On notera la belle pochette de ce Dagger, surtout pour un Live. Le jeu des spots avec le prénom de Jimi est une bonne idée, d'autant que ça reste sobre.
Pour les collectionneurs, il existe le pirate suivant :
JIMI HENDRIX EXPERIENCE
The Complete Clark University
Atwood Hall, Clark University, Worcester
March 15, 1968
Mono soundboard tape from which Dagger Records Live At Clark University was made, including various parts omitted.
Voici la V.O. du concert (remerciant Ren de JimiPassItOn pour son travail de dingue) :
Friday 15 March 1968
Atwood HaIl, Clark University, Worcester, Massachusetts, USA
BETWEEN SHOWS INTERVIEW OF JIMI (with interruptions by Noel & Mitch) BY TONY PALMER
Jimi : Help me Kevin
Tony: I wanna-uh start wi’-talking about what happened tonight, um, could you just describe what happened tonight, and say whether that kind of, sort of feelings you have about it
Jimi : Humh, oh, yeah, well, like, that’s the first time we ever used that PA, you know, that’s the first time we ever used it and it completely went out, soon, you know, we didn’t get a chance to sing any songs really decent, and-uh, it really was a drag ‘cause I couldn’t hear myself sing, I don’ no-act, plus I couldn’t get in toon so good, you know, but we’ve still got another show to go, so it’ll be all right
Tony: Does that kind of thing happen often?
? : Lying!
Jimi : Not too much, most of the time it’s the amplifier blowin’ up, or, you know, something popping, or something giving way
Tony: Of course. What sort of equipment troubles do you have? I mean
Jimi : Well it’s just like, we play very loud, you know, not necessarily loud, but it’s very, we try to get a heavy sound, since there’s only three of us, you know, and we, like, tend to put the amps through their changes, a lot of changes, you know, and they just can’t take it some times, so we’re getting’ some special ones made up, but, you know, ha-ha-ha-yuk-yuk-yuk
Noel : Hm-hm
Tony: Why do you want to play so loud?
Jimi : Well it’s just…
Jimi : …you know, not necessarily loud, it’s just a certain feeling…
? : Oh shoot!
Jimi : …you get from playin’ at certain volumes, like, all of our songs y-isn’t the same volume, you know, like-uh, I think we did, did we do ‘The Wind Cries Mary’? or something like that
Noel : Oh, right
Jimi : Yeah-
Mitch: It’s just that
Jimi : … so then we dropped the volume according to the song that’s sung
Mitch: Yeah s-so whe-when you wanna go down soft, you know the dynamics, it’s a shame for ‘em …
Tony: Yes, yes
Mitch: … it’s just an awful drag not being in the studio um, you know, especially about equipment, because, like, you know, we’ve really got to, sort of, enjoy ourselves on the stage so the people can take it from there, you know, if things go wrong like that then.
Tony: Every descrïption of my, read of your music is al’-it always describes it as blues music
Noel : Oh
Jimi : Hmm
Tony: Yeah, I-I know
Noel: Ha, ha-ha
Tony: Um, so clarify it for me, Jimi
Noel: I don’t much
Tony: Talk, I mean, talk about the fact that i-it’s always described as blues music and your reactions to that
Jimi : uh-Well
Tony: It’s soul music
Jimi : Oh, khuugh
Tony: Y-yeah, I-I know, I mean, I’m with you, but, I mean, put, let’s put it right
Jimi : “Everybody say ye-es.”
Jimi : ‘Everybody say, “Do you feel all ri-ight.”’
Noel: Ehr plastic
Jimi : Yes, I feel all right, look out, look out that’s, that was sixty six sort o’ thi-ing, grumph
Noel: Oh, I see
Jimi : A-ha-ha-ha-ha-uh, man, I can’t say nothing about our music, but it, I know it isn’t, it isn’t classified, I don’t consider it as ‘R’ & ‘B’, like top forty-y rhythm and blues. I don’t consider it as strictly blues, you know, it’s self. Like, like, Noel digs rock and it comes through you know, straight English rock like, it’s very hard
Jimi : And-uh Mitch is, like, on a jazz kick, like, you know, Elvin Jones and so forth, and I like blues myself, you know, but I like all kinds of music and it just comes out some kind o’ way, but I don’t, I wouldn’t call it blues, it’s best not to call it anything, ‘cause, you know
Mitch: It’s just us really
Jimi : Yeah, it’s best not to have
Mitch: Well, you’ve got to have it different
Jimi : ‘Cause then you can get yourself uptight, and you get us uptight heh-heh, tryin’ to play what you think they’re, we’re
Tony: Well, all right, to somebody …
Jimi : You know
Tony: … who’d never heard it, how would you describe it?
