THE BOY WHO CRIED FREEBIRD
|
|
|  |
"Now Available in Paperback!"
Male
51 years old
Chicago, Illinois
United States
Last Login:
6/29/2008
|
|
|
|
View My:
Pics
| Videos
|
|
 |
|
|
http://www.myspace.com/theboywhocriedfreebird |
|
|
Hello, you either have JavaScript turned off or an old version of Macromedia's Flash Player. Click here to get the latest flash player.
|
THE BOY WHO CRIED FREEBIRD's Interests
|
| General |
CONTENTS IN RED
LINK TO STORIES FEATURED ON
NPR'S "ALL THINGS CONSIDERED"
TABLE OF CONTENTS
• PRELUDE: A Rock & Roll Fable
• River Deep
(Phil Spector and Tina Turner)
• Hellhound On My Trail (Robert Johnson)
• Nuggets (Sixties Psychedelia)
• The Sound and The Fury
(Lou Reed's Metal Machine Music)
• Endless Boogie
• When Harry Met Allen
(Allen Ginsberg and Harry Smith)
• The Power of Tower
(Sonic Youth)
• Who Will Save The World?
(Black Sabbath)
• Something Freaky This Way Comes
(Outsider Musicians)
• The Monk and the Messenger
(Art Blakey and Thelonious Monk)
• Captain's Orders
(Captain Beefheart)
• It's How You Play The Game
(Johnny Thunders)
• Back To The Fillmore
(The Grateful Dead)
• The Steel String Trilogy
(John Fahey and Leo Kottke)
• 1) A Man Out Of Time
• 2) The Strength Of Strings
• 3) Bundy K. Blue's Dance With Death
• Roundabout
• War All The Time
(Richard Meltzer)
• Erector Set
(Mekons)
• Classics vs. Anthems
• Oh Happy Day
(The Edwin Hawkins Singers)
• A Lone Star State Of Mind
(Doug Sahm)
• Taking Tiger Mountain
(Eno)
• The Sweltering Guy
• The Ballad Of John Henry and The Wheels of Steel (NPR Driveway Moment)
• Need For Speed (Car-Tunes)
• Respect Due
(Aretha Franklin)
• Closer To Home
(Grand Funk Railroad)
• Diminuendo and Crescendo
(Duke Ellington)
• World's Biggest Gong Fan
(George Jefferson)
• What Can You Do That¹s Fantastic?
(Frank Zappa)
• A Chance Encounter
• High Noon
(Alejandro Escovedo)
• This American Life
(Terry Riley)
• House Of The Rising Son
(Steve Albini)
• Requiem For A Cowbell
• Tie-Die!
(A Demonic Tale of Psychedelic Possession)
• Almost
(Famous)
• A True Story
(Jeff Beck)
• Spirits, Ghosts, Witches & Devils
(Albert Ayler)
• Ohm On The Brain
(An Electronic History Lesson)
• Rock N' Roll Heaven
(On Earth)
• The Mix-Tape Murder Mystery
• Waiting On A Train
• AFTERWORD:
How to Succeed in the Music Business Without Really Trying
~ INDEX ~
AC/DC, 49, 214
Adams, John, 203, 207
Adderley, Cannonball, 60
Aerosmith, 128, 215
Africa Bambaataa, 155
Albini, Steve, 23–24, 210–212
Ali, Rashied, 239, 251, 253
Allen, Daevid, 174–176, 203
Alligator, 89
Allman, Duane, 232 108, 261, 262
Allman, Greg, 232
Allman Brothers Band, 102, 232
“All You Need Is Love”, 242 84–88, 90
Alvin, Dave, 111
Ammons, Albert, 29
Amram, David, 35
Anderson, Cat, 173
Asch, Moe, 35, 39, 296
Asleep at the Wheel, 31
“At the Crossroads,” 140 242, 278
285–286
Ayler, Albert, 237–257
Ayler, Beatrice, 246
Ayler, Donald, 241, 249–250,
251, 252–253, 255, 256
Ayler, Edward, 241, 250
Ayler, Myrtle, 241, 250, 255
Baba O’Riley, 199
Babbitt, Milton, 259
“Baby, I Love You”, 7
Bach, Johann Sebastian, 41, 205
Bachman Turner Overdrive, 122
Baker, Chet, 201–202
Ballard, Hank, 128
Bang on a Can, 142
Bangs, Lester, xii, 20, 24, 25, 27, 105
Barber, Jack, 130, 131, 135, 139
Barger, Sonny, 77–79, 81–82, 83
Barrow, Arthur, 187–188
Barry, Jeff, 7
Basho, Robbie, 101
Basie, William “Count”, 172, 173, 238
Beach Boys, 7, 131, 159, 233
Beatles, 15, 92, 107, 130, 165, 214, 238
Beausoleil, Bobby, 228
Beck, Jeff, 235–236
Beethoven, Ludwig van, 42
Belew, Adrian, 186, 188
Believe, 156
Be My Baby, 6
Bernstein, Steven, 3–4
Berry, Chuck, 159
Berry, Jan, 159
Best, Denzil, 57
Betts, Dickey, 232
Big Black, 212
Big Brother & the Holding Company, 133, 238
Bingenheimer, Rodney, 26
Bishop, Walter, Jr., 61
Black, Jack, 261
