The Boy Who Cried Freebird (29 page)

The Introduction used a quote from the lyrics of “Do You Believe in Magic?” by John Sebastian, Trio Music/Alley Music.

 

Prelude: “A Rock & Roll Fable” is fiction. Portions of this essay originally appeared in
Newcity,
November 1998, and were performed on National Public Radio,
All Things Considered,
August 2002.

 

“River Deep” benefited from the author's discourse with Harvey Kubernik. Resources include
He's a Rebel: Phil Spector—Rock and Roll's Legendary Producer
, by Mark Ribowsky;
I, Tina: My Life Story
by Tina Turner with Kurt Loder; and
Phil Spector: Back to Mono (1958–1969)
on ABKCO Records. Inspiration gained from listening to the song, “River Deep Mountain High” by Ike and Tina Turner. Thanks to Musicians Local Union 47 in Hollywood, California. Portions of this essay were performed on National Public Radio,
All Things Considered
, June 2002.

 

“Hellhound on My Trai
l
” benefited from the listening of
Robert Johnson: The Complete Recordings
on Columbia Records. Portions of this
essay appeared in
Newcity
, May 1999, and in comic-strip form in
Crawdaddy!
, June 2001. Portions of this essay were also performed on National Public Radio,
All Things Considered
, Halloween 2001.

 

“Nuggets” benefited from the listening of
Nuggets: Original Artyfacts from the First Psychedelic Era 1965–1968
on Rhino Entertainment. Portions of this essay appeared in
Smug Magazine
, October 1998.

 

“The Sound and the Fury” included quotes from the author's discussions, interviews, and correspondence with John Holmstrom, Richard Henderson, Steve Albini, Jim O'Rourke, Jon Langford, Bob Neuwirth, the late Robert Quine, Bill Bentley, Glen Branca, David Thomas, Steve Wynn, Sylvia Reed, Kramer, Penn Jillette, Paul Williams, Lee Ranaldo, and Paul Schutze. There is also a quote from Lou Reed's liner notes in
Metal Machine Music
. Inspiration was gained from the book
Psychotic Reactions and Carburetor Dung
by Lester Bangs. References include
Lou Reed
by Peter Doggett and
Transformer
by Victor Bockris. Portions of this essay appeared in
Magnet Magazine,
April/May 2000.

 

“Endless Boogie” includes a quote from
Hellfire
by Nick Tosches, and a quote from the lyrics of “Boogie Chillun” by John Lee Hooker and Bernard Bessman, BMG Music Publishing. The essay also references
The Rolling Stone Encyclopedia of Rock & Roll
and
Forbidden American English
by Richard A. Spears. Portions of this essay appeared in
Harp Magazine
, December 2004.

 

“When Harry Met Allen” included quotes from the author's discussions, interviews, and correspondence with Hal Wilner, Ed Sanders, Tuli Kupferberg, Steven Taylor, John Feins, Bob Rosenthal, and Harvey Kubernik. There are quotes from Allen Ginsberg, found in
This Is
Rebel Music
by Harvey Kubernik. The essay also used a quote from the lyrics of “Nothing” by Tuli Kupferberg, Heavy Metal Music. References include
American Magus Harry Smith: A Modern Alchemist
by Paola Igliori and
Think of the Self Speaking: Harry Smith, Selected Interviews
by Harry Everett Smith, Daniel Darrin, Steve Creson, and Rani Singh. Portions of this essay appeared in the liner notes for the CD reissue of
First Blues: Rags, Ballads & Harmonium Songs
by Allen Ginsberg, on Locust Music, 2002.

 

“The Power of Tower” benefited from the listening of
Goodbye 20th Century
by Sonic Youth on SYR Records. Portions of this essay appeared in
Smug Magazine
, June 2000.

 

“Who Will Save the World?” is fiction.

 

“Something Freaky This Way Comes” benefited from the listening of “Songs in the Key of Z” on Which? Records, and the reading of “Songs in the Key of Z: The Curious Universe of Outsider Music” by Irwin Chusid. Portions of this essay appeared in
Smug Magazine,
September/October 2000, and in a comic-strip version in
Newcity
, October 2000.

 

“The Monk and the Messenger” benefited from the listening of
Art Blakey's Jazz Messengers with Thelonious Monk
on Atlantic Records. Portions of this essay appeared in the liner notes for the LP reissue of
Art Blakey's Jazz Messengers with Thelonious Monk
, on Four Men with Beards, 2002.

