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Unknown: Okay, let's see Peter and Janice San Francisco first, September 1967 if I don't, I the album Back. Will have it right, right? Good. I usually start off an interview by asking, since it's a magazine

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called Jazz and pops, about the relationship between popular music and jazz, and I'll ask you that too, because I hear a lot of various schools of jazz and Janis singing and in well, in the drum playing and in the guitar soloing and so forth,

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jazz and Papa, as far as our group is concerned, has been like co related. Ever since we started. We've always had jazz theory involved in our songs, taking a theme and improvising on it, then going back from theme to end the song, elongated

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solos in different other songs, jazz lips on guitars. We've got a jazz guitarist. Two of the guys have basically jazz back drummer, the drummer and Sam, the leading rhythm guitarist. Both of them played

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predominantly, mostly jazz before they got into rock. And Sam had played rock and roll really early. He was more like the only one the group has played like high school. The rest of you all came to it

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three, three of us remaining. James Janice, myself, what do you call? What do you call about folk music, though, Janice, because I've seen people compare you to Betty Bessie Smith started

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listening to when I first started singing, when I was, like, 1718, years old. I suppose, I suppose I have some influence by her in some ways. I of course, I can't say, but she sings as the same sort of, sort

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of general bag that I do. Well, it isn't so much a specific influence. We sound like I used to when I was focusing. I sing quite a bit like her. I don't think I much. I do anymore. You can't sing

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that way with a rock band. You gotta, you gotta wait a minute. You gotta put you have to, you have to. She was like, she sang a lot of like, just big, open, slow, solid songs you can't sing like with a rock band. You got to use a lot more. What's the

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word syncopation, syncopated rhythms and fancy stuff to increase the drive of it. Like Bessie Smith, sing with a rock band today. I didn't get drag. How did you learn? Well, what I think about in Betsy Smith style

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and in yours of similarities is the vigor and the energy. Yeah, you're both loud, right? But that was the most magnificent experience. I can only compare that with some things of Mick Jagger and some things of John Coltrane as far as the intensity

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of emotional experience goes. And that was first time I've been able to hear you in person. I mean, you the group and all the San Francisco groups, the first time I've been my next that's better if I can live through it. In that case, how

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did you train yourself to be able to sing with that much force? I noticed that even when you're not singing, by the way, I mean, you still have that same energy and dynamism. People have been asking me about that lately, and I don't think

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it's something that you can even know about. You know, it's just the way that you do something, it like, it's very like. It's very important to me, and that was very important to me. That's all, I mean, I don't know why.

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It's body makeup. Basically, you have a you have more fast action to like, you know, way we talk, yeah, it's fast and come out that way music, you know, how we sing. You know, it's chopping as fast as the electric not

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only that, but it has so much stamina too. I was I saw last, I don't know when my mind's been blown, but I saw the cream and Ginger Baker, their drummer plays 40 minutes. You know why? Both Hans, both cheeks? No, I don't know why. And maybe that's

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relevant. Maybe that's not relevant, but I've been impressed with is, you know, the stamina of all of the rock groups you can get out there and you can solo for 1015, minutes. This wasn't too in popular music before. I don't think it was

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true in Negro music. I think that's very weird. Intensity in different in different kinds of directions. There's intensity in in pop music, it's just a whole different kind of style and basis, like take a st Frank

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Sinatra. You know, it's strange to the night that's an intense song in the fact that it's got words and music and music there, and the background is built up, and the way he sings, it is very intense. But that's a whole completely different bag, and

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we're, we're involved with a more fast, rocking kind of electrician. It's something that involves, like, a complete, I feel like, completely emotional and personal commitment. Why? Why

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you're doing it, and it seems to me like why you're not doing it, like I can't get. This band and this music out of my life. It's, you know, it's everything I'm doing right now, and especially when you're on stage, you can relate to the people. You can

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see them, but you can't really think or feel very much except the beat and what comes next. Because it's like balling somebody. It's you're completely involved, and you have to be it's just like balling somebody.