Black, Jimmy Carl, 179–180, 181, 191
Black Grass, 110
“Black Napkins,” 187
Black Oak Arkansas, 31
“Black Page, The”, 186, 192
Black Sabbath, 44–52, 214
Blairman, Allen, 254
Blakey, Art, 56–64, 156
Bland, Bobby “Blue”, 128, 130
Blanton, Jimmy, 57
Blasters, 111
Bley, Carla, 239–240, 248
Bley, Paul, 246–247
Blind Joe Death,
See Fahey, John
Blondie, 215
Bloomberg, Michael, 51
“Blowin in the Wind”, 120–121
Blue Cheer, 47
Blue Oyster Cult, 49, 107, 109,
110, 111, 213, 214
Bonds, Barry, 48
“Boogie Bands and One-Night Stands”, 31
“Boogie Chillun”, 30
“Boogie Nights”, 31
“Boogie Till You Puke”, 31
“Boogie-Woogie Bugle Boy, The”, 31
Booth, Juini, 252
“Border Song,” 165
“Born in the USA,” 121
“Born to Boogie”, 31
“Born to Run”, 121
Bostic, Earl, 244
Bottle Rockets, 128
Bowie, David, 186, 233
Bozzio, Terry, 186, 187, 192
Brand, Stuart, 205
“Brass Buttons”, 292
Bread, 165
Brewer, Don, 214
“Bridge Over Troubled Water”, 165
Brock, Napoleon Murphy, 184, 188
Bronsted, Niels, 245
Brown, Clarence “Gatemouth”, 128
Brown, James, 130, 131, 155, 162, 238
Bruce, Lenny, 179
Buhaina, Abdullah Ibn,
See Blakey, Art
Butler, Geezer, 45, 49
Byas, Don, 57
“Bye Bye Blackbird,” 245
Byrd, Donald, 61
Byrds, 291–292
Cage, John, 42, 143, 204, 259
Cale, John, 19, 200–201, 203–204, 206
“California Waiting”, 215
Can, 203
Canned Heat, 30–31, 160, 254
Captain Beefheart, 65–66, 183
Carlos, Walter (Wendy), 205
Carney, Harry, 173
Carrasco, Joe “King”, 140
Carter, Clarence, 233
Catlett, Big Sid, 56, 155
“Caution (Do Not Stop on Tracks)”, 89
“CC Rider”, 38
Chadbourne, Eugene, 127–128
Charles, Ray, 131, 161, 163, 166
Charters, Ann, 35, 39
“Chase, The”, 153
Cher, 156
Cherry, Don, 244, 247, 249, 256
“Choo Choo Cha Boogie”, 31
Chopin, Frédéric, 41
Christgau, Robert “The Dean”, 21,
105, 107, 111, 113–115
Christian, Charlie, 57
Christian, Roger, 159
Clapton, Eric, 11, 13–14, 122
Clarke, Kenny, 56, 57, 58
Clash, 68, 118
Clinton, Bill, 51
Clinton, Hillary, 51
Cobbs, Call, 254
“Cocaine”, 122
Colaiuta, Vinnie, 187, 189–190, 192
Coleman, Ornette, 237, 239, 242, 244,
245, 247–248, 249
Collins, Ray, 179, 188
Colomby, Harry, 62
Coltrane, John, 58, 62, 66, 161, 204, 237, 239,
242, 244, 245, 246, 248, 249, 250–253, 256
Conrad, Tony, 28, 200–201, 203–204
Costello, Elvis, 137, 197
“Cow Cow Boogie”, 31
“Crazy Daisy”, 129
Cream, 11, 49, 168
Creedence Clearwater Revival, 137, 214
“Crimson and Clover”, 260
“Cripple Creek”, 102
“Crossroads”, 11
Cruise, Tom, 48
“Cryptical Envelopment”, 88, 89
“Crystal Blue Persuasion”, 260
Crystals, 6
Curtis, King, 163, 164, 165
Cusack, John, 261–262
Czukay, Holger, 259
“Da Doo Ron Ron”, 7
Damned, 68
“Dark Star”, 74, 89
Dave Clark Five, 131
Davis, Miles, 58, 162, 178, 254
“Death Don’t Have No Mercy”, 89
Debussy, Claude, 182
Deep Purple, 47, 49
De La Parra, Adolfo “Fito”, 31
Delmore Brothers, 31
Dempster, Stuart, 205
DeRogatis, Jim, 261–262
Dickinson, Bruce, 213
Diddley, Bo, 160
“Diminuendo and Crescendo in Blue”, 171, 172
Dodds, Warren “Baby”, 155
Dogg, Snoop, 273, 286
Dolphy, Eric, 182, 239
“Don’t Fear the Reaper,” 213
“Don’t Play That Song,” 165
Doobie Brothers, 160
Doors, 107, 230
Dorham, Kenny, 60, 61
“Dr. Feelgood,” 165
Dr. John, 136, 180
“Drum Battle, The,” 157
“Drums,” 89
Duke, George, 184–185, 188
Dunbar, Aynsley, 183, 191
Dupree, Cornell, 163
Dylan, Bob, 35, 36–37, 86, 120–121,
126, 127, 132, 136, 139
Earle, Steve, 132, 136–137
Eckstine, Billy, 56
Edwards, David “Honeyboy,” 14
Edwin Hawkins Singers, 123
El Be-Bop Kid, 129
Eldridge, Roy, 57
“Eleanor Rigby,” 165
“Eleven, The,” 74, 89
Ellington, Edward Kennedy “Duke,”
154, 155, 171–173, 178,
187, 237, 238, 240
Eno, Brian, 141–143, 199, 205, 259
Ensemble Modern, 183
Entwhistle, John, 232
Erickson, Roky, 132, 135–136, 139
Escovedo, Alejandro, 197–198
Estrada, Roy, 179–180, 181, 188
Fahey, John, 92–99, 101