Jimi : I’d just …
Jimi : … tell ‘em to come to the gig and dig it. I-I’d tell her there’d probably be a-a few feedback notes here and there and I might huh-ha, you know
Mitch: It’s like, Noel, you know, like, it’s like asking how do you describe, you know, Picasso, or something, you know.
? : I know she’ll work
Mitch: How do you …
Jimi : Khuh-huh-ha
Mitch: … describe last your ice cream, we don’t know, hmm it’s up to you yeah
Tony: I mean, I agree with you, it’s just that it always is, every-every descrïption you read of it
Mitch: Yeah but that’s all, …
Noel: No, no it isn’t…nacked
Mitch: … you know, people shouldn’t bother about that in the first place, you know …
Jimi : Hmm
Mitch: People always wanna talkings up in little packages
Jimi : Yeah. Ask ‘The Soft Machine’ they know
? : Yeah
Noel: Get the blame they do, it from Soft Machine
Tony: Em, when we’re talking …
Jimi : Now they know what, kuh-huh-huh-kuh
Tony: … I’m talking once to Mick Jagger, who said that he thought that all pop music had a ‘soul beat’
Jimi : Yea-eah, yeah it’s-uh, the-uh, but the word ‘soul’ itself is misused so much it’s, you
know it sounds so silly, they use it now, it’s hardly, you know, you have to scrape around in your drawer find a new word, you know, and then, you know, call it that, but everything has a feeling to it, you know, and a meaning, like, we mean what we’re tryin’ to do, we mean it really, at least, you know, but should really mean your music heh-heh, I could really dig it, you know …
? : It’s for you
Jimi : … but not no, I wouldn’t label it like ‘soul’ or this or that, it’s a really bad scene when you do that, ‘cause you might not wanna feel like playin’ that type of thing that you’re labelled, you know, all the time
Mitch: To tell the truth, you know, a-a lot of it really isn’t about music anyway, it’s, you know, a lot of it’s about emotions, depends how you feel at that particular time, because I mean you never do the same, you do the same numbers maybe every night, but you never do them the same twice, you know, just depends how you feel at that particular time what goes on
? : Want to see those li-ights
Jimi : Ye-es
Tony: What kind of, what kind of things do you wanna get across when your playing
Jimi : Ha-ha it’s gotta be bass
Mitch: I don’t know that you ever put anything across, you know, people have got to take what they can and what they see, you know, it’s, like, as I was saying before, you know, in order for us to excite other people, like, we’ve got to enjoy ourselves, if people see that we’re digging what we’re doing, well, they can take it from there, it seems a selfish sort of attitude, but it’s the truth, you know
Jimi : Yeah, we just, we just got thrown together, man, we just got thrown together and we got our group together and we started playing
Tony: Could, can you, can you describe how you came together an-and
Jimi : Oh, yeah, well, like, we was havin’, like, what you call a jam session, in England, ‘cause Chas had a lot of telephone numbers, so he-uh called up a few people, Mitch was some of the people that came down – I can’t see you ‘cause the lights on, someone was jokin’
Jimi : Saying no
Tony: You’re pulling the guitar out I think. Just chuck the drum solo
? : You’ll wipe the show
Tony: Oh sorry
Jimi : Oh
? : Beg your pardon
Noel: That was a bottle of wine there. Tell ‘im
Jimi : It’s no good
? : Jimi’s getting all my composure
? : Can’t have J-Jimi doing that
Tony: Sorry Jimi, go on, say how you talked together
Jimi : And like-uh, you know it’s …
? : Is your boom up
? : Mmh
Jimi : … like we dig the the sound that we is
? : Got Bob Hope in it
Jimi : Oh man what’s all this about
? : Cut, different meeting him, as the case may be
Jimi : Well, anyway, we, like, we got eh, Chas, soon as I came to England, Chas made a few phone calls and-uh a few people came down, like, for a jam session, what you call it and-uh, like, Mitch was-uh some of the people that came down, Noel was one of them, he came down with a guitar, we asked, in due course, could he-uh play bass, he’s never touched one before, so he started playin’ then …
Jimi : … and yeah and I’d dug the way Mitch was playin’, so we all got together like that and, like, man, you know, we’re not tryin’ to prove anything, like, every single song is it’s own type of song, you can’t take a bunch of it and snap it in one big barrel, and say, ”Well, this is blah or this is woof,” you know …
Jimi : … it’s not a scene like that, you know, it’s, like, we just play, man, you know, like anybody else is doin’, there’s nothin’, you know
Mitch: It’s just that, you know, you basically get tired of-of working, you know, fo-for other people …
Mitch: … after a few years, you know, just wanna do your own thing
Tony: I’m gonna ask you some questions in a minute, I understand what you mean for now, I’m gonna work systematically round so, don’t lose the sound.
