed/52u8eGVqdsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Such hijinks, however, seemed to take a back seat to more serious work, such as sessions Gonzalez Müller worked on for the Kronos Quartet’s \u003cem>You’ve Stolen My Heart\u003c/em>. “Kronos decided that they were going to record and re-create every single element heard in these [vintage] Bollywood scores, which have gigantic orchestral, super-quirky, unconventional instruments,” he recalls. “We needed to do a ton of overdubs. If they wanted to record one melody, they would record it three, six, eight times to create the sound of a larger orchestra. It became this beautiful monster for us engineers. We had to be on top of this massive amount of musical input that then we had to filter, sift through, and condense into something palatable.\u003c/p>\n\u003cp>“They brought in Asha Bhosle,” the Indian singer on the original recordings of this material, composed by her late husband, R.D. Burman. Then in her early seventies, “Asha had more energy than any of us, and the Kronos Quartet are an energetic bunch. When she started singing, it was an exact photocopy of what you had heard her do in the ’50s. Every single peak and valley of her vibrato seemed to be performed perfectly, deliberately, and assertively.\u003c/p>\n\u003cp>“Here we were in a laboratory making this beautifully layered, complex Persian rug one little tedious hair at a time. I might be misquoting the year, but to paraphrase, she shared this anecdote: ‘In 1943, I had to do two albums in one day. I remember reading the score as a young singer, and it had instructions for when to ‘duck,’ because the entire orchestra was recorded with one single microphone, live!’ The flutes were behind her, and if she didn’t duck, the microphone couldn’t capture their fragile sound accurately. That was such a profound story for me for how there’s a million ways that you can capture emotionally captivating music.”\u003c/p>\n\u003cfigure id=\"attachment_12480853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg\" alt=\"Carlos Santana and Arne Frager at the Record Plant\" width=\"800\" height=\"540\" class=\"size-medium wp-image-12480853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-520x351.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A.jpg 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Santana and Arne Frager in the Record Plant’s Studio A \u003ccite>(Courtesy of Arne Farger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Frager takes great pride in hits like Santana’s \u003cem>Supernatural\u003c/em> (where a Polygram executive who signed Carlos came to sessions for a couple weeks just to hang out because he was such a big fan of the guitarist), he’d also sometimes let up-and-coming bands use the facilities. “We did a band on spec, just to help them, called the Monophonics,” who are from San Francisco and are “kind of a funky horn band. They’re out there touring all over the world doing really well. We gave ‘em the time at the Plant just for their first record. No charge.\u003c/p>\n\u003cp>“I always felt it was a crime to see a studio with a million-dollar investment, or 2 million, sitting there empty. If people approached me, and had a project — sometimes I had an interest in the project — sometimes we just gave ‘em the studio,” though he acknowledges he also did so for “a long list of bands nobody’s ever heard of.” 4 Non Blondes’ 1993 hit “What’s Up” was also cut at the Plant. But as Arne notes, singer-guitarist-songwriter Linda Perry never brought “another dollar’s worth of business into the Plant” after leaving the band for a solo career.\u003c/p>\n\u003cp>Frager sold the studio in 2008, although it kept running for another month or two. Since then the Plant in Sausalito has ceased operations, though the building’s now being used by Harmonia, “a health and well-being social club” (as its website describes it). \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We started losing money in 2000 because of Napster,” says Frager. “Young people who used to buy records suddenly found out that you could get music for free. I kept it alive for eight more years with my own money. I put [in] over $1 million, thinking ‘this can’t possibly stay this way. These record companies are gonna figure this out.’ I ran out of the ability to use my own personal funds. By the end of 2007, I could no longer afford to keep the doors open. Nobody’s making any records there, and that’s really what that building is for. They’ve been trying to sell it ever since I closed the doors.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Frager has moved on to a new chapter in his life and is now “signing and developing unknown artists,” he maintains the \u003ca href=\"http://plantstudios.com/\" target=\"_blank\" rel=\"noopener\">Plant Recordings Studios site\u003c/a> “because that’s my brand. Above any studio I’ve ever been in that was a major studio, this place kind of had a laid back, relaxed feel. It was very conducive to making records. I always felt there was magic in that building. I still do.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After getting up and running in the early 1970s with some celebrity local musicians and KSAN broadcasts (see \u003ca href=\"https://ww2.kqed.org/arts/2016/11/21/running-the-record-plant-part-1-the-early-years/\" target=\"_blank\" rel=\"noopener\">part one of this feature\u003c/a>), the Record Plant in Sausalito seemed to be thriving in the last half of the decade. Steve Wonder, Fleetwood Mac, and Rick James all used the studio to record hits, and it’s where Prince cut his debut album. Yet there was no small amount of turbulence behind the scenes, culminating in the Plant almost getting shut down in the mid-1980s before reasserting itself as a top recording facility.\u003c/p>\n\u003cp>For all the glamour passing through its grounds, not everyone was enamored with the sounds. Although Fleetwood Mac did more than 3,000 hours of recording there for \u003cem>Rumours\u003c/em> in early 1976, relatively little was used on the final album, which was largely recorded later that year in L.A. studios. Stevie Nicks may have used the privacy of the sunken area dubbed “the Pit” to write “Dreams,” though it was just as famous as a retreat for drug use by musicians and their visitors.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“The Pit was a complete idiotic idea,” says engineer/producer Stephen Barncard. “That’s how hard the studios were fighting to get those kind of clients.” While the drug use it fostered might have helped attract name players, as Barncard points out, it wasn’t always conducive to the best results. At one session he worked with short-lived semi-supergroup KGB (who included Mike Bloomfield, Carmine Appice, and Barry Goldberg), “Keith Richards was in the next room, and he was apparently passing around some kind of green snortable substance. [Producer Jim Price’s] friend who came along had snorted it up, and got really ill. That kind of put a pall over the whole session.”\u003c/p>\n\u003cp>As an engineer, Barncard is also critical of the space from some technical respects. “Even perfect equipment doesn’t necessarily always guarantee you’re gonna have a better record,” he feels. “I am really a fan of natural acoustics, of natural spaces. The Record Plant did not have natural spaces. It was the most unnatural. It was designed for totally isolated, multi-track recording, where you don’t have leakage between the tracks. Where you can go and punch in and fix things, and you won’t have anything behind there to give away the fact that you punched in there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Stevie Wonder, \u003cem>Songs In the Key of Life\u003c/em>? That’s the deadest record ever recorded. That’s the Record Plant sound. I didn’t like to record there because I lacked time to make stuff sound decent, but I liked the people, the gear and the location,” Barncard continues. “Many, like [producer/engineer Jim] Gaines, were able to create hit records from there, and that’s all that counts in the end. But they had the gigantic budgets and my experience was a couple of overnight quickies and two weeks with New Riders of the Purple Sage, so take my opinion with a grain of salt. In the end, we’re talking different styles of producing, and it’s all good.”