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Is that why so many of the bands now are communal bands? Because you interact with each other on a personal level, as well as, just as on a musical business, professional level. Are you? Are you communal band now? Or have you

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not? Depends on what you mean, like, you know, not, not so much as some of the younger bands like, I think it's like, one of the reasons it's like an, basically, it's an economic, you know, necessity when bands were getting started, you know. And

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also it has to do, I think, with being personally involved with each other. But I don't know, like we, we're personally involved each other and personally very committed to each other, but, but we try, we sort of are in different than

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most San Francisco bands. We try, and we each have our own separate lives, and we live separately. Did you always live separately, or did you ever live together? What happened there? If that's not too personal, if we have to,

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we have two men here. So could you say your name before you talk? Because otherwise the tape won't be able to get it. David driver, David. No, we together, and it was groovy in a lot of ways, and Mallea and everybody,

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it helped us an awful lot. It really helped our development as a band. How so? Because you were together all the time, you know, we want what you know, there's, you know, Peter, right, there was, like,

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we were there. We were all one house, ready and apt to play and practice, you know, we didn't, we didn't play, you know, just like for randomly, we had a schedule and stuff like, and we went out a lot, but we were just always there. And that makes it,

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makes it, makes it, makes it good. You know, Tara problems that are involved with living together. But certainly, I don't think we came away with, like, the detrimental feeling to our music.

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No, it wasn't a sour taste. Oh, it really helped us a whole lot. We got, we got, we got to know each other a lot better as people, and we got to play a lot more like now it's such a hassle to get everybody together, rehearse. Somebody's got to go

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here, somebody's later. All this bullshit comes up, but, but when we were living together, all I did was wake everybody up like everybody's head was pretty much, you know, banned. That's what everybody everybody was thinking was banned. It was

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there all the time, you know, and you just couldn't help it all the time. Think band, I can't have a great sense, is music, you know, music is happening all the time. So our music, really, we really came together as a band during that

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time. Yeah, I think, I think Peter some detrimental things to it too, that a lot of young bands go through, and sometimes they break up from it, and that's they can't really even when living together separate music, and the first time they

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get sometimes too involved. That's one thing I personally feel about communal living. It sometimes can get on your nerves. Other people can get on your nerves, just so, you know, and like thinking too much about music, man, like music was was

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all encompassing. I had so much fucking problems with my with relating to my wife while I was up there. I couldn't relate to her as as as my woman. I could have to relate to her as a wife of a musician who's in this band. It was just difficult. I

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find it better now, and I think basically will be better, like having a rehearsal hall and rehearsal place, garage, or whatever, close to where we all live, so we can easily get to it and get our manager living together with us in the

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rehearsal hall. It'll make it much easier for everyone to understand are the bulk of the San Francisco band still communal, the better known ones,

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no, not really living together. Living together like about like two or three. Mount rush Morton lives together. Grateful Dead, some of them live together.

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Grateful Dead are the Grateful Dead really, I think typify what most people think of as the way San Francisco fans, you know, think like they really, they really are that way. They're really a love band. They live together and they, well, they

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left together. Some of them, two of them, live apart. What they're all ladies, and don't even bother the others. So, you know, it really, when you get down to being people, you know, it sort of changes all that the younger bands do. But most of

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the established fans, don't we have to work with each other like eight, sometimes 1012, hours a day. We really have to be involved in each other's psyches that long. And if it was 24 hours a day, I mean, it might cause us to break up. You got to

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get it. You got it. Sometimes, I don't think any of the pop pop musicians have ever done this before. Four No, completely new Frank's not to walk into his studio even to do a record with a band he's never

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seen before in his life. He hands him a weed sheet and does a thing and walks out about maybe, maybe a day through a day's recording, or three days, and that's the album. He doesn't know his music. Doesn't he doesn't even know his

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arrangements until maybe about four or five hours after he starts working them out with music in the studio. And that's just changed. Even though live groups here in San Francisco don't still live together. They they relate to each other very

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personally, like, it's like this tribal thing I was gonna ask you about that next. Would you talk a little lot has been said. Written about the tribal the tribal relationship between the band and the following. Do you want

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to could you want to could you say anything about that following? Yeah, just that, that relationship here in San Francisco, Peter all over, it's not just a band and people,

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it's the bands have come out of a tribal situation, and kind of, I think we all feel like we all have some kind of a common Cruz heritage. We, we the hippies?