Farrar, Jay, 134
Feins, John, 38, 39
Fender, Freddy, 129–130, 132, 135, 138
Fenton, Nick, 57
Ferrari, Luc, 259
“Fever Dog,” 234
Fitzgerald, Ella, 31
Flying Burrito Brothers, 292
Foghat, 31
Fontana, DJ, 32
Foo Fighters, 51
Foster, Stephen Collins, 121, 250
Fowler, Bruce, 184
Fowler, Tom, 178, 185
Fowley, Kim, 180
Franklin, Aretha, 161–167
Free, 214
“Freebird,” xii, 1–4, 122
“Freedom Jazz Dance”,152
Fugs, 33, 37, 247
“Funeral March,” 203
Gang of Four, 119
Garcia, Jerry, 74, 78–79, 87, 93, 133
Gardiner, Ronnie, 245
Gardner, Bunk, 181
Gaye, Marvin, 238
George, Lowell, 186
Germs, 111
Gershwin, George, 94, 245
Gershwin, Ira, 94
“Ghosts,” 243, 248
Gibson, John, 202
Gillespie, John Birks “Dizzy,” 57, 60, 172
Gilmore, John, 246
Ginsberg, Allen, 33–40
Giuliani, Rudy, 51
Glass, Philip, 199, 203,
207, 208
Glitter, Gary, 121
“Goin’ Up the Country”, 31
Golden Earring, 158
Gong, 174–176, 203
Gonsalves, Paul, 171–173
“Good Morning Little Schoolgirl”, 82
Gordon, Dexter, 153
Gourds, 139
Graham, Bill, 74, 77–78, 87, 88, 90,
162, 166, 167
Grand Funk Railroad, 168–170, 214
Grateful Dead, 71–73, 74, 78, 81,
85–91, 126, 133, 135, 162, 200
“Gravity/Falling Down Again”, 198
Gray, Wardell, 153
Greenwich, Ellie, 6–7
Greer, Sonny, 56, 155
Griffin, Johnny, 62, 63
“Guitar Boogie,” 30
Guralnick, Peter, 14
Guthrie, Woody, 295–296
Guy, Joe, 57
Haden, Charlie, 181
Hammond, John, 35, 36–37, 161
Hardman, Bill, 61–62, 63
Harrington, David, 203, 207–208
Harris, Beaver, 242
Harris, Bob, 188
Harris, Eddie, 152
Harris, Emmylou, 292
Harrison, George, 8, 123
Hart, Mickey, 74
Hassell, Jon, 205, 259
Hassell, Margaret, 205
Hawkins, Coleman, 57, 58, 172
Hayes, Isaac, 122
Heartbreakers, 68–70
Hell, Richard, 68
Helms, Chet, 133
“Help I’m a Rock”, 180
“Helter Skelter”, 286
Henderson, Fletcher, 56
Henderson, Joe, 187
Hendrix, Jimi, 19, 86, 107, 122
168, 174, 178, 240, 254
Hentoff, Nat, 252
“He’s a Rebel”, 6
“Hillbilly Boogie,” 31
Hillman, Chris, 292
Hines, Earl “Fatha,” 57
Hite, Bob “The Bear,” 30–31
Hodges, Johnny, 173
Hoffman, Philip Seymour, 262
Holiday, Billie, 247
Holly, Buddy, 126
Holmstrom, John, 2
“Holy Family”, 254
“Honky Tonk Women”, 214
Hooker, John Lee, 30, 31, 32
Hopper, Dennis, 7
“Hot Rod Lincoln”, 159
Houston, Cisco, 296
Hubbard, Freddie, 62
Huerta, Baldemar, see Fender, Freddy
Humble Pie, 214
Humphrey, Ralph, 185, 191–192
“Hungry Heart”, 121
“Imagine”, 122
“I Mean You”, 63
“I’m Going Home”, 31, 32
“I’m Your Captain”, 169
“In-A-Gadda-Da-Vida”, 155
Ingber, Elliot, 179, 180
“In Walked Bud”, 63
Iommi, Tony, 45, 49
Iron Maiden, 3
“I Wanna Be Your Dog”, 198
“I Want a New Drug”, 122
Jackie Brenston & His Delta Cats, 159
Jackson, Michael, 48
Jacobs, “Little” Walter, 241
Jacquet, Illinois, 244
Jagger, Mick, 7
James, Skip, 92
James, Tommy, 260
Jan & Dean, 159
Jarrett, Keith, 2
Jefferson, Blind Lemon, 30
Jefferson Airplane, 19, 107
Jemmott, Jerry, 163
Jennings, Waylon, 127, 136
Jimenez, Flaco, 136, 138
John, Elton, 165, 233
Johnson, Pete, 29
Johnson, Robert, 10–14
Johnston, Daniel, 55
Jones, Elvin, 181
Jones, Jo, 173
Jones, John Paul, 49
Jones, Papa Jo, 56
Joplin, Janis, 86, 133, 238
Jordan, Louis, 31
“Jumping Jack Flash”, 120
“Jumpin’ Punkins”, 155
Kaufman, Phil, 292
Kaye, Lenny, 17, 107
Kaylan, Howard, 183, 188
Keneally, Mike, 182
Kerouac, Jack, 34, 36, 250
King, Ben E., 165
King Curtis and the Kingpins, 163,
164, 165
“King Kong”, 182
Kings of Leon, 215
Kinks, 137
Kirk, Roland, 182
Koenigswarter, Nica de, 62
Kot, Greg, 262
Kottke, Leo, 93, 94–99, 101, 102
Kronos Quartet, 203, 207–208
Krupa, Gene, 157
Kubernik, Harvey, 34, 36, 39
Kupferberg, Tuli, 37
Laing, Corky, 214
Lang, Peter, 97
Leadbelly, (Huddie Ledbetter), 37, 154
Led Zeppelin, 49, 122, 212, 232–233
Lee, Alvin, 31–32
Lee, Spike, 51
Legendary Stardust Cowboy, 55
Lennon, John, 8, 122, 278, 286
