1975 By
Andy Childs (Note:
This interview was originally published in ZigZag as part of a longer piece that
can be read here)
Current
music scene TB:
What do you think of music that's happening today, here and in America, in '74?
ZZ:
It's a very complex question as far as I can see. There are a lot of things going
on which I think are healthy in a lot of ways. I don't know whether there's any
music that's got the magic of say, six or seven years ago, but there are enough
good records, and enough talented people to keep one occupied. TB:
Well, maybe it was because of the interest in music. It seemed like everything
depended on music in the '60s. Protest movements, the flower-power thing, the
acid rock, the acid rock game, now our lives don't depend on that message. ZZ:
No, not to a certain extent. But I still think it's important. TB:
Yeah, I think so. But I don't think the general... ZZ:
Well, they've cheapened the value of it. They take it for granted, or they cheapen
the values of people. I don't know, it's a strange thing about the grass always
being greener. A lot of American bands come over here and get very favorable receptions,
and the same goes for our bands who go to the States. TB:
It is uncanny, because both countries seem to ignore their natural resources.
I have a very strong current there, but it's not the Top 40 syndrome. You can
say the same thing about Ray Charles, but still he plays in big places. I think
the longer you are around and if they know you are going to play, and you are
not a coy entertainer, say, like most of the groups who don't play a lot, they'll
say "Maybe we'll put out this album", and they are assured of a certain
amount of success. Somehow they've done that. What happens with someone like Ray
Charles of B. B. King, they're players. You go and see them instead of putting
them on the Top 40, ''cause they're around. And to me you are more of a part of
the culture that way because somehow the Top 40 is not the culture. I don't know
why. "See,
everyone's playing just about the same thing right now, and that's been happening
for the last three or four years because I guess it's a business..." | ZZ:
Well it's anonymous a lot of the time. TB:
Yeah. That's it, it's anonymous. So like when Foghat go to America, or The Strawbs,
they do the entire country and then go back through it again and become part of
the culture. Whereas someone like Marvin Gaye never plays. So the only taste people
get of him is to buy the album, which is good in one respect, but really kinda
tragic in another, because he never gets the real feeling from people. Whereas
Ray always does, or Stevie Wonder always feels people. Can't live without them.
You don't know if you're writing if you don't play for people. ZZ:
I can only see it from this side of the Atlantic, but there seems to be people
in the States, especially the West Coast, they seem to be geared to secluding
themselves as much as possible. TB:
Yeah, on the West Coast they actually are. They really isolate themselves from
the cities where more active living is going on. I can't strike an analogy with
anybody here because I don't know how things are done here as far as people play,
but I think it's very important to play Chicago, Detroit, New York City, Boston,
the South, and not stay in Los Angeles. Because in Los Angeles you are just with
people who are hearing the same notes, and you become a cult instead of a personality.
That's a dangerous trap to get into and I know that's what's happening. "See,
everyone's playing just about the same thing right now, and that's been happening
for the last three or four years because I guess it's a business. You know, you
say something sounds like them or like that, I can really see it 'cause everyone's
relating to the same thing over there. The same kind of music. That's what was
nice about the '70's. Bill Graham would book Clara Ward, gospel music with somebody
like B. B. King, and then something like Faroah Sanders. You'd have four different
types of music there. What
changed was the battle of the guitar night, Jeff Beck, Johnny Winter, all of them
on the same bill, and it was really monotonous, and not really culturally good
for an audience. What it did was milk an audience for a certain style. Try and
make it more important than something else. Which is always dangerous in the long
run, culturally [---] -edy of music burning out is that there are people involved
in the music that burn out. So Bill Graham was the "hippest " of all
the promoters because he put together a show that was America. That's sad, because
it's really needed now, in my opinion. It
was like when an audience goes to see a director's movie it was almost like going
to see Bill Graham's show, you understand? And
so, you were up for an evening... it was like Jac Holzman, you weren't afraid
to buy an album form him. Right now I don't think there is a personality like
that, that you can depend on. And that's the problem. That's really the problem.
That's why when I asked you the question about what do you think is going on,
too much of the same thing is going on, because people are forced to copy each
other to exist. Black and white. English and American. That's not good. ZZ:
Are there any originals do you think? TB:
Well, there are some that may emerge. Dr. John is always very unique and fun.
Miles (Davis) will always be unique, whether anyone likes him or not or he will
always come out smelling like a rose 'cause he's a giant. Cleo has just made a
phenomenal impression on America. Cleo Laine. As far as groups, the Mahavishnu
thing, well that's dissolving. That had a very healthy effect. ZZ:
You think so? TB:
Oh yeah. In America anyway. ZZ:
I saw them once over here and they just blew my brains out, they were very loud
and very fast. TB:
Well let me tell you about Foghat and all those people. The English aren't exactly
the softest sounding groups. The thing that's nice about people like Curtis Mayfield
and Marvin Gaye, and stuff like that, is that they cook at a musical level, and
they don't have to plug into the Grand Cooley [sic] Dam to get it off, y'know,
they get it off between themselves and the people. It's
a crock, it's not a bombardment of World War Two. You know the one that did it,
that really made it was Jimi Hendrix because it was him. But [--- line missing---]
exactly the same thing except without the electronics. You felt an involvement
there with the person, that's the important thing. So there are people, there
are writers, but it's moving out of music. It's moving into politics, moving into
journalism.
Involvement
with films ZZ:
I read somewhere that you were working on film scores. TB:
They were a little too expensive the for shape the business is in. They were all
comedies. If you find anybody that's interested the door is always open to discuss
a million dollar script. ZZ:
Are you still interested in doing it? TB:
Oh yeah. I believe in what I wrote, I always do. ZZ:
You've got everything you've written? TB:
Yeah, I just have two scripts but very few people are prepared to come up with
the money. And those who are don't see eye to eye with the viewpoints. When you're
talking about a million dollars you're talking about... they can't really believe
in what you're saying. It's a little hard to flim flam a million dollars. Buckley
has in fact, appeared in professional productions of Edward Albee's Zoo Story
and Sartre's No Exit, and one of the scripts he talks about is titled Fully
Airconditioned Inside, which he will probably be turning into a book. According
to the latest Warner press release on him he is also adapting Joseph Conrad's
novel Out Of The Islands into a concept album with Larry Beckett. |