\u003c/p>\n\u003cfigure id=\"attachment_12480850\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-800x800.jpg\" alt=\"Artwork for Stevie Wonder's 'Songs in the Key of Life'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12480850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork for Stevie Wonder’s ‘Songs in the Key of Life.’\u003c/figcaption>\u003c/figure>\n\u003cp>Projects continued to roll into the Plant in the late 1970s and early 1980s, but the studio’s ownership was in flux, soon threatening its very existence. Co-founder Gary Kellgren, the engineer/producer who was the artistic force behind the operation, drowned in his Hollywood swimming pool in 1977. In the early ’80s the other co-founder, Chris Stone, sold the Plant to a quadriplegic teenage music fan, Laurie Necochea. In 1984, a year before her death, it was sold to Stanley Jacox. \u003c/p>\n\u003cp>Around that time, the Pit was rejigged for more constructive purposes. “While I was doing the Con Funk Shun record [‘Electric Lady’], John Fogerty calls me,” Gaines said. “He’s coming out of retirement, quote-unquote, and he wants a studio. I had just opened up [the former Pit as] the little C room in the back. He said ‘Jim, I’m just gonna do this record myself. I’m playing all the instruments. Can you engineer it?’ I said, ‘Well, I’m in the middle of a record, I’ll give you my assistant Jeffrey Norman. Just move into the back. We need to open up the room anyway, and you’ll be easy.’\u003c/p>\n\u003cp>“When we turned it back into a real studio, \u003cem>Centerfield\u003c/em> was the first record cut in that little room. There would be days when I had Starship in one room, Huey Lewis in another room, and Fogerty in the other.” \u003c/p>\n\u003cfigure id=\"attachment_12480852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-800x804.jpg\" alt=\"Artwork for John Fogerty's 'Centerfield'\" width=\"800\" height=\"804\" class=\"size-medium wp-image-12480852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-800x804.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-1920x1930.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-1180x1186.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-960x965.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork for John Fogerty’s ‘Centerfield.’\u003c/figcaption>\u003c/figure>\n\u003cp>Yet soon after that, Jacox was accused of manufacturing amphetamines in his home and investing some of the proceeds in the Plant — and the studio was actually taken over by the federal government. \u003c/p>\n\u003cp>“The day the studio was shut down, I had a session with Journey,” remembers Gaines. “I noticed there’s a lot of cars in the parking lot for 9:30. As I’m approaching the door, here comes federal marshals; all kind of police are surrounding me. They said, ‘We’ve just taken possession of the studio, and we need to interview you.’\u003c/p>\n\u003cp>“They went through the studio, looking for drugs. They thought that was the source of the ‘drug manufacturing,’ quote unquote,” Gaines says. “They didn’t find any drugs. I mean, there might have been a joint or something in one of the road cases, but they were highly disappointed.\u003c/p>\n\u003cp>“They basically told me, ‘Look, we’re gonna take possession.’ Fortunately, I had Journey in there with all their gear and stuff. I said, ‘Well, you can’t take possession until I get all my band’s gear out of here, and tapes. ‘Cause we’re working on a record, and you cannot have any of this stuff. It doesn’t belong to the studio.’ I called the band up and said, ‘We gotta clear outta here. Everybody come and get stuff.’\u003c/p>\n\u003cp>“It was shut down for around six months or so, maybe more. At one point, the federal marshals offered me a position to open and run the studio. I said to them, ‘Look, if my clients knew I worked for the federal marshals, you think that they would come in here? Here’s the deal. Take my secretary, make her the studio manager, and I will come in and do some work.’ I actually opened the studio with Santana when that part reopened.”\u003c/p>\n\u003cfigure id=\"attachment_12480853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg\" alt=\"Carlos Santana and Arne Frager at the Record Plant\" width=\"800\" height=\"540\" class=\"size-medium wp-image-12480853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-520x351.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A.jpg 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Santana and Arne Frager in the Record Plant’s Studio A. \u003ccite>(Courtesy of Arne Farger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaines was also working with Santana at the studio for the 1989 Loma Prieta earthquake. \u003c/p>\n\u003cp>“Carlos and one of his main guys had just left to go shopping when that quake hit. I was working with Chester Thompson doing some organ overdubs. We were in studio A; I didn’t think we were gonna get out of there before that damned thing came down. When it hit, you can feel there’s some low-end rumble or something going down. So CT looks at me and says, ‘What the hell are you doing?’ I said, ‘What are you doing?” And we both said, ‘Uh-oh.’\u003c/p>\n\u003cp>“And we hit flying into that door, man. We’re out on the ground out in the parking lot, and the ground is rolling along. I had a bottle in my car; we sit in the parking lot, found us some cups, and turned the radio on, listening to ‘Bay Bridge collapsing and the freeway collapsing.’ One of the consoles got beat up pretty bad, and twisted a little bit. We was down for about at least three or four days. Phones didn’t work. The only thing that worked was the fax machine, for some reason. We never figured that out.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Previously: \u003ca href=\"https://ww2.kqed.org/arts/2016/11/21/running-the-record-plant-part-1-the-early-years/\" target=\"_blank\" rel=\"noopener\">Running the Record Plant Part 1: The Early Years\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Coming in part three: the final two decades of the Record Plant, leading up to its closure in 2008. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Though the bands kept coming to the Plant in the '80s, it struggled to stay open and saw a few different owners — including the federal government.",
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"title": "Running the Record Plant, Part 2: Staying Alive | KQED",
"description": "Though the bands kept coming to the Plant in the '80s, it struggled to stay open and saw a few different owners — including the federal government.",