Leno, Jay, 47
Lesh, Phil, 200
“Let’s Work Together” 31
Letterman, David, 47
Lewis, Jerry Lee, 30, 32, 111
Lewis, Meade “Lux”, 29
“Like a Rolling Stone”, 120–121
“Little Boy Blue,” 13
“Little House I Used to Live In”, 181
“Little Martha”, 102
“Live and Let Die”, 122
Lloyd, Charles, 163
Lockwood, Robert Jr., 13
“Loco-Motion, The,” 169
London Symphony Orchestra, 183, 193
Los Angeles Symphony, 183
“Lost Highway”, 159
Love, Courtney, 51
Lovelace, Linda, 118, 119
“Love the One You’re With”, 164
Lovin’ Spoonful, xiii, 30
“Low Rider”, 160
Lure, Walter, 68, 69
Lynyrd Skynyrd, 2, 232
McBirney, Charlie, 135
McCain, John, 51
McCartney, Paul, 122, 174, 278
McCoy, Rose Marie, 253
McKernan, Ron “Pigpen”, 74
McLean, Jackie, 61
McNeely, Big Jay, 244
Magic Band, 66
Mahavishnu Orchestra, 185
Maher, Bill, 50
Mahler, Gustav, 203
“Make It with You,” 165
Mance, Junior, 61
Mann, Ed, 190
Marcus, Greil, 14, 105, 107, 113–115
Maria, Mary (Mary Parks), 252, 253,
254, 255, 256
Mars, Tommy, 188
“Marseillaise, La”, 242, 255
Martin, Bobby, 188
Mauritz, Barbara, 110
“Maybelline,” 159
Mayfield, Curtis, 122
Mazzacane-Conners, Loren, 94
MC5, 168
“Mean Mistreater”, 169
“Meet Me in Stockholm”, 137
Mehta, Zubin, 183
Mekons, 25, 118–119
Mellencamp, John, 121
Meltzer, Richard, 105–116, 260–262
Memphis Horns, 163, 167
“Memphis Soul Stew”, 163
Mercury, Freddie, 121
“Mescalin Mix”, 201–202
Meyers, Augie, 130–131, 133, 134, 136,
137, 138, 139, 140
Miller, Jimmy, 214
Mingus, Charles, 61
Minutemen, 111
“Mississippi Queen,” 214
“Miss Ree”, 163
“Misty”, 155
Mitchell, Joni, 221
Mobley, Hank, 59, 61
Moby Grape, 107
“Money”, 122
Monk, Thelonious Sphere,
33–34, 56–64
Montgomery, Wes, 148
“Mood Indigo”, 171–172
Moog, Robert, 203, 259
Moore, Scotty, 32
Morales, Pancho, 163
Morales, Rocky, 129–130, 135
Morgan, Lee, 61
Morris, DJ Mixmaster, 204–205
Morrison, Jim, 86, 230
Morrison, Van, 30
“Motherless Child”, 94
Mothers, 179
Mothers of Invention, 178, 179–183,
184, 189, 191
“Motorhead Baby”, 159
Mountain, 214
Murcia, Billy, 67
“Murder Mystery, The”, 285
“Murder Was the Case”, 286
Murphy, Michael, 135
Murray, Sunny, 239, 245, 247, 248, 255
“My Generation”, 121
“My Guitar Wants to Kill Your Mama”, 285
“Mystery Train”, 154
Namath, Joe, 109–110
Ned, 110
Nelson, Willie, 127, 135, 136
Newman, David “Fathead”, 136
Newman, Thunderclap, 233
“Newport Jazz Festival Suite”, 172
New Riders of the Purple Sage, 162
New York Dolls, 67, 68
Nolan, Jerry, 67, 68, 69, 70
“Nothing”, 33
O’Hearn, Patrick, 187
“Oh Happy Day,” 123–125
Oliveros, Pauline, 43, 200, 201
Ono, Yoko, 20, 42
“On the Road Again,” 31, 160
Orlovsky, Peter, 35
O’Rourke, Jim, 24–25
Osbourne, Ozzy, 45, 48–49, 52
Osbourne, Sharon, 48–49, 52
“Other One, The,” 89
Page, Jimmy, 49, 233
“Paranoid,” 44–52
Parker, Charlie “Bird,” 57, 60, 204,
243, 247
Parks, Mary (Mary Maria), 252, 253,
254, 255, 256
Parsons, Ingram Cecil “Gram”, 291–296
Patton, Charlie, 93
Peacock, Gary, 246, 247, 248
Pearls Before Swine, 247
Pearson, Lloyd, 241
Pedersen, Neils-Henning Orsted, 245
Pentangle, 87
“Perdido”, 155
Pere Ubu, 2, 26
Petty, Tom, 121
Pickett, Wilson, 162
Pierce, Webb, 128
“Pinetop’s Boggie-Woogie”, 29
Pink Floyd, 122
“Planet Rock”, 155
Plant, Robert, 49, 233
Pogues, 118
Ponty, Jean-Luc, 184
“Poppy Nogood and the Phantom Band”, 204
Powell, Bud, 57, 58, 59, 174
Pran Nath, Pandit, 206–207, 209
Presley, Elvis, 31, 126, 154
Preston, Billy, 163
Preston, Don, 181
Price, Lloyd, 241
Prince, 121
“Prophecy”, 248
Purdie, Bernard “Pretty”, 163
Queen, 121
Quicksilver Messenger Service, 133, 219
“Radar Love”, 158, 160
Rainey, Gertrude P. “Ma,” 38
Rains, George, 133, 135, 139
“Rains Came, The”, 132
Ramone, Dee Dee, 68
Rapeman, 212
Rath, Billy, 68, 70
“Reach Out and Touch
(Somebody’s Hand)”, 166
Rebennack, Mac, see Dr. John