 

“Captain's Orders” benefited from the listening of the music of Captain Beefheart. Portions of this essay appeared in
Smug Magazine
, October/November 1999.

 

“It's How You Play the Game” benefited from the listening of
Live at Max's Kansas City '79
by Johnny Thunders and the Heartbreakers on Reachout International Records. Portions of this essay appeared in
Tracking Angle
, Fall 1998.

 

“Back to the Fillmore” is fiction and used a quote from the lyrics to “The Eleven” by Robert Hunter, copyright Ice Nine Publishing. Used with permission.

 

“The Steel-String Trilogy”

 

(a) “A Man Out of Time” used quotes from the author's discussions, interviews, and correspondence with Denny Bruce and Dean Blackwood. Additional insight gained from the reading of
How Bluegrass Destroyed My Life
by John Fahey. Rigorous editing courtesy of Chuck Eddy and Michelle Mercer. Portions of this essay appeared in the
Village Voice
, May 2003.

(b) “The Strength of Strings” benefited from the author's discussions and interviews with Leo Kottke and Denny Bruce. Inspiration was gained from the listening of
6- and 12-String Guitar
by Leo Kottke.

(c) “Bundy K. Blue's Dance with Death” is fiction. Portions of this essay appeared in
Newcity
, August 1998.

 

“Roundabout” is fiction.

 

“War All the Time” used quotes from the author's discussions, interviews, and correspondence with Richard Meltzer, Paul Williams, Marty Balin, Mike Watt, Dave Alvin, Robert Christgau, Greil Marcus, Dave Marsh, David Walley, and Nick Tosches. It also used a quote from the essay “As I Lay Dead” by Richard Meltzer, which is
included in
A Whore Just Like the Rest: The Music Writings of Richard Meltzer
. Portions of this essay appeared in
Magnet Magazine
, November/December 2000.

 

“Erector Set” benefited from the listening of the music of the Mekons. Portions of this essay appeared in
Tracking Angle
, Summer 1998.

 

“Classics Vs. Anthems” used a reference from
The Concise Oxford Dictionary
(9th edition). Portions of this essay appeared in
Newcity
, October 1999, and were performed on National Public Radio,
All Things Considered
, January 2002.

 

“Oh Happy Day” benefited from discussions and correspondence with Paul Williams and the reading of his book,
The 20th Century's Greatest Hits.
Inspiration gained from the listening of “Oh Happy Day” by the Edwin Hawkins Singers. Portions of this essay were performed on National Public Radio,
All Things Considered
, Christmas Day 2002.

 

“A Lone Star State of Mind” used quotes from the author's discussions, interviews, and correspondence with Eugene Chadbourne, Brian Henneman, Ernie Durawa, Johnny Perez, Jack Barber, Augie Meyers, Steve Earle, Denny Bruce, George Rains, Jay Farrar, Bill Bentley, Jerry Wexler, Shawn Sahm, Shandon Sahm, Flaco Jimenez, Kevin Russell, Chet Flippo, and Joe “King” Carassco. It also used a quote from the lyrics of “At the Crossroads” by Doug Sahm, Southern Love Music. Portions of this essay appeared in
Magnet Magazine,
October/November 2002, which was reprinted in
Da Capo Best Music Writing 2003
.

 

“Taking Tiger Mountain” benefited from the listening of
Music for Airports
by Bang on a Can, on Point Music. The essay included a quote from Edgard Varèse.

 

“The Sweltering Guy” is fiction.

 

“The Ballad of John Henry and the Wheels of Steel” is fiction. It includes a quote from the lyrics of “John Henry” (traditional). This piece was performed on National Public Radio,
All Things Considered
, March 2004, and deemed a “Driveway Moment” by its listeners.

 

“Need for Speed” benefited from the listening of
Hot Rods & Custom Classics: Cruisin' Songs and Highway Hits
on Rhino Entertainment. Portions of this essay appeared in
Newcity
, March 1999, and were performed on National Public Radio,
All Things Considered,
October 2001.

 

“Respect Due” benefited from the author's correspondence with Dave Marsh and the late Al Aronowitz and used quotes from the author's interviews with Jerry Wexler and the late Arif Mardin. Portions of this essay appeared in the liner notes of the LP reissue of
Aretha Franklin Live at Fillmore West
on Four Men with Beards, 2003.