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"headline": "Running the Record Plant, Part 2: Staying Alive",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After getting up and running in the early 1970s with some celebrity local musicians and KSAN broadcasts (see \u003ca href=\"https://ww2.kqed.org/arts/2016/11/21/running-the-record-plant-part-1-the-early-years/\" target=\"_blank\" rel=\"noopener\">part one of this feature\u003c/a>), the Record Plant in Sausalito seemed to be thriving in the last half of the decade. Steve Wonder, Fleetwood Mac, and Rick James all used the studio to record hits, and it’s where Prince cut his debut album. Yet there was no small amount of turbulence behind the scenes, culminating in the Plant almost getting shut down in the mid-1980s before reasserting itself as a top recording facility.\u003c/p>\n\u003cp>For all the glamour passing through its grounds, not everyone was enamored with the sounds. Although Fleetwood Mac did more than 3,000 hours of recording there for \u003cem>Rumours\u003c/em> in early 1976, relatively little was used on the final album, which was largely recorded later that year in L.A. studios. Stevie Nicks may have used the privacy of the sunken area dubbed “the Pit” to write “Dreams,” though it was just as famous as a retreat for drug use by musicians and their visitors.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“The Pit was a complete idiotic idea,” says engineer/producer Stephen Barncard. “That’s how hard the studios were fighting to get those kind of clients.” While the drug use it fostered might have helped attract name players, as Barncard points out, it wasn’t always conducive to the best results. At one session he worked with short-lived semi-supergroup KGB (who included Mike Bloomfield, Carmine Appice, and Barry Goldberg), “Keith Richards was in the next room, and he was apparently passing around some kind of green snortable substance. [Producer Jim Price’s] friend who came along had snorted it up, and got really ill. That kind of put a pall over the whole session.”\u003c/p>\n\u003cp>As an engineer, Barncard is also critical of the space from some technical respects. “Even perfect equipment doesn’t necessarily always guarantee you’re gonna have a better record,” he feels. “I am really a fan of natural acoustics, of natural spaces. The Record Plant did not have natural spaces. It was the most unnatural. It was designed for totally isolated, multi-track recording, where you don’t have leakage between the tracks. Where you can go and punch in and fix things, and you won’t have anything behind there to give away the fact that you punched in there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Stevie Wonder, \u003cem>Songs In the Key of Life\u003c/em>? That’s the deadest record ever recorded. That’s the Record Plant sound. I didn’t like to record there because I lacked time to make stuff sound decent, but I liked the people, the gear and the location,” Barncard continues. “Many, like [producer/engineer Jim] Gaines, were able to create hit records from there, and that’s all that counts in the end. But they had the gigantic budgets and my experience was a couple of overnight quickies and two weeks with New Riders of the Purple Sage, so take my opinion with a grain of salt. In the end, we’re talking different styles of producing, and it’s all good.”\u003c/p>\n\u003cfigure id=\"attachment_12480850\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-800x800.jpg\" alt=\"Artwork for Stevie Wonder's 'Songs in the Key of Life'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12480850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Wonder-Songs-in-Key-of-Life.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork for Stevie Wonder’s ‘Songs in the Key of Life.’\u003c/figcaption>\u003c/figure>\n\u003cp>Projects continued to roll into the Plant in the late 1970s and early 1980s, but the studio’s ownership was in flux, soon threatening its very existence. Co-founder Gary Kellgren, the engineer/producer who was the artistic force behind the operation, drowned in his Hollywood swimming pool in 1977. In the early ’80s the other co-founder, Chris Stone, sold the Plant to a quadriplegic teenage music fan, Laurie Necochea. In 1984, a year before her death, it was sold to Stanley Jacox. \u003c/p>\n\u003cp>Around that time, the Pit was rejigged for more constructive purposes. “While I was doing the Con Funk Shun record [‘Electric Lady’], John Fogerty calls me,” Gaines said. “He’s coming out of retirement, quote-unquote, and he wants a studio. I had just opened up [the former Pit as] the little C room in the back. He said ‘Jim, I’m just gonna do this record myself. I’m playing all the instruments. Can you engineer it?’ I said, ‘Well, I’m in the middle of a record, I’ll give you my assistant Jeffrey Norman. Just move into the back. We need to open up the room anyway, and you’ll be easy.’\u003c/p>\n\u003cp>“When we turned it back into a real studio, \u003cem>Centerfield\u003c/em> was the first record cut in that little room. There would be days when I had Starship in one room, Huey Lewis in another room, and Fogerty in the other.” \u003c/p>\n\u003cfigure id=\"attachment_12480852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-800x804.jpg\" alt=\"Artwork for John Fogerty's 'Centerfield'\" width=\"800\" height=\"804\" class=\"size-medium wp-image-12480852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-800x804.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-1920x1930.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-1180x1186.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-960x965.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fogerty-Centerfield.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork for John Fogerty’s ‘Centerfield.’\u003c/figcaption>\u003c/figure>\n\u003cp>Yet soon after that, Jacox was accused of manufacturing amphetamines in his home and investing some of the proceeds in the Plant — and the studio was actually taken over by the federal government. \u003c/p>\n\u003cp>“The day the studio was shut down, I had a session with Journey,” remembers Gaines. “I noticed there’s a lot of cars in the parking lot for 9:30. As I’m approaching the door, here comes federal marshals; all kind of police are surrounding me. They said, ‘We’ve just taken possession of the studio, and we need to interview you.’\u003c/p>\n\u003cp>“They went through the studio, looking for drugs. They thought that was the source of the ‘drug manufacturing,’ quote unquote,” Gaines says. “They didn’t find any drugs. I mean, there might have been a joint or something in one of the road cases, but they were highly disappointed.\u003c/p>\n\u003cp>“They basically told me, ‘Look, we’re gonna take possession.’ Fortunately, I had Journey in there with all their gear and stuff. I said, ‘Well, you can’t take possession until I get all my band’s gear out of here, and tapes. ‘Cause we’re working on a record, and you cannot have any of this stuff. It doesn’t belong to the studio.’ I called the band up and said, ‘We gotta clear outta here. Everybody come and get stuff.’\u003c/p>\n\u003cp>“It was shut down for around six months or so, maybe more. At one point, the federal marshals offered me a position to open and run the studio. I said to them, ‘Look, if my clients knew I worked for the federal marshals, you think that they would come in here? Here’s the deal. Take my secretary, make her the studio manager, and I will come in and do some work.’ I actually opened the studio with Santana when that part reopened.”\u003c/p>\n\u003cfigure id=\"attachment_12480853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg\" alt=\"Carlos Santana and Arne Frager at the Record Plant\" width=\"800\" height=\"540\" class=\"size-medium wp-image-12480853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-960x648.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A-520x351.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Arne-Carlos-Studio-A.jpg 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Santana and Arne Frager in the Record Plant’s Studio A. \u003ccite>(Courtesy of Arne Farger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaines was also working with Santana at the studio for the 1989 Loma Prieta earthquake. \u003c/p>\n\u003cp>“Carlos and one of his main guys had just left to go shopping when that quake hit. I was working with Chester Thompson doing some organ overdubs. We were in studio A; I didn’t think we were gonna get out of there before that damned thing came down. When it hit, you can feel there’s some low-end rumble or something going down. So CT looks at me and says, ‘What the hell are you doing?’ I said, ‘What are you doing?” And we both said, ‘Uh-oh.’\u003c/p>\n\u003cp>“And we hit flying into that door, man. We’re out on the ground out in the parking lot, and the ground is rolling along. I had a bottle in my car; we sit in the parking lot, found us some cups, and turned the radio on, listening to ‘Bay Bridge collapsing and the freeway collapsing.’ One of the consoles got beat up pretty bad, and twisted a little bit. We was down for about at least three or four days. Phones didn’t work. The only thing that worked was the fax machine, for some reason. We never figured that out.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Previously: \u003ca href=\"https://ww2.kqed.org/arts/2016/11/21/running-the-record-plant-part-1-the-early-years/\" target=\"_blank\" rel=\"noopener\">Running the Record Plant Part 1: The Early Years\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Coming in part three: the final two decades of the Record Plant, leading up to its closure in 2008. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Running the Record Plant, Part 1: The Early Years",
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"content": "\u003cp>Hot tubs, water beds, sex, and drugs — all were staples of the Record Plant in Sausalito, home to some of the highest times of any Bay Area studio in the 1970s.\u003c/p>\n\u003cp>Yet there was no small amount of rock and roll too. The dozens of famous albums partially or fully recorded at the Plant in the ’70s include Sly Stone’s \u003cem>Fresh\u003c/em>, Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> and Prince’s debut album \u003cem>For You\u003c/em>. The Plant continued its reign as one of the top studios in the Bay Area into the early 21st century, through several ownership changes that, at one point, saw the federal government running the facility.\u003c/p>\n\u003cp>That wasn’t the sort of atmosphere its founders had in mind when the Record Plant opened in late 1972. After establishing himself as a top recording engineer with the likes of Jimi Hendrix and Frank Zappa, Gary Kellgren opened successful branches of the Plant in New York and Los Angeles with business partner Chris Stone before the two set their sights on Sausalito. As Raechel Donahue (who coordinated \u003ca href=\"https://www.youtube.com/watch?v=T5VI6w-NcO0\" target=\"_blank\" rel=\"noopener\">KSAN’s live-in-the-studio concerts\u003c/a> from the Plant) puts it, “They invented this idea of having a recording studio that gave everybody a comfortable place to be.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“Basically, it was a party atmosphere to record in,” says Jim Gaines, who produced and engineered records by the likes of Santana, Journey and Huey Lewis at the Plant. “They built this studio up here to go for the Bay Area bands. But not only that, bring up people from L.A. that wanted to get out of L.A. They had a hot tub in it, they had a boat at one point in time [to] take people out. The house”— where members of bands like Fleetwood Mac would stay during their Plant sessions — “was part of the package deal. And Kellgren was a party kind of guy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, when Gaines interviewed with Kellgren for a job at the Plant, “I’m shaking hands with this guy in this purple or blue Napoleon outfit. He’s got the hat on and everything. I’m thinking, ‘Do I want to work for this guy? Good lord.’ It was all about a big party for him, as well as working. He seemed to put those two together. That’s why the studio was built.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BS-EUH9tp-s\u003c/p>\n\u003cp>Gaines turned down the job in favor of staying at Wally Heider’s studio in downtown San Francisco, adding that “when Heider found out that they were coming into Sausalito, he went out and found a building. He had plans to build a studio in Mill Valley to counteract ‘em.” Notes engineer and producer Stephen Barncard, who, like Gaines, also worked sessions at both Heider’s and the Plant, “Wally had plans for a studio in Mill Valley near Tam Junction. I actually saw the plans. He was gonna get [TV and film production company] Filmways to pay for it, and when the Record Plant went in, it was over. It never happened.”\u003c/p>\n\u003cp>As just one example of the detail lavished upon the facility, recalls Gaines, “the ceiling in Studio B looked like clouds. They were made out of cut-out plywood in different forms, and covered with velveteen or velvet or something like that; they looked like clouds hanging up there. Kellgren was smart; he wanted his rooms to look different. He knew he wanted to make it artsy.”\u003c/p>\n\u003cfigure id=\"attachment_12376694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg\" alt=\"Jim Gaines at the board during a recording session at the Record Plant in Sausalito\" width=\"800\" height=\"626\" class=\"size-medium wp-image-12376694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1020x798.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Gaines at the board during a recording session at the Record Plant in the 1980s. \u003ccite>(Photo: Courtesy of Jim Gaines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Word about the Record Plant got out through its lavish opening party, as well as KSAN broadcasts of live-in-the-studio programs featuring such heavyweights as Bob Marley & the Wailers (part of whose October 1973 performance at the Plant was issued on the \u003cem>Talkin’ Blues\u003c/em> CD), Bonnie Raitt, Linda Ronstadt and Fleetwood Mac. \u003c/p>\n\u003cp>“At this time it wasn’t really common to do live broadcasts, especially from a recording studio,” explains Raechel Donahue. “When we were at KSAN, our version of a live broadcast was me and [DJ] Terry McGovern and a 100-foot microphone cord which I would feed out the window to him, so he could interview people on the street. It really was [KSAN manager] Tom [Donahue], Chris Stone, and Gary Kellgren who figured out, ‘Ah, there’s obviously a way to do this if we could only just figure this out.’”\u003c/p>\n\u003cp>KSAN kicked off its Record Plant broadcasts with a legendary 72-hour marathon. At one point during Kris Kristofferson’s performance, according to Raechel Donahue, “this wackadoodle guy came wandering through the studio singing ‘He’s a peach pit, he’s a pom pom, he’s a pervert, he’s a fool’” — bastardizing the lyric of one of Kristofferson’s most famous songs, “The Pilgrim, Chapter 33” — “and then just walked out the other door.” \u003c/p>\n\u003cfigure id=\"attachment_12376697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg\" alt=\"The Record Plant's control room, 1973\" width=\"800\" height=\"473\" class=\"size-medium wp-image-12376697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1180x697.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-960x567.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Record Plant’s control room, circa 1973. \u003ccite>(Photo: Steve Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone who was anyone was there, and they wandered in and wandered out,” Donahue said. “All I had to do was figure how to coordinate that. But that’s kind of what KSAN was all about, figuring out how to make reality blend into music. It was a crazy thing to do, but it did start the whole Record Plant live thing.” \u003c/p>\n\u003cp>It wasn’t the only craziness at KSAN broadcasts; Bob Simmons, the announcer for some of them, recalls \u003cem>Last Tango in Paris\u003c/em> star Maria Schneider “wandering around trying to get someone to get in the hot tub with her” during one.