“Red Cross, Disciple of Christ Today”, 94
Redding, Otis, 131
“Red Temple Prayer
(Two-Headed Dog)”, 135–136
Reed, Lou, 18–28, 69, 198, 233
Reich, Steve, 43, 200, 202, 203, 207, 208
“Respect”, 162, 164
“Return of the Son of Monster Magnet, The,” 180
“Rhythm-A-Ning”, 63
Rich, Buddy, 157
Righteous Brothers, 6
Riley, Terry, 199–209, 259
“River Deep, Mountain High”, 5–9
Roach, Max, 58
“Road Runner”, 160
Robbins, Ira, 21
Robertson, Pat, 47
Robinson, Smokey, 238
“Rock and Roll Pt. 2,” 121
“Rocket 88”, 159
“Rocking Down the Highway”, 160
“Rock Island Line”, 154
Rolling Stones, 15, 120, 126, 130,
131, 214, 292
“Rollin’ Ocean”, 295
Rollins, Sonny, 58, 242, 244, 249, 251
“Roll on Waters”, 295
Ronettes, 6
Rooks, Conrad, 36
Rosenthal, Bob, 38
Ross, Diana, 166
“Round Midnight”, 59
Rouse, Charlie, 62
“Ruby, My Dear”, 59
Rudd, Roswell, 239
Rundgren, Todd, 233
Russell, Leon, 7, 135
Sahm, Douglas Wayne, 127–140
“Saints”, 248
“Saint Stephen”, 74, 89
Sanders, Ed, 37–38
Sanders, Pharaoh, 252, 256
Santana, 214
“Satisfaction”, 120
Schoenberg, Arnold, 203
Schultze, Klaus, 259
Scorpions, 49
Sender, Ramon, 200
Sex Mob, 3
Sex Pistols, 68
“Shaft”, 122
Shanghai Film Orchestra, 202
Shangri-Las, 69
Shepp, Archie, 249, 251, 253
Sherwood, Jim “Motorhead”, 182
“She’s About a Mover”, 131, 132
Shilohs, 292–293
Shines, Johnny, 13
Silver, Horace, 59–60, 61
Silverstein, Shel, xi, 291, 294, 295
Simmons, Sonny, 238–239, 240, 253
Simon, Paul, 165
Simon and Garfunkel, 233
Sir Douglas Quintet, 87, 130–134,
136, 137, 139
“Sister Ray”, 19, 25
“Sligo River Blues,” 97
“Slip Away”, 233
Smith, Albert, 30
Smith, Clarence “Pinetop”, 29
Smith, Harry, 33–40
Smith, Patti, 69, 107, 109, 110
“Some Kind of Wonderful”, 169
“Something in the Air”, 233
Sonic Youth, 24, 28, 41–43
“Sophisticated Lady”, 171–172
Soul Giants, 179
“Soul Serenade”, 163
Spector, Phil, 5–9
Spinal Tap, 49
“Spirit in the Dark”, 165–166
“Spirits”, 248, 254
“Spirits Rejoice”, 248, 254
Springer, Jerry, 47
Springsteen, Bruce, 107, 121, 197
“Stairway to Heaven”, 122
Starks, Jabo, 155
Starr, Ringo, 260
“Star-Spangled Banner, The,” 240
Steppenwolf, 162
Stevens, Cat, 233
Stewart, Rod, 233
Stillwater, 234
Stockhausen, Karlheinz, 143, 259
Stooges, 168, 198
Stravinsky, Igor, 179, 182, 203
Strawberry, Darryl, 68
“Street Hassle”, 198
Streisand, Barbra, 51
Stubblefield, Clyde, 155
Styx, Ty, 69
Subotnick, Morton, 200, 201, 205, 259
“Sugar Bee”, 131
Sugarhill, 155
“Summertime”, 94, 245
Sun Ra, 237, 239, 240, 246, 247
“Superfly”, 122
Sweethearts of Soul, 163, 165, 167
“Take a Litle Walk with Me,” 13
“Take the ‘A’ Train,” 154, 172
“Takin’ Care of Business”, 122
Tangerine Dream, 203
Tatum, Art, 57, 178
Taylor, Cecil, 237, 239, 244–245,
246, 247, 250, 256
Taylor, Steven, 37
Tchicai, John, 243
Television, 68
“Tell Me Mama”, 13
Tenacious D, 261
Tenney, James, 43
Ten Years After, 31
Texas Tornados, 138–139
Theater of Eternal Music, 19, 200–201
13th Floor Elevators, 132, 135–136
“This Land Is Your Land”, 296
Thomas, Truman, 163
Thompson, Hank, 128
Thunders, Johnny, 67–70
“Time Machine”, 169
Timmons, Bobby, 61
Tintweiss, Steve, 254, 256–257
Tiny Tim (Herbert Khaury)
“Tiptoe Through the Tulips”, 54
“Torparvisan”, 242–243
“Torture Never Stops, The,” 187
Tosches, Nick, xii, 30, 108, 110,
116, 260–262
Tower of Power, 163
Townsend, Pete, 51, 121, 199, 232, 233
Traum, Happy, 35
Tripp, Art, 182
Tudor, David, 204, 259
Turner, Big Joe, 29
Turner, Ike, 5–9
Turner, Tina, 5–9
Twisted Sister, 121
Tyler, Charles, 249
Underwood, Ian, 182, 183
Underwood, Ruth, 184, 185
Uriah Heep, 49
Vai, Steve, 186–187
Van Vliet, Don, 65–66, 183
Van Zandt, Ronnie, 232
Varèse, Edgard, 144, 179, 259
Velvet Underground, 18, 19, 27, 28,
200, 204, 279, 285
Vestine, Henry, 254
Voidoids, 68
Volman, Mark, 183, 188
Vom, 111
Wackerman, Chad, 187, 190, 192–193