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Yeah, speaking is as just as a hippie, yeah, you know, I feel like some sort of personal commitment to all the people that are around, like the reason we're all here is because we've had some kind of common experiences in our background

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that's caused us to reject something in the past and come here now, out of that, the bands have grown with, with the same kind, you know, background. I think most, most of the kids on the street, like some of them, are younger than me. We've all,

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we all have some things in common, like a belief in this or not, belief in that. And I love the bands all have that, but then it's like interrelation. I really don't think you'd call it tribal, though. I like make distinction.

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Tribal in San Francisco has come to men, really communal pads, basically like this tribe and that tribe, as far as I understand from what, like Ron Thal from the psychedelic shop, you know, who's very much involved in this tribal American

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Indian trip. This what becomes, to me, just people living in pads. There's a lot of that going on now, and there's so we don't come out of that. We have not lived in a pad together. We might

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have, like, practice a long time, and we practice at a place called 10 iron pastry, which is like a pad, very big, like 2530 people say that again, a house together, but we lived in a house. It was, it was

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just us. They're old ladies, and we have friends, you know, but we don't have any like that, like, you know, a thing that we take with us wherever we go. For example, everybody's they, I don't know how they travel with I don't know what 20

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people you know. Well, they did last trip to Canada, the dead. They took their old ladies. They took just people that are like, you know, they're people like, part of their entourage, dogs, the cats, you know, and the little kids, which

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is fine and good, but I don't, I don't know how easy it would be on the road. You've never felt any temptation to try that. We've, we've tried. We have taken a laser. Probably

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we'll take them again. No, don't just general ladies, but also we've never had a tribe. We've never had you never hear your followers aren't that intimately related to you? I mean

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fans and friends. We have close friends that come to like almost every gig, and come backstage and get to learn with us. And you know that we really dig. But when it comes to the band, it's us five, and that's all there is to it. We're the ones that come

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to rehearsal, and then when it comes to rehearsal, we kick everybody else out because we got to work with each other. We can't. I mean, I personally find it difficult, you know, five people. It's hard enough to get inside each other's head and

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really try and do something. I think other people in a lot of ways, like I like to have them work with us and for us, but they can be really involved in the basic structure the band, you know, people's music.

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Yeah, it's, it's, it's us, it's Peter, Dave, James, Sam, Janice. We've come to find we've come to find that not, not because we really had a real big past experience with communal living, but just come to find that we work as just a separate unit,

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and the tribes are outside of that. I guess it's part of trying to become more professional, realizing that that we start thinking about other tribal trips, we will be thinking about music. And that's

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that was Peter Well, Janice, you were talking though about identifying with the hippies. Do you think that the hippie way of life is responsible in any way for this big change in popular music that I hear? My own experience is that I wasn't

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listening to popular music two or three years ago because, with certain exceptions, like the Beatles and villain, it was pretty pallid stuff. Do you think there's any fact this new. Style of life. I don't

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know exactly what it is, but there must be some connection, because all the bands now are hip, and all of them do turn on, and all of them, I think, in well, at least the ones that I did the most do in some way identify with the hippies or the

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Bohemian section of the population. I don't know what it is like in San Francisco. It spawned the hip scene in San Francisco spawn a lot of bands. I wouldn't care to say why that is, except

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that, like one of the things about the Rock and Roll getting better is rock and roll has gotten better in certain ways, it's gotten more intellectual, but it also has its recent success has a lot to do with people's heads changing. It has

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a lot to do with people becoming, like, tuned into possibilities that you know something is art now that wasn't art before, all of a sudden, you know, it's like pop art, yeah. And like, like, I always dug rock and roll. I dug rock and

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roll when I was 14, and then I went to art school, you know, and I was taught that, like, rock and roll, those Hans, have changed a lot, maybe, you know, for a lot of things, acid is one of the things that sort of tune people

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into rock and roll as being like, all of a sudden, like a serious thing to listen to, you know, to buy records and collect LPS like jazz was listened to before. And I was just saying, like, I always dug rock and roll, you know. And a lot of us

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always dug it, but we're never taught to take it as seriously as we take it. Now, is it responsible for that? I think it is a lot of ways. Yeah, I think something's happened. Like, a lot of people are, like,