\u003c/p>\n\u003cp>The Plant soon attracted not only stars from L.A. and out of state, but also quite a few from the Bay Area itself. The setting was as vital to its appeal as the studio itself. “Heider’s was downtown in the Tenderloin,” says Gaines. “That’s a whole different concept down there. I mean, just to park your car and get to the studio without being mugged is a feat. The Record Plant, you could just walk out, and you’re only like one door from the water. Then you got some public tennis courts down the streets. When I was working with KBC Band — Marty Balin and [Jack] Casady and Paul Kantner — Marty would go down there and play tennis while we weren’t working.”\u003c/p>\n\u003cfigure id=\"attachment_12376695\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg\" alt=\"Stephen Barncard during his days at the Record Plant\" width=\"700\" height=\"458\" class=\"size-full wp-image-12376695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-520x340.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Barncard during his days at the Record Plant. \u003ccite>(Photo: Courtesy of Stephen Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio’s most famous feature, however, was on the premises, and more notorious for its, shall we say, extracurricular activities. The sunken area known as the Pit was, in Barncard’s words, “partial boudoir and studio. It’s basically for a place to do track-by-track overdubs and vocals, and then make love to your girlfriend between, in breaks over in the side.” \u003c/p>\n\u003cp>“Sly Stone moved into that back room for a while,” reports Gaines. “They had a little bedroom for him. Just a bed, with little frilly stuff over it. He wanted all of the doorknobs moved up. It’s like he was a kid or something. The doorknob couldn’t be in a regular place, it had to be like a foot higher. I finally changed that. I said, ‘Man, I can’t deal with this.’ There’s a lot more [stories], but I don’t know if I could tell some of ‘em.’”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>More stories about the Pit, the Plant, the Earthquake, and federal marshals taking over the studio are coming soon in Part Two.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The first in a three-part series about the influential Record Plant recording studio in Sausalito, where Sly Stone, Stevie Wonder and others made some of their most celebrated albums.",
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"title": "Running the Record Plant, Part 1: The Early Years | KQED",
"description": "The first in a three-part series about the influential Record Plant recording studio in Sausalito, where Sly Stone, Stevie Wonder and others made some of their most celebrated albums.",
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"headline": "Running the Record Plant, Part 1: The Early Years",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hot tubs, water beds, sex, and drugs — all were staples of the Record Plant in Sausalito, home to some of the highest times of any Bay Area studio in the 1970s.\u003c/p>\n\u003cp>Yet there was no small amount of rock and roll too. The dozens of famous albums partially or fully recorded at the Plant in the ’70s include Sly Stone’s \u003cem>Fresh\u003c/em>, Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> and Prince’s debut album \u003cem>For You\u003c/em>. The Plant continued its reign as one of the top studios in the Bay Area into the early 21st century, through several ownership changes that, at one point, saw the federal government running the facility.\u003c/p>\n\u003cp>That wasn’t the sort of atmosphere its founders had in mind when the Record Plant opened in late 1972. After establishing himself as a top recording engineer with the likes of Jimi Hendrix and Frank Zappa, Gary Kellgren opened successful branches of the Plant in New York and Los Angeles with business partner Chris Stone before the two set their sights on Sausalito. As Raechel Donahue (who coordinated \u003ca href=\"https://www.youtube.com/watch?v=T5VI6w-NcO0\" target=\"_blank\" rel=\"noopener\">KSAN’s live-in-the-studio concerts\u003c/a> from the Plant) puts it, “They invented this idea of having a recording studio that gave everybody a comfortable place to be.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“Basically, it was a party atmosphere to record in,” says Jim Gaines, who produced and engineered records by the likes of Santana, Journey and Huey Lewis at the Plant. “They built this studio up here to go for the Bay Area bands. But not only that, bring up people from L.A. that wanted to get out of L.A. They had a hot tub in it, they had a boat at one point in time [to] take people out. The house”— where members of bands like Fleetwood Mac would stay during their Plant sessions — “was part of the package deal. And Kellgren was a party kind of guy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, when Gaines interviewed with Kellgren for a job at the Plant, “I’m shaking hands with this guy in this purple or blue Napoleon outfit. He’s got the hat on and everything. I’m thinking, ‘Do I want to work for this guy? Good lord.’ It was all about a big party for him, as well as working. He seemed to put those two together. That’s why the studio was built.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BS-EUH9tp-s'\n title='//www.youtube.com/embed/BS-EUH9tp-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gaines turned down the job in favor of staying at Wally Heider’s studio in downtown San Francisco, adding that “when Heider found out that they were coming into Sausalito, he went out and found a building. He had plans to build a studio in Mill Valley to counteract ‘em.” Notes engineer and producer Stephen Barncard, who, like Gaines, also worked sessions at both Heider’s and the Plant, “Wally had plans for a studio in Mill Valley near Tam Junction. I actually saw the plans. He was gonna get [TV and film production company] Filmways to pay for it, and when the Record Plant went in, it was over. It never happened.”\u003c/p>\n\u003cp>As just one example of the detail lavished upon the facility, recalls Gaines, “the ceiling in Studio B looked like clouds. They were made out of cut-out plywood in different forms, and covered with velveteen or velvet or something like that; they looked like clouds hanging up there. Kellgren was smart; he wanted his rooms to look different. He knew he wanted to make it artsy.”\u003c/p>\n\u003cfigure id=\"attachment_12376694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg\" alt=\"Jim Gaines at the board during a recording session at the Record Plant in Sausalito\" width=\"800\" height=\"626\" class=\"size-medium wp-image-12376694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1020x798.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Gaines at the board during a recording session at the Record Plant in the 1980s. \u003ccite>(Photo: Courtesy of Jim Gaines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Word about the Record Plant got out through its lavish opening party, as well as KSAN broadcasts of live-in-the-studio programs featuring such heavyweights as Bob Marley & the Wailers (part of whose October 1973 performance at the Plant was issued on the \u003cem>Talkin’ Blues\u003c/em> CD), Bonnie Raitt, Linda Ronstadt and Fleetwood Mac. \u003c/p>\n\u003cp>“At this time it wasn’t really common to do live broadcasts, especially from a recording studio,” explains Raechel Donahue. “When we were at KSAN, our version of a live broadcast was me and [DJ] Terry McGovern and a 100-foot microphone cord which I would feed out the window to him, so he could interview people on the street. It really was [KSAN manager] Tom [Donahue], Chris Stone, and Gary Kellgren who figured out, ‘Ah, there’s obviously a way to do this if we could only just figure this out.’”