Walken, Christopher, 213, 215
Walker, Aaron Thibeaux “T-Bone”,
126, 128
Walker, Jerry Jeff, 135, 136
“Walk on the Wild Side”, 21
Walley, David, 116
Walley, Denny, 185–186
War, 160
Ward, Bill, 45, 49
Warhol, Andy, 69
“Wasted Days and Wasted Nights”, 135
Waters, Muddy, 241
Watkins, Doug, 60, 61
Watson, Johnny “Guitar”, 159
“We Are the Champions”, 121
“We Are the World”, 121
“Wear My Ribbon”, 296
Webb, Chick, 56, 155
“We Bid You Goodnight”, 89
Webster, Ben, 172
Weissman, Dick, 293
“We’re an American Band”, 214
“We’re Not Gonna Take It”, 121
West, Leslie, 214
“We Will Rock You”, 121
Wexler, Jerry, 136, 161, 162, 164, 166, 167
“What I Say”, 131
White, Ray, 188
“Whiter Shade of Pale”, 163
White Stripes, 215
Who, 51, 121, 232
“Who Are the Brain Police?,” 180
“Who Do You Love?”, 219
“Whole Lotta Love”, 122, 163
“Who’ll Be the Next in Line”, 137
Williams, Cootie, 57
Williams, Hank, 126, 128, 159
“Willie the Pimp,” 183
Willis, Ike, 188, 189 X, 111
Willis, Wesley, 54–55
Wilner, Hal, 35–36, 38–39
Wilson, Alan “Blind Owl”, 30–31
Wilson, Brian, 7, 159
“Witches and Devils”, 248
Wolfe, Tom, 159–160
Wolff, Christian, 43 202, 203–204, 206
“Won’t Get Fooled Again”, 121
Woode, Jimmy, 172
Woods, Tiger, 48
Woodstock, 31, 86
“Woodstock Boogie”, 31
Woodyard, Sam, 172
Worrell, Lewis, 239, 242
X, 111
Xenakis, Iannis, 19
Yellow Shark, The, 183
Yes, 175, 233
Young, J.R. xii, 91
Young, La Monte, 19-20,25, 200-201, 202, 203-204, 206
Young, Lester 57, 244
Young, Neil 121, 197, 288
“You Lost the Loving Feeling”, 6
Zappa, Frank 66, 177-193, 271, 285
Zazeela, Martin, 200, 203-204
ZZ Top, 30, 215
|
|
|
THE BOY WHO CRIED FREEBIRD's Details
|
| Status: | Single | | Here for: | Friends | | Hometown: | Chicago | | Body type: | 0' 0" | | Zodiac Sign: | Gemini | | Education: | Post grad |
|
|
THE BOY WHO CRIED FREEBIRD's Networking
|
|
|
|
![]() |
THE BOY WHO CRIED FREEBIRD is in your extended network
|
|
THE BOY WHO CRIED FREEBIRD's Latest Blog Entry
[Subscribe to this Blog]
|
| [View All Blog Entries] |
|
THE BOY WHO CRIED FREEBIRD's Blurbs |
About me:
Photos by Jerry Goldner
www.profilesofnature.com
Rock & Roll Fables and Sonic Storytelling
(HarperEntertainment)
Mitch Myers
NOW AVAILABLE IN PAPERBACK
CLICK COVER BELOW
ROCK RACONTEUR MITCH MYERS
RELEASES NEW COLLECTION
OF MUSICAL
FACTS AND FANTASIES
Esteemed writer and public radio commentator, Mitch Myers debuts his first book, THE BOY WHO CRIED FREEBIRD: Rock Roll Fables and Sonic Storytelling (HarperEntertainment) starring a wide-ranging cast of music industry icons including Ozzy Osbourne, Robert Johnson, Aretha Franklin, Phil Spector and many others.
Taking cues from ‘70s era publications like Creem, Crawdaddy and Rolling Stone, THE BOY WHO CRIED FREEBIRD is a freewheeling collection of music-oriented parables, serious artist profiles, and edgy, offbeat essays. Myers incorporates factual reporting, oral storytelling and comedic spritzing—blending his social satire with historical fact in creative, literary fashion. Black Sabbath saving the world from alien infiltration, a classic update on the old American legend of John Henry, Frank Zappa and the Mothers of Invention freak out – it’s all within the pages of THE BOY WHO CRIED FREEBIRD, just waiting for you to make your own call; fact or fiction?
THE BOY WHO CRIED FREEBIRD explores perennial examples of rock and roll, blues, jazz, gospel, beat poetry, minimalism, modern classical, soul, avant-garde and electronic music. In addition, Myers offers playful insights on the peripherals of music: record collecting, bonus tracks on CDs, rock concert decorum, dope-smoking, 60’s nostalgia, obsessive music geeks, ridiculous sex, Deadheads, the business side of rock and roll, music journalism itself, rock in film, and other related pop-phenomena.
