But, what did happen is I went to Woodstock as a member of the audience. I did not show up there with a road manager and a couple of guitars. I showed up with a change of clothes and a toothbrush.
My father was invited to play on a television show when I was 17 or 18 that was an early equivalent of educational television, a Sunday afternoon kind of variety art show.
To the extent that '60s guys own things, yes... but I don't have the publishing, just like most '60s guys, and that was an error, you know... part ownership in publishing was the kind of era that started a little bit later, when real businessmen started to manage artists.
When I left the band I said Look, I am ready to move on. I was interested in playing with some of the other people that I had bee a studio musician with.
Sometimes you really dig a girl, the moment you kiss her, And then you get distracted by her older sister.
You have to remember now, I was not being terribly successful at going solo.
I think that my past stands me in good stead in that it does have a certain strength for musicians.
In other words, musicians know that going back to the Spoonful, what we were doing was not copying.
It might be thematic work. It might be theatrical. I enjoy that kind of work.
My father was a classical musician and my mother was a writer.
Now, I was the Summer Concert guy. I played every Summer concert there was.
The Jug Band was exactly what I wanted to do, and it wasn't my idea.
Well, I did a harmonica instruction tape for Homespun tapes.
I was wildly out of style when that television theme song suddenly pushed its way onto the Top Ten. It was certainly not the record company trying to make that happen.
I'm seeing and hearing lots of B to B instruments, and everybody isn't, you know, using them... a lot of these guys are trying to do it on conventional guitars, although that has its own sound, and maybe its okay.
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