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just like, more open to feeling and to digging things. But I know I started like I was into rock and roll and not particularly interested in rock and roll until the Beatles. The Beatles first turned me on to just, you know, to digging rock

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and roll into the fact that somebody that I could relate to, not Elvis Presley, something I could relate to, was was doing it, and I hadn't taken acid. Yeah, there's a Dave and Janice talking like the Beatles turned

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me on to the idea that I could, you know, do it. They were hip, but still, like, deep down inside of me, you know, like, I always really admired people like Chuck Berry. I really thought Chuck Berry was great black musicians, yeah, you know,

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R and B, even, like, a lot of white rock and roll, I really like, I always liked the Beach Boys. I don't know what like the Beach Boys, to me, are very psychedelic. You know, their sound is really psychedelic. Davies, it's like, it might be

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sweet and everything like that. But if you just, like, look at it in different way, and just hear, like, a lot of surfer music, a lot of a lot of the surfer shit that came out a few years ago, you listen to it like, you know, behind acid, and

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it's a whole different thing. And, you know, you start to turn on to like that. Well, like, like, electronic things come out of that too, that all that reverb shit, that the surfer music, they were the first to start

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using all that heavy reverb and feedback. Was that because they were stone or because they want to do? No, it's because they're really simple. That's really simple, simple in their head. You start, you start making, you know, you start from

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rock and roll as, like a mechanical thing, you know, mechanical trip. And this is, this has really been groovy, because, like, you saw the cream, right, right. Okay, they're like singing now, very little, no, no. I mean, like

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singing the guitar. Oh, yeah, right. Okay, but that's a difference. Man, that's a stone difference. Example of like, of like, how maybe what's his name? Butch Jones from the Beach Boys, whatever his name is, or any of these, like, mechanical finger

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Jaguar players did, and it was like, bat, dot, dot, dot, dot. And maybe some was like, good little rest or something. But they weren't like, making their instruments sound like a person or not sound like one, but become one, be soulful, you

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know, do anything. I think that's where a lot of us came into it, you know, like we wanted to make these things talk. And you find out, like you can play rodeo by shaking the finger. Man starts wailing, like you want a way out. And you

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start putting yourself in your fucking instrument that man, it starts, it starts meaning something much more than that past rock and roll ever did to me. Did you get lot more sold deeper you wear, and I'm white, you know, and I've been did you

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get that from black musicians? Of that idea of being sold? Not, not in some ways, yeah, guys have been doing it for years, and all of a sudden the possibility comes along, you know, that you can do it. You

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can do it. You can be your own style. Really play hard. You can really get, get heavy into yourself, and really, you know, project like an emotion, just like they do everybody, everybody feels things. And I think it's a

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mistake, like lot of people are telling me that I'm like. I'm trying to come on spade. And I don't think I am like, like, I listen to a lot of records, and most of my favorites have been, have been spayed singers. But I don't think I'm trying to copy

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anybody I'm singing what I'm singing, I just make up at the time, and it's just me, Janice, and if I feel it, and it happens to to come out like other people have felt it before, I don't think that means that I'm following anyone's trends. We're

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all we're all on the same trend. Maybe, if you listen to black musicians and you like them, it's because they are expressing their feelings and expressing them. Well, not because, not because you want to be black.

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Yeah, Linley, folk musicians, you start doing rock and roll music like Pigpen from the grateful band, and my even myself, we took a lot from the black musicians. We took a lot of,

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like, folk, blues, Big Bill brooms and Sonny Terry, and tried to copy it. Now, Johannes, some ways, maybe still doing this to start with. I mean, that's how you Yeah, mimicking the voices, trying to, you know, all, you know, get down to a

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deep or all set, you know, all this bullshit. And we finally realized we bullshit. We were ourselves. So, you know, but we use that as a background so we could still sing blues. We started singing the way we want them.