THE BOY WHO CRIED FREEBIRD offers more than 40 entries that will captivate fans of popular music culture, including the following five never-before-published stories:
• Who Will Save The World? (Black Sabbath): Writer Dave Marsh said this political piece was Mitch’s "Masterpiece. Lester [Bangs] is drooling with envy in Hell."
• Back to the Fillmore (The Grateful Dead): “Back to the Future” meets Hunter Thompson's Hells Angels and Tom Wolfe's Electric Kool-Aid Acid Test.
• The Ballad of John Henry and the Wheels of Steel: As heard told by Myers on NPR, this is a classic update of a timeless American folktale.
• Tie-Die! (A Demonic Tale of Psychedelic Possession): A rock & roll Twilight Zone episode.
• The Mix-Tape Murder Mystery: A classic police-buddy whodunit in the tradition of Nick and Nora (in The Thin Man), Charlie Chan and Dragnet...with a soundtrack.
For lovers of both music and the written word, THE BOY WHO CRIED FREEBIRD is creative “underground” journalism from an evocative and mature literary voice.
ABOUT AUTHOR
MITCH MYERS
Journalist, historian and rock and roll raconteur Mitch Myers takes us on a mesmerizing journey with the release of his book, THE BOY WHO CRIED FREEBIRD: Rock & Roll Fables and Sonic Storytelling.
Myers has been a subversive voice in music journalism for more than a decade and his byline has been seen in such publications as DownBeat, Rolling Stone, the Village Voice, High Times and many others. His profile on Doug Sahm in Magnet Magazine, “A Lone Star State of Mind,” was included in the prestigious anthology Da Capo Best Music Writing in 2003. Mitch’s literary style was influenced by music publications of the 60s and 70s, such as Creem, Crawdaddy! and Rolling Stone.
A contributor to National Public Radio’s ever popular All Things Considered, Mitch’s pop commentaries have been selected by NPR listeners as “driveway moments” and his piece “There’s Just Something About That Cowbell” was recently included on the CD,
NPR’s "Driveway Moments 3."
In addition to writing and radio, Myers is the creative consultant to the estate of his late uncle, author and poet Shel Silverstein and maintains the Silverstein Archive in Chicago. He has recently completed the introduction to another book, Playboy’s Silverstein Around The World, which will be released in June 07 on Touchstone/Fireside. Mitch is a relentless traveler, and divides his time between residences in Chicago and Manhattan.
REVIEWS:
SUN TIMES
The Mitch Myers experience
Chicago music writer and NPR contributor looks
back on a time when rock 'n' roll journalism was much more literary
April 22, 2007
BY JIM DeROGATIS Pop Music Critic
In an era when artists' profiles are too often fawning puff pieces and album reviews can largely be divided into insight-free, 150-word blurbs a la Entertainment Weekly or dense, impenetrable and solipsistic essays for uber-hip Webzines, Chicago music writer and National Public Radio contributor Mitch Myers recalls the glory days of rock criticism's first decade, from the mid-'60s through the mid-'70s, when pioneers such as Richard Meltzer, Nick Tosches and Lester Bangs viewed their craft as part of the New Journalism, aspiring to Tom Wolfe's famous goal of treating journalism and criticism as literature, and using the skills and techniques of the novelist.
The Boy Who Cried Freebird: Rock & Roll Fables and Sonic Storytelling (Harper Entertainment, $25.95) is a much-needed and very welcome collection of Myers' work for radio and various magazines. In the introduction, he acknowledges his debt to the writers mentioned above and names an even bigger hero: J.R. Young, a now-forgotten Rolling Stone record reviewer from the '70s. Myers follows in Young's footsteps by crafting album reviews that are really short pieces of fiction "parables," and if these sometimes skimp on conventional info such as the producer, the best and worst tracks and where the disc fits into the artist's oeuvre, they often reveal deeper truths about the musician's work and the listener's role in completing the experience.
Witness Myers' piece on the Robert Johnson box set, which begins with the discovery of a mysterious 30th track that the bluesman never recorded and ends with Satan showing up at the author's door; a nifty homage to Black Sabbath wherein playing "Paranoid" reveals and kills the camouflaged aliens in our midst, and a rumination on Brian Eno set in the laboratory of Baron von Frankenstein. Together with his imaginative and captivating prose, Myers' biggest assets are his boyish enthusiasm, pervasive warmth and genuine love of eccentricity and distinctive art and artists, traits that make a lot of sense if you know he's the nephew of the poet and cartoonist Shel Silverstein and administrator of his uncle's archives. In its own way, The Boy Who Cried Freebird is as much of a joy and inspiration as The Giving Tree.
• • •
HARP MAGAZINE
THE BOY WHO CRIED FREEBIRD: ROCK & ROLL
FABLES AND SONIC STORYTELLING
BY MITCH MYERS
(HARPER ENTERTAINMENT)
Tall tales and stone-soul grooves
Why like scribe Mitch Myers, other than the fact he can explode everyday rock-tale-telling into something niftily exaggerated? So asks a writer (me) who often does the same with zealous hyperbole. Mainly because once you’ve heard Myers on National Public Radio’s “All Things Considered” orally offering up his winsome witticisms on the subjects like “the cowbell,” the bittersweet qualities of his studied writings becomes more apparent. His sandy tones and halting caution – even when discussing the machismo of Grand Funk Railroad, or the glory of the anthem – apply a tuneful proximity to the subjects at hand. Not exactly musical. But tone attentive.