Jimi can you say what, what things do you think you’ve gained by you three playing together, that you didn’t have before
Jimi : Umh-humh, well it’s a completely different sound that all of us had, playin’ separate or in other groups, and which is interesting, they’ll try to play with or create s’, you know, see if you can get something out of it, like, it’s at the be’-very beginning now, you know, we’re just starting off, we’ve only been together, what, it’s about fifteen months, and it takes time really, you know, but, like, we’re feelin’ each other out, findin’ each other out, like, we get tired, quite naturally anybody would get tired of playin’ ‘Purple Haze’ or, you know, somethin’ like that every single night, so quite naturally we mess around with a little bit, according to how we feel, if we feel down or something, you know regardless of the audience reaction we’ll just go on and play it straight, you know, so, scene like that
Tony: How much, how much does the audience affect you, I mean, you’re-you having a conversation with me, you’re a marvellous performer and you, I’m-I mean, you can just fee-audience right left and centre as, you know, I mean, how-how important is the audience to him, what-what can you do to the audience and what you’ve tried to do to them
Jimi : Well, like, sometimes, half the time, like, on this tour we’re on now, you can hardly see the audience, you know, except, maybe, about the first ten rows, you know, and so, I mean, what do you have to work with, so the best thing you can do is just go on and play the way you feel, you know, play the way you feel, quite naturally the audience says, ”Yeah, hooray, clap, clap, clap,” quite naturally you’re gonna, you know, that’s gonna give you some kind o’ inspiration, you know, but, like, f-if they’re just gonna sit there like mud or plaster or whatever, you know, well, just go on and play the way you feel regardless, you know, you-can-get ss, I-I don’t think we play according to audience reaction, except maybe on the good reaction side of it, all we do is just, say, like, if they’re gonna boo, well, long as they boo in key, it’s all right with us huh-hmh, promises
Tony: But, I mean. Do you voluntary try to excite them? Do you try to excite them sexually?
Jimi : Oh, sometimes, it all depends on how, no man! sex is the furthest thing from my mind, you know, when we’re playin’, sometimes uh, I seen a f-few films that we did once, it was too much ha-ha-ha-ha-ha, oh, wow, we star’-I didn’t know we was goin’ through all that, you know, but I still just play the way I feel at a particular time, th-like, if, certain note you might have to squeeze it out a certain way, you know
Noel: ‘Soft Machine’ on
Tony: Um get-we can still hear you talking over that, noise no factor
? : Stop
Tony: Press on
Jimi : Hmm
Tony: Em, so, I mean, you don’t, you don’t want to excite, I mean, I’ve put, when you saw yourself, when you s-oh
Jimi : Yeah, quite naturally you wanna excite people, I mean, you, like, you know, but you can’t let that interfere, you can’t let your whole performance, like, strictly entertaining the people themselves, you can’t just throw your whole life, for that, you know forty five minutes, right? then say, ”Here I am, take me,” or something like that, you can’t do that, you have to have somethin’ for yourself, that’s what you’re playin’ for, that’s what your music is, you can’t, I can’t express myself in any, you know, conversation. I can’t explain myself, like this or that sometimes, ‘cause, you know, it just doesn’t come out like that, so when we’re - excuse me - when we’re on stage it’s all in The World that’s-that’s your whole life, right there, you know, it’s like playing, not necessarily givin’ this note over to this section, givin’ that note and then say, “I think I’ll tease that girl over there,” so, you know, I do that, ‘cause I feel like doin’ it, you know, I might, I might do it to a cat ‘cause I, you know, can’t see that quick, I just point to the audience as a whole maybe, or so forth and so on, but it’s no scene like-uh, workin’ according to the audience, for sure.
Tony: Could you go on
? : Reload coming up
? : So it is
Tony: It’s very good, can you…All right…Go on to talk about it being your whole life being on the stage, I mean a means of, of expressing your self.