\u003c/p>\n\u003cp>KSAN kicked off its Record Plant broadcasts with a legendary 72-hour marathon. At one point during Kris Kristofferson’s performance, according to Raechel Donahue, “this wackadoodle guy came wandering through the studio singing ‘He’s a peach pit, he’s a pom pom, he’s a pervert, he’s a fool’” — bastardizing the lyric of one of Kristofferson’s most famous songs, “The Pilgrim, Chapter 33” — “and then just walked out the other door.” \u003c/p>\n\u003cfigure id=\"attachment_12376697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg\" alt=\"The Record Plant's control room, 1973\" width=\"800\" height=\"473\" class=\"size-medium wp-image-12376697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1180x697.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-960x567.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Record Plant’s control room, circa 1973. \u003ccite>(Photo: Steve Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone who was anyone was there, and they wandered in and wandered out,” Donahue said. “All I had to do was figure how to coordinate that. But that’s kind of what KSAN was all about, figuring out how to make reality blend into music. It was a crazy thing to do, but it did start the whole Record Plant live thing.” \u003c/p>\n\u003cp>It wasn’t the only craziness at KSAN broadcasts; Bob Simmons, the announcer for some of them, recalls \u003cem>Last Tango in Paris\u003c/em> star Maria Schneider “wandering around trying to get someone to get in the hot tub with her” during one.\u003c/p>\n\u003cp>The Plant soon attracted not only stars from L.A. and out of state, but also quite a few from the Bay Area itself. The setting was as vital to its appeal as the studio itself. “Heider’s was downtown in the Tenderloin,” says Gaines. “That’s a whole different concept down there. I mean, just to park your car and get to the studio without being mugged is a feat. The Record Plant, you could just walk out, and you’re only like one door from the water. Then you got some public tennis courts down the streets. When I was working with KBC Band — Marty Balin and [Jack] Casady and Paul Kantner — Marty would go down there and play tennis while we weren’t working.”\u003c/p>\n\u003cfigure id=\"attachment_12376695\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg\" alt=\"Stephen Barncard during his days at the Record Plant\" width=\"700\" height=\"458\" class=\"size-full wp-image-12376695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-520x340.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Barncard during his days at the Record Plant. \u003ccite>(Photo: Courtesy of Stephen Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio’s most famous feature, however, was on the premises, and more notorious for its, shall we say, extracurricular activities. The sunken area known as the Pit was, in Barncard’s words, “partial boudoir and studio. It’s basically for a place to do track-by-track overdubs and vocals, and then make love to your girlfriend between, in breaks over in the side.” \u003c/p>\n\u003cp>“Sly Stone moved into that back room for a while,” reports Gaines. “They had a little bedroom for him. Just a bed, with little frilly stuff over it. He wanted all of the doorknobs moved up. It’s like he was a kid or something. The doorknob couldn’t be in a regular place, it had to be like a foot higher. I finally changed that. I said, ‘Man, I can’t deal with this.’ There’s a lot more [stories], but I don’t know if I could tell some of ‘em.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>More stories about the Pit, the Plant, the Earthquake, and federal marshals taking over the studio are coming soon in Part Two.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-san-francisco-recording-studios-dealt-with-early-punk-rock-bands",
"title": "How San Francisco Recording Studios Dealt with Early Punk Rock Bands",
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"content": "\u003cp>\u003ci>This feature is from our new series \u003cb>Into The Mix\u003c/b>, which focuses on little-known stories from the Bay Area music scene’s past and present.\u003c/i>\u003c/p>\n\u003cp>When San Francisco punk group Crime recorded their first single, “Baby You’re So Repulsive”/“Hot Wire My Heart,” the band “knew only that they wanted the resulting recording to be \u003cem>loud\u003c/em>,” says Henry Rosenthal, a drummer who later joined the band.\u003c/p>\n\u003cp>“Apparently, the band kept turning up knobs on the control board, pinning meters and creating that most beautiful of sounds known as analog distortion,” Rosenthal says. “The exasperated engineer was ignored, and finally got up and ran out of the control room, washing his hands of the whole mess, saying, ‘You do whatever you want! I give up!’”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" class=\"alignright size-full wp-image-12260053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Less than 10 years after Bay Area psychedelic bands rewrote how rock was recorded, a legion of punk and new wave groups from the region were upending the rulebook yet again. In the late 1970s and early 1980s, Crime, the Avengers, the Dead Kennedys and dozens of other acts cut sounds as rude and crude as any being made in the country. Sometimes they met hostility in the studio; sometimes they met bewilderment. Most often, the musicians, engineers, producers, and studio owners worked together to make records that somehow captured the scene’s vibrancy in the absence of major label backing, time, or money.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There were no favored one or two studios for the new breed. Sessions were snagged whenever they were available and affordable (or, if they were lucky, free) at studios such as Hyde Street, Different Fur, or even facilities at Mills College in Oakland. Failing that, as producer John Cuniberti notes, “Many early punk records were recorded literally in a garage or basement. My first recordings with the Dead Kennedys took place in a converted mom-and-pop grocery store on a 16-track for $25 an hour.\u003c/p>\n\u003cfigure id=\"attachment_10963533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10963533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg\" alt=\"Crime at the Mabuhay Gardens\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crime at the Mabuhay Gardens. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bigger studios like the Record Plant or Fantasy insulated themselves from low-budget unsigned bands, punk or otherwise, by keeping the rates high and catering to the major labels,” says Cuniberti, who in addition to much of the Dead Kennedys catalog also engineered legendary punk discs by Victims Family and Flipper. “[However] by 1980 there were a handful of small one-room studios popping up all over the Bay Area. Most of them were owned and built by musicians who wanted to record themselves, their band or their friends’ bands.”\u003c/p>\n\u003cp>Gary Hobish saw different ends of the recording spectrum when he recorded as guitarist and bassist in hard-edged Berkeley new wavers the Jars. The band’s first 7″ was recorded in a studio in the building housing Target Video (itself important for its films of numerous early punk acts) between 17th and 18th Streets on South Van Ness Avenue in the Mission District.