So now, this collection’s un-orally told tall tales and blunt reviews both retain a tenderness I hadn’t read into them previously. Though it’s unnecessary to have to hear Myers in order to best get the breezy artfulness of his take on Eno, or his preposterously comic-booky look at Black Sabbath, it’s a nice entrée. Now, Myers’ story on Doug Sahm moves from fascinating to dustily poetic. Now, his jazz-bo blasts on Albert Ayler and the Monk/Blakey team kick like one of Thelonious’ oddly oblong chord changes. They don’t jive. They kick.
Myers --- like Robert Klein did with an era twice removed – calls himself a “child of the Seventies.” You can feel, fear and see that as Myers rambles through the frank postmortem of Frank Zappa. Or the knowing way he writes about Jeff Beck’s savage comb-to-six-string ratio. Or even his quick, flighty take on college dorm rooms filled with pricey German stereo components and cheap bongs. Klein and Myers: they’re a lot alike. They wear their pasts – even if they themselves hadn’t lived their exactitude – like badges of finely finessed humor. I mean honor. No, I mean humor. Myers? He’s a stone soul groove with stories most supersonic.
A.D. AMOROSI
• • •
The Boy Who Cried Freebird: Rock and Roll Fables
and Sonic Storytelling
by Mitch Myers
HarperCollins
April 2007, 336 pages, $25.95
by Jodie Janella Keith
In The Boy Who Cried Freebird Mitch Myers drifts between musical genres and literary styles. With a nod to granddaddies of rock criticism Lester Bangs, Nick Tosches, and Richard Meltzer, Myers has attempted an “allegorical commentary via playful, music-oriented vignettes.” While the overall affect is a persuasive treatise on America’s cultural relationship with rock music, the collection isn’t quite as seamless as it ought to be.
Rock oriented fables are spliced between long-form journalistic pieces focusing on a variety of genres such as folk, jazz, ambient, punk, and metal. Like Freebird, Chuck Klosterman IV, contains both fiction and nonfiction music writing, but the latter is divided neatly into “things that are true,” “things that might be true,” and “something that isn’t true at all.” The undifferentiated sections of Freebird can throw the reader off.
For example, in “The Steel-String Trilogy”, Myers strings together three pieces of writing about, as the name implies, steel string guitars. The first two pieces—profiles of guitarists John Fahey and Leo Kottke—are deft nonfiction profiles that encapsulate complicated people with great brevity. However, the third piece is a short story involving time travel and a hippie with an expansive collection of string instruments, including of course a steel-string guitar. Despite the obvious thematic linkage, it is halting to have text about real-life artists mashed against pieces that don’t always immediately identify themselves as fiction. Thankfully, at the back of the book Myers has included an appendix that informs the reader of which stories are fiction, what his nonfiction sources are, and if the story has run anywhere before.
Despite reading like a book set on random, Myers is a fantastic writer with a great ear for rhythm. His pieces on jazz have an implied swing beat built into the words, while his writing about hard rock is blunt and frenetic. In a piece about the relationship between Allen Ginsberg and Harry Smith he describes the latter as “a hermetic, neocelibate white-bread record collector/visual artist from Oregon with roots in freemasonry and an attraction to occultisms.” An appropriately rambling description if ever there was one.
A profile of rock critic Richard Meltzer says more about Meltzer the man and the entire enterprise of critiquing rock than its word count would indicate possible. Myers says of Meltzer’s most famous work, The Aesthetics of Rock, that it “provided abstract (and concrete) connections in wholesale and hallucinatory fashion.” He collects damning quotes about Meltzer from fellow rock critics and foes Greil Marcus and Robert Christgau and still convinces the reader that Meltzer is indispensable.
A highlight of the book is an interview with Daevid Allen, founder of psychedelic rock band Gong. Allen discloses an outrageous anecdote about Sherman Helmsley, TV’s George Jefferson, that’s too delightfully odd to spoil here. A few of the sharper pieces debuted on NPR’s All Things Considered including a winsome vignette about a subway performer, a curious interview with a glockenspiel player who has the inside scoop on Phil Spector and Tina Turner, and the fable of a plucky old jazzbo’s challenge to the present heyday of turntablists.
Every piece is about people interacting with music in some way. An old man explains Grand Funk Railroad to his grandkids. A group of precocious young boys decide to listen to British punk group the Mekons while enjoying a circle jerk. Myers sends his literary alter ego, Adam Coil, the titular boy who cried Freebird, on adventures—back in time to see the Grateful Dead in 1969, into a trance inspired by ambient music, and to a dorm room to listen to a $4,000 stereo and take bong hits. Myers captures the complexity of rock music’s role in cultural communication—it’s importance in ceremony and ritual, establishment of communitas, and creation of life stories. He achieves something of an ethnography of rock ‘n’ roll using fables, well-chosen informants, and historical narratives.
Myers is coming at culture with the distinct bent of someone who came of age during the era of anthem rock, but a deep love for Blue Oyster Cult is not essential for enjoying Freebird. As Myers himself rightfully points out, rock geeks are finally cool. But he asks that he not be compared to John Cusack’s character in High Fidelity because “that dude wasted all his time organizing his collection in some kind of chronological order—everybody knows that you should file your albums by genre.” Fair enough.
Myers writes about musicians and listeners and their equally obsessive relationships with music because he is one of them. Despite the rapid-fire disorganization, Freebird welcomes rock geeks in with open arms and gives its readers a big hug.
• • •
|
Who I'd like to meet:
|
|
| THE BOY WHO CRIED FREEBIRD's Friend Space (Top 23) |
|
THE BOY WHO CRIED FREEBIRD has 2021 friends.
|
|
|
|
|
|