Jimi : Oh, like, it’s, like I’d probably have to start, like, I-okay, like, when I got out of the army I was very interested in the music, you know, like, I always have been all through my life, like, playin’ between different groups and sittin’ in here and there, and, like, when you sit in, like, you’re travellin’ all over the country , you don’t have no group, you’re sittin’ in and you get a chance to express yourself, so you’re, you know, you really can do it and, like, then start playin’ behind groups, what they call “Top forty ‘R & B’,” rhythm and blues groups : Little Richard, Isley Brothers, so forth and so on, and I was a backing musician, it was really gettin’ to be a hang up, because, like, I’d ha’, might have a idea for a song, you know, you might get tired of playin’ the same old song over and over, might have a idea, you know, and they said “No man, we have to have it exactly right, you have to have steps,” you’re wearin’ patent leather shoes plus hairdo to match, yeah, and really, everybody looks like, you know, completely alike, and-uh, like, it was really gettin’ to be a hang-up, so I went to ‘The Village.’ Chas, you know, met all the thing, and I got my own group together and, like, playin’ on stage is the only kind o’ way you can express yourself really uh, for me, anyway, ‘cause when you get into deep conversations, like, they say-uh, “Wha’-what kind o’ person are you,” oh, well, how can you answer that? you know, like, what’s it, I can change about twenty times, that’s because, like, you’re constantly thinkin’ of music, I am, you know, all the time I’m creating it and-uh, it was part of my life so much that everything I do is, what has to do with music, is very, very serious to me, you know, and-uh, like, stage appeariance [sic], like, for us, like, they say, “All this too erotic and sex,” and all this, I don’t think of it at all, completely on that basis, I think of it as just another way of eh’-pushin’ that note out, or that certain feeling, or sound, or that, you know, that certain life, for that second now, you know, I just can’t help it, that’s the way it happens for me
Tony: When you get on the stage are-are you aware of that sort of experience happening, or does it just happen
Jimi : What is that? you mean like-uh, what are the people gonna think?
Tony: I mean, like, you know, yeah, like, you
Jimi : Well, no, well, like, it’s, it’s like us bein’ born every time we go on stage, it might be bad or it might be good, we don’t know, you know, well, we go on, not necessarily scared, but w’-I was thinkin’ in my mind how, you know, what we’ll play first and what shall we do second, we never do call for songs in order, we, you know, we just play it exactly the way we feel, just, it goes along, along, if Noel wants to take off his jacket he’ll stop, “Wait a minute, hold on,” you know, between songs, take his jacket off, get really comfortable and get into it, you know, and therefore, like, we mess, w’-we-uh, what do you call? like, play around with a lot of our songs a lot, ‘cause you get very bored and especially something, like, as I said before, music is a top in my whole life, somethin’ that serious, well, you know, it’s huh-ha-ha, I keep sayin’ that over and over again, but, you know, it’s just, that’s just the scene of it, there’s no time to be jokin’, in other words, everything you do is for meaning, at least for me, you know,…on purpose
Tony: D’you, how-how do you rate the importance of pop music, I mean, the whole scene
Jimi : Well I
Tony: D’you think-d’you think what you’ve just described is-is it doing that for a lot of people?
Jimi : I really don’t know ‘cause, like, ahn, I’d really not, I’d really not ah, you know, maybe somebody else might know, ‘cause I haven’t been paying attention to much to the pop scene recently
Tony: Okay, yes, but. Why do you think you were successful in England, why do you think it happened?
Jimi : I really don’t know, ‘cause I remember the first gig we did in England, it was, the people stood with their mouths open, so I said to myself, “Damn, what happened?” you know, did we, did we do good, or do what ha-ha, you know, and, like, maybe, it might have been the-uh visual scene, you know, but we would like to think, later on, maybe, they could catch hold and dig how if we can-uh, actually get some songs nicely together, like, some slow, soft songs that we do, but every time that they mention us they show shock waves, you know, aaarrrgh! and all this and, you know, a-huh, and crash, bang, wallop, you know.
Tony: What do you mean, people make films about this?
Jimi : No, no, well, like, posters, this and that, everything is big crash, bang, wallop, you know, it gets to be a hang up sometimes
Tony: What sort of li’, what’s your point? Well, I mean that’s an image isn’t it, I mean what sort of image would you like to have?
Jimi : I wou’, man, that’s very hard to say, there you go a-huh-huh-huh, very hard to say, it really doesn’t make a difference, I really don’t care, I just want the people to listen to us, that’s all, you know, they don’t have to dig us, just listen and give us a chance, really hear it, so that the senses’ the only way I can express myself personally
Tony: What sort of music do you want to go on playing, do you want to go on playing this kind of music group?