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That was Peter. Didn't the stones and the Beatles do that too? I mean, didn't they begin? Yeah, now I dig Jaggers for size. You know, he's not saying the same way. Man, he's, he's like, he was like, stone, copy, copycat. Man, copy. You

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know, who is he? Willie Nixon first. Now he's copying himself. That's something that makes it done for me. This is Davies,

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yeah, but, I mean, you know, I don't take a style you. You mentioned, wow, get it together, Jan, as you mentioned the Beatles as

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influencing you to want to do hop or rock music. Is there anybody else? No, they, I didn't say they influenced me to want to know. They made it respectable. They first turned me on right to like. I always like, I'd listen to the radio

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and I'd like the songs, but I never like, identified with what was going on until the Beatles, and actually, until the first Beatles movie, when I saw him, I said, Man, those people are groovy. They ain't just some schlock cats. And I always stand

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there going, Dom, don't do the Dodie. Dodie, they're really, they're really groovy. They're thinking, they're feeling things, you know, it turned me on to the whole thing, really, I suppose. Made it respectable. Made

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it well, I didn't mean respectable. I made you think in some ways that you could do something related right before, like, the only thing that I felt like identified with were really beat Nixon folks, because I was Beatrice.

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Wow, is there anybody else who had that kind of impression on you from any area of music to turn us on to something? Yeah. I mean, well, yeah, I didn't, wasn't

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that impressed. And then listen to his album again, you know. And just me, it's really turned us on to us, like a lot of pressure, you know. And of

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course, like, for example, when I saw Otis Redding, he he turned me on to a lot of stuff that, like, I never thought in terms of showmanship or things, you know, because I was never really serious about being a singer until about six months ago. But

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just lately, I've been seeing, like, big names, and I've been learning from almost everyone I've seen. I learned a lot from the cream. I learned a lot from Jimmy Henze Otis Redding. I learned a lot from listening to Rachel Franklin, you know. You

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know, when you start really trying to really like I just really started trying to be a singer about six months ago. And then I started really trying to learn things from these people, rather than just listen to them, to dig them, or I just listened

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to records because I dug them, you know. And yet, nothing you do seem staged. Everything you do seems to be very spontaneous. I don't feel it is staged, but, like, you can see something, and it

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really loosens you up. It's, you know, like Jimi Henze just loosened up James a lot, you know, like, I like guitars, just just, you suddenly say, wow, there's something, you know, there's something else. Wow, I can do that. And then you try

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it, and it works, and it's groovy, and it feels groovy like I never moved so much on stage until I saw what I was reading. And then I said, shit, you can really use your you can really use yourself, your body, to to emphasize your your notes, to

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emphasize, you know, movements in the song. You know, at least, I think you can. So that's part of the black tradition. I don't know what is part of just the the myriad of, you

00:24:46.720 - 00:25:04.980

know, influencing people, right? Millions of man like, you know, jazz missions, you know, nine or 10 of this. You know, we've been, we've all been influenced in some way, a. Or another. By the Plata Robbie Shankar, I was gonna ask you about Sean. Oh,

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did Lee, you know, besides all these other people, well, almost everybody you listen to now that, now that, at least, now that I'm, now that I'm, quote, in the music business, almost everybody I hear I listen to as a musician, and I'm, I learned

00:25:19.020 - 00:25:35.360

so I learned something, you know, I learned something from Brian Wilson and I learned something from Dino valendi. It seems that people, yeah, it seems that people are much more open to listening to different kinds of

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music. Now, listen, I don't mean just like having the music there and not walking out. I mean, yeah, definitely. What about in specifically in jazz, Dave, who were you when you were playing jazz, or even now, who were the people you

00:25:56.200 - 00:26:15.120

found yourself listening to most? Oh, I liked. So. Much. You know, jazz, I liked everybody. I was very impressed with everyone. But, you know, I really can't say anybody, because it's just too many.

00:26:15.180 - 00:26:23.420

There was no particular style that you wanted to play in, like, if you could have picked who you would have whose band you would have been in, did you think you think you would have been able to make a choice?