\u003c/p>\n\u003cfigure id=\"attachment_12227891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12227891\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/EBR86JC3-800x598.jpg\" alt=\"East Bay Ray recording with the Dead Kennedys\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-960x718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay Ray recording with the Dead Kennedys \u003ccite>(Photo: John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had a song called ‘Electric Third Rail,’ and at one point we wanted the sound of somebody being electrocuted,” Hobish remembers. Engineer Mike Fox “came up with the idea of running the tape at half speed, and we took a bunch of aluminum beer cans and crinkled them at half speed. When we sped it up, it was fairly electric.”\u003c/p>\n\u003cp>Yet when the Jars were invited to make a demo for Fantasy Records, famed for their hits with Creedence Clearwater Revival, at Fantasy’s Berkeley studios, “I don’t think they got it at all,” says Hobish. “The engineers were sympathetic, but they would try to clean it up in terms of, ‘Well, this is how a recording should be done.’ It was no animosity there, but it just wasn’t really the right approach for a lot of bands.”\u003c/p>\n\u003cp>“Most punk bands in the beginning were only capable of performing their live show in the studio,” says Cuniberti, who later worked with Chickenfoot, PJ Harvey and Joe Satriani. “The recording was pretty straightforward and never required much ‘production.’ Singles were made in a day, and LPs in a week or less.”\u003c/p>\n\u003cp>Avengers singer Penelope Houston tells of her band recording their debut 7″, exemplifying how and why some early punk classics were cut so fast: “When we did ‘I Believe in Me’ I made up the verses during a scratch vocal take, and when I was done and it was time to do the real vocal, I said, ‘Oh just keep that.’ We were broke, jobless musicians who shared the same flat. We couldn’t imagine recording, let alone releasing, a full LP.”\u003c/p>\n\u003cfigure id=\"attachment_10966071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966071 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg\" alt=\"Penelope Houston of the Avengers\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston of the Avengers \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over time, some of the longer-lived bands could spend more time and money in the studio, a difference reflected in the growing sophistication of their records. For example, the Dead Kennedys “were all business in the studio, and knew what they wanted,” Cuniberti says.\u003c/p>\n\u003cp>“However, capturing the energy of their live show in a studio setting was difficult. The vibe would vanish after a few takes of a song, which required an engineer to have his shit together on the first take. The Dead Kennedys’ early 45 singles like ‘Too Drunk To Fuck’ had very little ‘production’ but a lot of energy and intent. It wasn’t until their second album, \u003cem>Plastic Surgery Disasters\u003c/em>, that the band moved away from the formula punk sounds of the ’70s,” Cuniberti says. “By 1982, the band was well-known and selling tickets, records and T-shirts, and could now afford ambitious studio recordings in more expensive studios. With more studio time available, their imaginations ran wild. The third album, \u003cem>Frankenchrist\u003c/em>, went even farther with irreverent amounts of reverb, echo, and layered guitars and vocals.”\u003c/p>\n\u003cp>When Gary Hobish worked as an engineer on the debut LP by legendary San Francisco oddballs the Mutants in the early ’80s, a balance had to be struck between punk and polish. “The first set of sessions, they had brought in a well-known producer and Hollywood engineer,” says Hobish. “Some great recordings were made, and a lot of it is on the album. But the band sort of rebelled against things being a little too sterile, or looking for that perfect take, when they didn’t feel ‘perfect’ was really one of the requirements.”\u003c/p>\n\u003cfigure id=\"attachment_12228087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12228087\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/DKs-86JC4-800x640.jpg\" alt=\"The Dead Kennedys in the studio\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dead Kennedys in the studio \u003ccite>(Photo: John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They could have made a great record with just that material,” Hobish adds. “But they waited about six months and then they brought in [San Francisco-based guitarist] Snakefinger to produce another set of sessions, and that essentially filled out the album [with], I guess, 40 percent newer material. They reacted a bit better to that, possibly because they felt that Snakefinger was sort of one of their own from the same scene from his involvement with \u003ca href=\"https://ww2.kqed.org/arts/2014/06/30/tap-into-your-inner-resident-notes-on-our-planets-strangest-band/\" target=\"_blank\" rel=\"noopener\">The Residents\u003c/a>,” the San Francisco avant-garde outfit with whom Snakefinger often collaborated.\u003c/p>\n\u003cp>But Hobish, who has mastered vintage releases by the likes of the Avengers and Flipper for CD reissues, believes that despite their desire for both distortion and a lack of polish, those punk bands wanted to make “good recordings.”\u003c/p>\n\u003cp>“The fact that a lot of the recordings from that era are very rough has more to do with wanting to get things done quickly, or not being in the most professional situations, or just wanting to capture some raw live energy, than it did with having any sort of disdain for proper recording techniques,” Hobish says.\u003c/p>\n\u003cp>But, as Henry Rosenthal remarks, it’s that very energy, and to some extent the primitive conditions, that fueled the power that makes those records endure today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“When Crime started, the punk moniker didn’t exist yet, so there were no rules for recording the music,” he declares. “The band considered itself elemental rock ‘n’ roll. As a result, Crime’s best recordings were those made under the most adverse and restrictive conditions.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This feature is from our new series \u003cb>Into The Mix\u003c/b>, which focuses on little-known stories from the Bay Area music scene’s past and present.\u003c/i>\u003c/p>\n\u003cp>When San Francisco punk group Crime recorded their first single, “Baby You’re So Repulsive”/“Hot Wire My Heart,” the band “knew only that they wanted the resulting recording to be \u003cem>loud\u003c/em>,” says Henry Rosenthal, a drummer who later joined the band.\u003c/p>\n\u003cp>“Apparently, the band kept turning up knobs on the control board, pinning meters and creating that most beautiful of sounds known as analog distortion,” Rosenthal says. “The exasperated engineer was ignored, and finally got up and ran out of the control room, washing his hands of the whole mess, saying, ‘You do whatever you want! I give up!’”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" class=\"alignright size-full wp-image-12260053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Less than 10 years after Bay Area psychedelic bands rewrote how rock was recorded, a legion of punk and new wave groups from the region were upending the rulebook yet again. In the late 1970s and early 1980s, Crime, the Avengers, the Dead Kennedys and dozens of other acts cut sounds as rude and crude as any being made in the country. Sometimes they met hostility in the studio; sometimes they met bewilderment. Most often, the musicians, engineers, producers, and studio owners worked together to make records that somehow captured the scene’s vibrancy in the absence of major label backing, time, or money.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There were no favored one or two studios for the new breed. Sessions were snagged whenever they were available and affordable (or, if they were lucky, free) at studios such as Hyde Street, Different Fur, or even facilities at Mills College in Oakland. Failing that, as producer John Cuniberti notes, “Many early punk records were recorded literally in a garage or basement. My first recordings with the Dead Kennedys took place in a converted mom-and-pop grocery store on a 16-track for $25 an hour.