Jimi : Uh-Ton’ I like-I like to chance it, what do you call chance? and just let it happen, let it flow, all depends on how your mind is set for it, quite naturally we like to augment here and there, like Mitch has some beautiful ideas for some completely different sounds, and-uh if we dig it then we’ll go into it, you know, but we have to like it our selves, you know, not necessarily following any trend or something
Tony: What do you think about trends in pop music?
Jimi : All depends, like
Tony: I mean, one of the great things about you and about ‘The Cream’ for example - I mean I know you’re not ‘The Cream’ - and one of the great things about you, is you just ignore all the trends and yet you’re successful
Jimi : Mm…Well we’re very lucky to be heard, heard the first time, you know, there’s so many groups now it’s like-uh, tryin’ to start little things, but they’re actually good cat’s, you know, and they’re starving, and we’re just lucky to be heard, so why-uh join the bandwagon all the way and say, “Come on, oh, yeah, the next thing out is-uh purple bellbottoms,” or somethin’, you know, dive into those, you know, just good-perfect condition, you know, we could wear purple bell-ha-ha-bottoms but we’d have to wear it our own way though, you know, I think I had these pants on for about hmm a-huh-huh-huh
Noel : Fourteen months
Jimi : Yeah
Tony: Do you like wearing the clothes that you wear? You obviously do love
Jimi : Oh I love ‘em, man, that’s-that’s my scene, you know, I dig it, you know.
Tony: Where, where do you go to buy them?
Jimi : How, sometimes we have friends, you know, like some of our friends make them for us, Jagger, what’s his name-uh, Little Jay, Jay cloth?
Noel : Jay, Chris
Jimi : Jay, Chris, Danny Fash has made a lot of our things, a little girl named ‘Jenny The Tailor’*, you know, just a lot of friends, but, no, go ahead, huh, sorry
Tony: Now, I was gonna ask you if you were, coming back to the touring, we were talking earlier to Mitch about, fantastic sort of touring [you’re] doing. Do you, I mean, do you actually like pounding from place to place every evening?
Jimi : Man, it’s really, well, especially if you don’t get a chance to see, you know, like, Mitch just came back from London not to long ago, ‘cause, like, it’s really gettin’ to be a scene where you don’t know where you’re at, at all, you remember places like maybe Arizona and Colorado, you know, you’re grabbin’ on to any kind of memories you can have because, what is a tour man if you can’t remember nothin’ or see anything or just, you know, see the skyline at least or the city, what it looks like? Sometimes you go in a city at night, you know, you do press conferences all in the daytime and play the gig that night, and leave again, you don’t even know what the city looks like, you don’t even know what-nothin’ ‘bout nothing, so how can you say ‘Oh yeah we was up in Chicago last week’, you know, it’s, uh-you feel guilty almost, sayin’ that, you know, huh, ‘cause you didn’t, you know, you say wow but, were we heh, did we see anything? No it’s. But-uh that’s a part of the thing that we’re in, so like there’s no use arguing or fussin’ about it
Tony : Do you think there’s a great difference between? I mean, we’ve tried quite hard trying to get a decent sound, trying harder second
Jimi : When is that?
Tony: On The second gig, but second set, but do you?
Jimi : Oh
Tony: Do you, when you get into a recording studio, do, do you make a different kind of sound, I mean, are you aware there’s a difference between one and the other, or is all the time? for you, can you?
Jimi : Tell it, yeah, well, like, what, like, for me? Sometimes we go through those motions in recording, if we get on it, like, how we made ‘Bold As Love’ go t’uh, oh, guess what, man, we had such, oh, so much fun man, we-is, there’s, the real song was about thirty minutes long, and it goes into so many different movements and, you, you know, just, and all of a sudden it comes out to ‘Bold As Love’ again you say, “Oh, you mean we’re still on that song,” you know, and-but we was jammin’, it was nothin’ but a jam and, oh, we had it so much together, it was about thirty minutes long and, we was really goin’ at the thing with the arm and, you know, you just smash it up against the mic’s and all that, just get certain sounds, you can rub up against the mic’ and goes, “We’re here,” you know, huh-ugh-igh, oh, we really had it together nice and Mitch had about a ten minute drum solo in it, Noel killed everything with his twelve string, eight string bass, was it? …
Noel : Ha-ha-ha
Jimi : … had a little solo, man, it was really out o’ sight
Noel : Who was he?
Tony : What-why do you do all these…is it just to get different sounds?