00:26:23.420 - 00:26:37.700

No, I mean, I wasn't good enough to be in any Well, I wasn't good enough as a jet like I'm better as a rock press, most buyers, I mean, Buddy Rich, Dennis, Danny,

00:26:37.700 - 00:26:46.240

Richmond, or Elvin Jones, all of them. They're all so great. Yeah, I don't think, I don't think, I think I can say this,

00:26:46.420 - 00:27:02.340

but any of us, anyone of any one of us, ever really found ourselves musically until now, like, I always had a good voice, but I never really, you know, developed it. I never really, it was never, it was never my, my complete bag most of the time I

00:27:02.340 - 00:27:13.620

was getting stoned or, you know, you know, fucking around. I don't think any of us ever really found ourselves musically until this day, at least. I don't feel that way we in folk music was that because folk music performers

00:27:13.620 - 00:27:23.000

don't let themselves go as completely, they don't move around the same way. I was young and, you know, kind of fucked up. You're so old now. I mean, practically ready for

00:27:23.000 - 00:27:35.540

Social Security. Well, soon as I can get it, I'll get it. I don't, I don't know what the difference in the commitment would be. I really don't know. I think it really has to do with youth.

00:27:35.540 - 00:27:49.780

Like at the time, I had, like, a lot of more things to do, besides singing, a lot of experiences I had to, you know, to get taken care of, and I've taken care of them now. And now I've got something else to do, you know, all I had then was a

00:27:49.780 - 00:28:01.140

voice, and now I've got, like, a reason or something. Is that sounds silly? No, it sounds like you have a commitment to the music. Like, now this is all I want to do in my whole fucking life. At least I can't find anything else, you know. And

00:28:01.140 - 00:28:11.580

before, like, I had a lot of things, I want to go to New York, and I wanted to ball this guy, and I wanted to, you know, take a little of this dope, take a little that dope, and maybe I could have sing on Saturday night. But now I'm in

00:28:11.700 - 00:28:21.800

everything, everything in the whole world takes second place to be brother. It's, you know, it's kind of hanging me up a lot of ways. But I was, it's really so exciting. But, yeah, you seem to realize yourself out on that

00:28:21.800 - 00:28:34.220

stage. I mean, thing is the finest thing that's ever happened to me in my whole life. And I'm gonna, I'm gonna play it until, you know shit, man, I dig it, dude. Does the rest of the band feel that way?

00:28:34.220 - 00:28:51.580

I feel, Sarah, separate myself in some ways, right? Peter, right, yeah, it's my suburban hang up, right? I grew up with the family of weirdos. I like some musicians, I guess like, like to separate, you know, things. This is the biggest

00:28:51.580 - 00:29:05.580

things happen to me. And I dig it, you know. And I like to keep on top of it. But I don't know if I, if I take too much, if I put all my mind into something, not on my mind, but like my soul, my body, everything I got on my guts, into something I'm

00:29:05.700 - 00:29:20.520

not feel like I'm expanding, you know, into all different ways of living. I don't want to keep myself held down, because if I like, get myself hung, hung with, like, performing and listening to ourselves and to the popularity of ourselves

00:29:20.520 - 00:29:38.540

growing, whatever it is I might not like, listen to Ravi Shankar, well, I don't think that being, I mean, I mean, like getting, getting, like, feeling him, you know, going on that trip and maybe doing a craft. You know, we're dumb little

00:29:38.540 - 00:29:52.900

handicraft. They mean, like, watch TV, right? Like watch TV, you know, I like to, I like to, you know, make little odds and ends, windows here and there was you to him, No, I don't know, we all, we all got, we

00:29:52.900 - 00:30:09.480

are. We're all our own person, you know? I mean, I don't, you know, we're all on person, but I think we're. All supremely committed to the band. I mean, I dream about, I dream about it. I go to sleep at night. I'm so tired of playing, I'm so tired

00:30:09.480 - 00:30:28.640

of you guys, and all I dream about is the band. And I dream about, no, actually, leave me alone for half an hour. You know, it would get like, so popular, which you probably will, especially west coast, hopefully, hopefully, if we get,

00:30:28.700 - 00:30:48.460

you know, popular national any fucking time for ourselves. And I kind of, like halfway, kind of like question, you know, the American dream, you know, in that concept, well, like your body, your cells, your mind, your past and your future is

00:30:48.460 - 00:30:57.520

just not one. That can't be one thing. It's impossible. You got too much like for few years at least, at least it is anyway, you know, sure it's not going to be like this forever. Things are going

00:30:57.520 - 00:31:13.440

to change, and things are going to start to happen like that. We might, we might not want to be in, you know, we might want to do something else, you know, that's all possibility. But I think, like, what, while we're right now, we're, like, at a