\u003c/p>\n\u003cfigure id=\"attachment_10963533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10963533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg\" alt=\"Crime at the Mabuhay Gardens\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crime at the Mabuhay Gardens. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bigger studios like the Record Plant or Fantasy insulated themselves from low-budget unsigned bands, punk or otherwise, by keeping the rates high and catering to the major labels,” says Cuniberti, who in addition to much of the Dead Kennedys catalog also engineered legendary punk discs by Victims Family and Flipper. “[However] by 1980 there were a handful of small one-room studios popping up all over the Bay Area. Most of them were owned and built by musicians who wanted to record themselves, their band or their friends’ bands.”\u003c/p>\n\u003cp>Gary Hobish saw different ends of the recording spectrum when he recorded as guitarist and bassist in hard-edged Berkeley new wavers the Jars. The band’s first 7″ was recorded in a studio in the building housing Target Video (itself important for its films of numerous early punk acts) between 17th and 18th Streets on South Van Ness Avenue in the Mission District.\u003c/p>\n\u003cfigure id=\"attachment_12227891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12227891\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/EBR86JC3-800x598.jpg\" alt=\"East Bay Ray recording with the Dead Kennedys\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-960x718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay Ray recording with the Dead Kennedys \u003ccite>(Photo: John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had a song called ‘Electric Third Rail,’ and at one point we wanted the sound of somebody being electrocuted,” Hobish remembers. Engineer Mike Fox “came up with the idea of running the tape at half speed, and we took a bunch of aluminum beer cans and crinkled them at half speed. When we sped it up, it was fairly electric.”\u003c/p>\n\u003cp>Yet when the Jars were invited to make a demo for Fantasy Records, famed for their hits with Creedence Clearwater Revival, at Fantasy’s Berkeley studios, “I don’t think they got it at all,” says Hobish. “The engineers were sympathetic, but they would try to clean it up in terms of, ‘Well, this is how a recording should be done.’ It was no animosity there, but it just wasn’t really the right approach for a lot of bands.”\u003c/p>\n\u003cp>“Most punk bands in the beginning were only capable of performing their live show in the studio,” says Cuniberti, who later worked with Chickenfoot, PJ Harvey and Joe Satriani. “The recording was pretty straightforward and never required much ‘production.’ Singles were made in a day, and LPs in a week or less.”\u003c/p>\n\u003cp>Avengers singer Penelope Houston tells of her band recording their debut 7″, exemplifying how and why some early punk classics were cut so fast: “When we did ‘I Believe in Me’ I made up the verses during a scratch vocal take, and when I was done and it was time to do the real vocal, I said, ‘Oh just keep that.’ We were broke, jobless musicians who shared the same flat. We couldn’t imagine recording, let alone releasing, a full LP.”\u003c/p>\n\u003cfigure id=\"attachment_10966071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966071 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg\" alt=\"Penelope Houston of the Avengers\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston of the Avengers \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over time, some of the longer-lived bands could spend more time and money in the studio, a difference reflected in the growing sophistication of their records. For example, the Dead Kennedys “were all business in the studio, and knew what they wanted,” Cuniberti says.\u003c/p>\n\u003cp>“However, capturing the energy of their live show in a studio setting was difficult. The vibe would vanish after a few takes of a song, which required an engineer to have his shit together on the first take. The Dead Kennedys’ early 45 singles like ‘Too Drunk To Fuck’ had very little ‘production’ but a lot of energy and intent. It wasn’t until their second album, \u003cem>Plastic Surgery Disasters\u003c/em>, that the band moved away from the formula punk sounds of the ’70s,” Cuniberti says. “By 1982, the band was well-known and selling tickets, records and T-shirts, and could now afford ambitious studio recordings in more expensive studios. With more studio time available, their imaginations ran wild. The third album, \u003cem>Frankenchrist\u003c/em>, went even farther with irreverent amounts of reverb, echo, and layered guitars and vocals.”\u003c/p>\n\u003cp>When Gary Hobish worked as an engineer on the debut LP by legendary San Francisco oddballs the Mutants in the early ’80s, a balance had to be struck between punk and polish. “The first set of sessions, they had brought in a well-known producer and Hollywood engineer,” says Hobish. “Some great recordings were made, and a lot of it is on the album. But the band sort of rebelled against things being a little too sterile, or looking for that perfect take, when they didn’t feel ‘perfect’ was really one of the requirements.”\u003c/p>\n\u003cfigure id=\"attachment_12228087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12228087\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/DKs-86JC4-800x640.jpg\" alt=\"The Dead Kennedys in the studio\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dead Kennedys in the studio \u003ccite>(Photo: John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They could have made a great record with just that material,” Hobish adds. “But they waited about six months and then they brought in [San Francisco-based guitarist] Snakefinger to produce another set of sessions, and that essentially filled out the album [with], I guess, 40 percent newer material. They reacted a bit better to that, possibly because they felt that Snakefinger was sort of one of their own from the same scene from his involvement with \u003ca href=\"https://ww2.kqed.org/arts/2014/06/30/tap-into-your-inner-resident-notes-on-our-planets-strangest-band/\" target=\"_blank\" rel=\"noopener\">The Residents\u003c/a>,” the San Francisco avant-garde outfit with whom Snakefinger often collaborated.\u003c/p>\n\u003cp>But Hobish, who has mastered vintage releases by the likes of the Avengers and Flipper for CD reissues, believes that despite their desire for both distortion and a lack of polish, those punk bands wanted to make “good recordings.”\u003c/p>\n\u003cp>“The fact that a lot of the recordings from that era are very rough has more to do with wanting to get things done quickly, or not being in the most professional situations, or just wanting to capture some raw live energy, than it did with having any sort of disdain for proper recording techniques,” Hobish says.\u003c/p>\n\u003cp>But, as Henry Rosenthal remarks, it’s that very energy, and to some extent the primitive conditions, that fueled the power that makes those records endure today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When Crime started, the punk moniker didn’t exist yet, so there were no rules for recording the music,” he declares. “The band considered itself elemental rock ‘n’ roll. As a result, Crime’s best recordings were those made under the most adverse and restrictive conditions.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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