Jimi : It’s to entertain myself sometimes, and to get different sounds, you know, like, you can hit up against with your ring, get a certain sound, you can scrape it across here and get a, you know, ghroo-ugh, like that, you know, but, like, we play so loud that you can do it like that, but with a pick it doesn’t really work, you know, everybody does it with a pick but, you know, you-if you play too loud just, there’s nothing you had to do at the arm ha-ha-ha or your knee cap a-huh, which ever comes first
Tony : What do you think of all the people who um, who try and label and stick images on you?
Jimi : Huh-uh, yeah, I just, you know, I just hate to-uh disappoint anybody but it, you know, it’s really bad if they try to put you, “Well that’s their category,” or, “That’s, that category,” you know, it’s just bad for both of us, for the people and for me, you know, ‘cause I might not wanna be in that scene, it’s as best just accept us the way we are, as we flow, you know, if-if they, if they dig us that much, you know, if they like us it’s great
Tony : Ah, do you get very sort of jumpy about criticism?
Jimi : No, not at all, not too much,‘cause I’m, I know what I wanna try to do, and I know what I’m tryin’ to do, know I have a vi’, you know, I have a good, very solid idea so-uh, you know, like, I can say, “Awe they’re a blab,” you know, sometimes you get uptight, but quite naturally anybody does, and you just let it pass, ‘cause, you know exactly where you’re tryin’ to do or where you’re at
Tony : Okay, well, having said that, now describe what you wanna do
Jimi : Well it’s, there you go, I, it’s very bad for me to do it in conversation you know, it’d take like another LP or two or three, another this and that, you know, on stage shows
Tony: Well I-um, what I’m tryin’ to get out of you is a sort of statement about what you’re tryin’ to do. I mean you’re obviously tryin’ to do it through your LP’s, I mean it’s the route you love
Jimi : Fi-tch, right, well, like, yeah, but it’s, ‘cause singin’s a very hard woman, like, uh-it’s the only way that I can say it, I’m tryin’ to do it, I’m tryin’ to say, heh-you know, tryin’ to say to you, I know, I know myself, but it’s very hard to try to get on, you know.
Mitch: It’s gonna change anyway
Jimi : Yeah, ‘cause it might change tomorrow ha-huh, might change tomorrow but, it’ll still have a solid thing, you know, little things here, little thi-little fringes on the side, like you might wanna get into that later on or get into that, but your solid ambition is-uh, you know, and once you do that then you’ll still want somethin’ else to do, so you know that’s my scene, I never will be satisfied, maybe happy, you know, ‘cause there’s always so much more to do in, you know, in music
Tony : You’re just about to fire, I was gonna say talk about your ambition, just a little word
Jimi : Yeah, but, come on, you know, I really, all I can say is just the business part, like, you know, like-uh, real est’
Tony: In the background
Jimi : You know, oh, I’m sorry, oh, like with
Tony: Talk about your ambition Jimi, and I mean relate it to the sort of protest thing you were mentioning
Jimi : Ah-like we, we were very lucky to make some money, you know, so quite naturally when you assume that money is, like, later on, you know, it’s, like, we’re old and when my hair falls out, and my grand children be runnin’ all over my back, you know, and-uh, like, I’ll be tryin’ to get some real estate together, you know, and, like, ‘cause human bein’s always have to have a place to stay and sleep, you know, and eat, so forth, so I’d like to get into that scene, you know, ha-ha-ha, you know, but for the real ambition, man, is it, like, for us to be known, for us to be respected as musicians and, you know, like, song writers and all that, ‘cause we’re tryin’ to get into that, like, you know, it’s, but, I mean, for this, there ain’t respect us as song writers, it’s, like, dig, our words and listen to what we have to say, eh, you know, it’s, it’s more than this music it’s self, you know, the words, we try to make our words flow in with the music, at least-uh that’s what I try to do, you know, try to make it uh, such a tight connection that, in other words I’m talking to you, you know, or saying what I felt like saying that three or four minutes, whatever that-that certain track takes, then the next track then I’m talkin’ to you again, only in another way maybe, another side, you know…An-uh just to be respected that’s all, you know. ‘Cause, like, beforehand, what was it? Everybody, like, s’, “Oh great,” you know, “Get into somethin’,” I say, “Oh, man, I can’t sing though,” “No, no man, just get a group an’ you’ll have it made,” you know, blah, blah, and now, also and then we get a group together and now everybody’s tryin’ to tell us how to play the drums…
Jimi : …how to do this, “Damn man, you-uh, you’d be as good as Clapton, man, if you was…” then you solo way up there, bring it’, you know, so I said, “Yeah, okay brother, yeah okay, man,” you kno-ow, “Yeah, okay then.” Do I wanna live anybody elses life? No, I want to live my own, you know, and play my own way, you know. Quite naturally I’ve learned from a lot of cat’s by listening, and getting beautiful ideas from like, you know, Elmore James, BB King an’ Albert King so forth, so on, Eddie Cochran ha-huh
Noel: Great ooh
Jimi : Gene Vincent, Iike, you know, all these cat’s I used to dig, and Bach and Mozart, Mozart really, was a drag after a while a-huh
Jimi : A bit like, yeah man, and you like…-
Jimi : …like you get your inspiration ‘m, everything and-and every note you make that’s yours, quite naturally it might have been around all over the place, you know, millions of years ago, but when you make it yourself that’s your note and you should, you really feel proud of it, you know, and like be respected from other cat’s of, by The World, the music world as we’re expectin’
Tony: That respect is obviously very important to you
Jimi : Well, yeah, but I’m not gonna let it hang me up though, if I don’t get it heh-heh-heh-uh. I’ll go on a island and listen to my beard grow, and dig myself playing guitar I think I’d do that, if nothing else happens
Tony: What would you most like to do, now?