00:31:13.440 - 00:31:31.040

point where we're really moving, you know, like, 100% musically, because, like, there's all that potential that still yet has to have, you know, it has, you know, because we could, we could be like, like, we could get, we

00:31:31.100 - 00:31:42.100

could get to be like, I'd hate to name a band, but like, a lot of rock bands, like, grow to, like, a certain point, and then they start realizing themselves as self important, and they never mature,

00:31:42.160 - 00:31:54.220

right, right? That's why I'm thinking myself in a universal sense. You know, in your head, you gotta keep it, you gotta keep an eye on to like, you know, I sound ridiculous, like, like, everything that's been growing from birth on up. And

00:31:54.220 - 00:32:04.980

you gotta like, you gotta like, know, you gotta feel everything. You gotta like, know, the cosmos. You gotta, like, dig it, or, man, you're gonna be failing in life for yourself. That's my own trip. You know,

00:32:05.040 - 00:32:19.080

you can know, like, sometimes Dave, you can, like, commit, if you commit yourself to like one thing strongly enough. Just like, just like a yoga thing, you know, right? Like music, like, through music, you can find out, like the whole, you

00:32:19.080 - 00:32:42.220

know, you call Peter, talking about the Beatrice, right, okay, dig if they, if they were not like good people, man and I good heads and like into themselves, into life. Man into like, what is happening

00:32:42.220 - 00:32:54.700

all around them in the world. Like, you know, they take the comments about the Vietnam War. Did comments about Jesus, they they're like, feeding things about themselves and about their world. If they weren't feeling things about the world, they'd

00:32:54.700 - 00:33:08.040

be. Where the hell Vikings are? They'd be where, you know, like Ernie shabaff In the fourth spastics are, you know, they'd be like, down, down on one plane, keep it there, play it playing the supper club is, that's it, man, they're

00:33:08.040 - 00:33:17.400

finished. But they're like the good people, and they're not thinking of themselves in terms of, I am now popular. I'm God, you know. And stop right there. You know. They want to find God. That's the chip. Man.

00:33:17.400 - 00:33:24.980

So was it possible for them to stay that involved in music and still continue to go, Gosh, they've done it.

00:33:26.060 - 00:33:42.580

Hans universal simultaneously. Peter still like the obvious example of of anything you know, they like, they made it, and then they kept on going. They haven't stopped yet, and I don't think they're gonna stop. Do you

00:33:42.580 - 00:33:54.100

want to do the same thing? Of course, who doesn't? I hope we do that's that's what I just told you. That's what I'm talking right? Kees, I gotta keep my mind clear, you know, I gotta keep my head, you

00:33:54.100 - 00:34:03.780

know, in different places, I keep balance of where I'm at as a person. What are the main distractions preventing you from keeping or the American dream, man, and that's my treatment. That's my

00:34:03.900 - 00:34:16.500

minute, my hang up, you know about about rock and roll music in America right now. And that's his app, getting into it and finding out where the hell the pop market is at. Man, it's just, like, it's just, it's a mind blowing to find out the

00:34:16.500 - 00:34:33.440

kids, like, you know, like, I tell so many people as you want to draft, and then you sign it, and they ask, we are they kiss you on the cheek by your record. Two weeks later, they're buying someone else's and it gets in his cheek. They could care less,

00:34:33.440 - 00:34:46.120

man and like, it's a mystique. It's a, it's a, it's a whole pot trip. And if you like, get involved with that pop trip. And if you like, hold up there and try to get Nixon harder. Get more autographed seekers. Get more people buy your records.