 

“Closer to Home” benefited from the listening of the music of Grand Funk Railroad. Portions of this essay appeared in
Smug Magazine
, January 2000, and in a comic-strip version in
Stop Smiling
, 2001.

 

“Diminuendo and Crescendo” benefited from the listening of
Ellington at Newport
by Duke Ellington on Columbia/Legacy Records. Por
tions of this essay appeared in
Tracking Angle,
Fall 1998, and
Strong Coffee,
September 2000. The piece was also performed on National Public Radio,
All Things Considered,
November 2001, and deemed a “Driveway Moment” by its listeners.

 

“World's Biggest Gong Fan” used quotes from the author's interview with Daevid Allen. Thanks to (Word Services) Apple Events Spells-well 7. Portions of this essay appeared in
Magnet Magazine
, October/November 1999.

 

“What Can You Do That's Fantastic?” used quotes from the author's discussions, interviews, and correspondence with Tom Fowler, Roy Estrada, Jimmy Carl Black, Elliot Ingber, Carol Kaye, Kim Fowley, Don Preston, Bunk Gardner, Mike Keneally, Bruce Fowler, Napolean Murphy Brock, George Duke, Chester Thompson, Denny Walley, Terry Bozzio, Adrian Belew, Patrick O'Hearn, Arthur Barrow, Bob Harris, Ike Willis, Vinnie Colaiuta, Chad Wackerman, Gail Zappa, and Aynsley Dunbar. Additional insights were gained from discussions with David Walley and Matt Groenig. Special assistance from Billy James. Portions of this essay appeared in
DownBeat Magazine
, January 2004.

 

“A Chance Encounter” is fiction. Portions of this essay appeared in
Strong Coffee
.

 

“High Noon” benefited from the listening of the music of Alejandro Escovedo and visiting Austin, Texas, repeatedly.

 

“This American Life” used quotes from the author's discussions, interviews, and correspondence with Pauline Oliveros, La Monte
Young, Henry Kaiser, Terry Riley, David Harrington, Tony Conrad, Mixmaster Morris, and Stuart Brand. Key assistance was received from Tom Welch. Portions of this essay appeared in
Magnet Magazine
, April/May 2001.

 

“House of the Rising Son” is satire. Portions of this essay appeared in
Tracking Angle
, Fall 1998.

 

“Requiem for a Cowbell”: Portions of this essay appeared in
Harp Magazine
, March 2004. The piece was also performed on National Public Radio,
All Things Considered,
deemed a “Driveway Moment” by its listeners, and included on NPR's 2-CD set,
Driveway Moments 3
, 2005.

 

“Tie-Die!” is fiction and included a quote from the lyrics of “The End” by the Doors, Nipper Music.

 

“Almost” benefited from the listening of the
Almost Famous
soundtrack on DreamWorks.

 

“A True Story” benefited from the listening of the music of Jeff Beck. Portions of this essay appeared in
Newcity
, October 1999, and were performed on National Public Radio,
All Things Considered
, December 2001.

 

“Spirits, Ghosts, Witches, and Devils” used quotes from the author's interviews with Sonny Simmons, Rashied Ali, Roswell Rudd, Carla Bley, John Tchicai, Sunny Murray, Burton Green, Gary Peacock, Henry Grimes, Bernard Stollman, Alan Silva, Nat Hentoff, Juini Booth, and Steve Tintweiss. The essay also benefited from the author's discussions
and correspondence with Ben Young and Brian Carpenter. Albert Ayler is quoted from his 1969 essay in
The Cricket: Black Music in Evolution
. References include Ayler's
Holy Ghost
on Revenant Records,
As Serious As Your Life
by Valerie Wilmer and
The Autobiography
by Leroi Jones/Amiri Baraka. Portions of this essay appeared in
Magnet Magazine
, October/November 2004.

 

“Ohm on the Brain” benefited from the listening of
OHM+: The Early Gurus of Electronic Music
on Ellipsis Arts.

 

“Rock 'n' Roll Heaven” included a quote from the lyrics of “Crystal Blue Persuasion” by Tommy James, Ed Gray, and Mike Vale, Big Seven Music. Portions of this essay appeared in
Newcity,
June 2000.