Jimi : Oh, go on a island, dig myself, play guitar kuh-huh-huh and listen to my beard grow
Jimi : Maybe for about two months, and then come back, maybe
Jimi : Recharge my brain kuh-huh-huh, if there’s anything left to recharge after this tour, man
Tony: Has the tour been terrible?
Jimi : No, it’s been
Jimi : It’s been, really
Noel: Very hard, naturally
Jimi : ‘Cause been very ha’, yeah, tuh-huh-huh-uh, too much, it’s great though, it was really out o’ sight though, i-it’s so surprising, I can’t believe it, really, it’s nice…Can you?
Tony: What can’t you believe about it?
Jimi : Well, just, like, ‘America’, man, oh, great, kuh-huh-huh-huh, all these places, like ‘The Fillmore’, I played there wi’-before with ‘The Ike and Tina’, you know, in the good old um, you know, “Do you feel all right,” days, you know, and-uh, and then, also we play there as a group of ourselves, representin’ our own selves, that was such a good feeling, especially in your own home country, and, I guess, they feel the same way, right?
Tony: Why did you come from America anyway?
Jimi : Well, like, I just explained that before, like, I was in ‘The Village’, like, beforehand I was playing behind other groups, wasn’t really tryin’ to, you know, I really di’-was very shy, you know, an’ never did speak up, never got paid, and all this mess, you know, then all of a sudden, like, Chas and Mike Jeffery’s give us, give me the break, when he takes me to England and we got this fantastic group together huh-huh-huh-uh-uh, that’s the way I look at it, man, you know
Tony: Are you very shy?
Jimi : Well, I don’t know about all that, you know, that’s just besides, you know, regardless kuh-huh-huh-uh hmm…What time is it now?
Noel: Just turned
? : I think it’s twelve o’clock
Jimi : Tuh-huh-huh, what a question man
Noel: Is it really?
* [Listen to Jack Bruce’s ‘Song For A Tailor’ (Jeanie died very young in 1969)]
AFTER SHOW INTERVIEW OF JIMI BY TONY PALMER
Jimi : What is ?
Tony : Just go on to talk about the girls you’ve seen in bed with, just tell me that story
again about the time,
Jimi : Oh, yeah, well, like, to be completely truthful about, you know, like, glossy, the way I
see it sometimes is, like, you know, a lot of groups complaining, like, there are a lot of young girls that really have no business bein’ out on the streets, you know, or have no business knockin’ on your door at seven o’clock or six o’clock in the morning, you know, an’ all this, but then you must really, you know, almost be really frank and say that, like, if I’ll get up at seven o’clock in the morning an’ I’m no-you know, I’m really sleepy, but then I se’-open the door an’ see somebody that appeals to me, you know, well, like, first of all thinkin’ about b’-white trash first an’ I say, “What in the world is she doin’ here,” you know, or “What does she even want,” or somethin’ like that, I stand there an’ she says, “Uh-maybe, can I come in?” an’ I’m standin’ there an’ really diggin’ her, you know, she’s really nice looking, you know, to tell the honest to God truth, like, eh-she’s about nineteen, twenty or, you know, beyond the age of so and so and-uh, so I say, ”Oh,” well I’ll probably stand there and then, there I go I-I’ll be bitin’ into an apple, maybe, or something, you know, tell honest Lord’s truth, that’s the way I am, ‘cause, like, I-ha-ha-ha when it comes to that, you know it’s really no good stay-an’ it’s…
Noel: Just a nasty old letch ha-ha-ha
Jimi : No-no it just happens, man, it’s just, I just let it happen, or let it not happen,
you know, I can’t put ‘em all into one big pile and say you g’-little girls go away, you know, ‘cause, oh, I’m sorry, I met a real good friend like that, you know, who just came around and said, “Hi,” you know, and she’s still my friend, she’s really a groovy girl.