00:34:46.120 - 00:34:55.180

You know, just dig that American trip, man. You're gonna go up the top and that's it. You're finished. So maybe, maybe the thing is to ignore that then and just concentrate on doing what,

00:34:55.540 - 00:35:07.500

digging yourself, digging your music, and doing it well, I think you can be you can. Like, I think you can be aware. Like, I don't think there's anything wrong with being popular. Like, it's really, I think helped, like, my self confidence a great

00:35:07.500 - 00:35:20.600

deal, you know, like, I'm not that's reason I'm coming I'm coming on more and more because I think people are digging it. And like, before, I never would have, I never would have the guts to come out there and come on that strong. But now, like,

00:35:20.600 - 00:35:31.280

the popularity is has helped me grow musically. I hope, I don't think it's gonna make me stagnan, maybe that was because you weren't thinking about the popularity when, when it happened, and then after it happened you could take

00:35:31.280 - 00:35:41.440

advantage of it. Dave, yeah, like Janice was saying before it's like, it's like balling, which means that it's not like masturbation. In other words, you have to do it with somebody else you know, and

00:35:41.440 - 00:35:55.900

you have to be in tune with what's happening out there. You can't do your own trip, because to a lot of people, that winds up, you know, like to be equivalent to going on a stage and jacking off a lot of jazz, unfortunately, became that way.

00:35:55.960 - 00:36:05.280

You know, you jack off and you're through, man, you sing on Twitter, and that's it. You know. What are you gonna do after you do that, you go, Well, I did it, and that's what American dream is,

00:36:05.280 - 00:36:15.840

you know, you did it, and that's it. You're through. But when you're like, like, the similarity of ball, and you've got, you got, you got, you got, the talking before, the communication before, and communication after, and the

00:36:15.840 - 00:36:33.200

involvement get into can, like, you know, make it, make it, make it. Make a whole total environment seems like it makes sense, you know, like that, like that trip of making a top, top number one record, million sales. And just like fame does

00:36:33.200 - 00:36:46.960

not make sense in a universe, in a universal thought, you know, universal sense. So if you get hung on that, then that means the death of you as a person. Yeah, man, I've seen Kees change and you, you've seen Cash

00:36:46.960 - 00:37:02.260

Change. You've known you've seen people on TV interviews 10 years after their popularity. Dennis darsell, pop art names Andre Previn, right? They come on and they're wiped out, man, but that's because they're wiped out because the fact that they're

00:37:02.260 - 00:37:15.480

back 19, in 1955 they're back. They're back. They're back in the days you know, of when they were popular. And they just can't get it out of their mindset. First, not popular anymore. Second all, the music is dead, and third of all is

00:37:15.480 - 00:37:27.920

most important, and they will never realize it. They've stopped growing like an aristocracy after they still want to behave in the same old way. They don't realize things have changed. We're going

00:37:27.920 - 00:37:56.140

on. Okay? Once? I think one thing that's really good for all of us, the American Dream audience, is growing up, and that is what I'm really looking for, an audience that I can play to and respond

00:37:56.320 - 00:38:15.420

to, and have that respond to me too. And that's what's happening in San Francisco. That's why it's not just a sound, but that's why it's important like to be here and to play here and to dig these peoples because the fact that you realize that these

00:38:15.420 - 00:38:24.020

people are coming to you and they're like, they're throwing down their chance of saying, okay, blow my mind. Blow my mind. Yeah, anything you do, anything you do, they

00:38:24.020 - 00:38:36.320

would accept. That seems to me like, I don't know, it seems to be like a very, maybe a silly point, and out of context of what Peter's talking about, these great universal truths or something. But like, as far as I'm concerned, like the whole

00:38:36.380 - 00:38:51.160

rock and roll thing now, like the audience response, the way I relate to an audience, the way I relate to nice, the way I the way I sing. It's really all a very sexual trip, sensual, if you use the word, like, I took ass last week and I really got

00:38:51.160 - 00:39:06.300

turned on to, like, just complete sensuousness, without being alone even. And like, I'm really aware that on stage, it's like rock and roll to me, is, is, is just sexual. You know, that's the way I think I relate to an audience. That's where I

00:39:06.300 - 00:39:15.180

relate to the rest of the guys in the band, where I relate to the music anyway, you know, that's the only thing I got to say. That's, yeah, I even know about it, man, it feels

00:39:15.360 - 00:39:26.780

I agree. One of the things I like about this music, and annoying me about jazz, was you can dance this and you can't dance. I mean, it's not considered acceptable. This music's for feeling things, right? This music's for just

00:39:26.840 - 00:39:39.200

saying. It's for socking it to me and you, and for feeling things faith, and that's what we're all here for, I think, isn't it solid? Yeah? Well, you.