Tony: I’m gonna ask you a question, I asked you earlier, eh, I just wanna do it again ‘cause
there was all that racket going on in the background just in case we missed it, that-em, well I’ll just play around you
Jimi : I keep forgetting
Tony: If you were asked to say, you know, half a dozen sentences, what you tried to
do in your performance, that we’ve filmed tonight, what would you do?
Jimi : What’d I say, man? Oh I wish I could explain, really, I wish I could, but, like,
we’ve been lucky, we’ve been heard, we had it, we had a break of bein’ heard and bein’ noticed and we’re still playin’ it by ear, just the way, you know, we’ll still go on stage play the way we feel, but, like, for instance ‘Foxy Lady’ which is a, like, what they call a ‘sex’ song, well, you just sock it, just like the words go, you know, you just do it exactly-of words, what the words saying, you know, I’d like to be with you, so for this song, so you, get into the words and the music and the music is wha’, or you do a quiet one ‘The Wind Cries Mary’ that you can change, just like that.
Tony: Okay, well, let me put it in a slightly, sort of, less, an easier way, perhaps, em, I
mean, what’s-what’s music, to the music you play, mean for you?
Jimi : Oh, it’s like the very, very beginning of somethin’ that’s cou-could be so much bigger,
you know. Just give us-you know, like, I figure, like, if we just hadn’t, like, as the time goes on we’ll develop our style an’ we’ll develop our own ideas of what we want to happen in music, right now we’re playin’ as three an’ we’re playin’ do’-exactly what we feel, we’re hearin’ this an’ hearin’ that in our minds so we’ve tried to put it down on tape an’ I think later on this’ll blossom an’ keep blossoming, you know, an’ then we can look back on this sound and say, “Wow, is ha-ha-uh, is that us?” you know, not sayin’, not the greatest sound now, ‘cause I love it, I think it’s great, it’s ours, it’s our own music, if it’s ugly or pretty, then you caress your own thing,
Tony: Does that mean a very great deal to you, the fact that it is new?
Jimi : Yeah, it’s just like a baby, just like havin’ a baby an’ watchin’ her grow an’ grow, if
you wan’ it to.
Mitch: So we’re still very young, you know.
Noel: We-we haven’t, we don’t know each other really, yet, but we’re getting’ to know
each other now, after fifteen months.
Jimi : uh…ohh
Tony: Go on a bit more about what your music means to you
Jimi : Well that’s, that’s what it is, it’s like something growing and you can raise it up just to
your own accord, ‘cause I don’t care about starvin’ any more, to tell the honest God truth, like, I did it before an’ I was, like, I was happy, you know, an’ like, we’re-we havin’ it, you know, very nice now, but, if we ever lose all that, I’ll still gonna be interested in music, like, if they can’t dig what we’re tryin’ to do later on? li[ke], you know, it’s not gonna really, really hurt me, because I’ll still be doin’ it for my own sole satisfaction, you know, ‘cause like I said before, it’s your own child, you know, then you bring it up the way you want, regardless of what other people say about it, or whatever happens, you bring it up as best you can, that’s the way I look at it, ‘cause this is my-that’s my scene is music.
Tony: Do you get hurt when um, people don’t understand that?
Jimi : Yeah, quite naturally we can get hurt, you know, but you can always overlook it,
because you must realise that, you have to look at your music I’ millions of different ways, you have to look at the way a square would look at it, what I mean by that is, like, a pelican or a penguin type person, you know, an’ you have to look at it the way a ‘wallpaper person’ might look at it t’uh-ha-ha…
Noel: ha-ha fuck sake, fuck sake
Jimi : …and-uh, you have to look at the way the ‘cellophane socialites’ might look at it, but
then you look at it your way, which is gonna bring it around anyway, so, you know, regardless what happens it’s yours.
Tony: What do you mean by the ‘cellophane socialites’?
Jimi : Ah, you know, the regular thing, you know, the people who have-go on vacations,
wear beautiful Bermuda shirts, you know with …
Noel: [talking right over the top of Jimi] Holes-s-s-s
Jimi : … the short sleeves, fat bellies, forty five years old…
Noel: [talking over the top of Jimi, again] And they laugh at us
Jimi : …forty eight in the waist, you know…
Noel: [repeating himself loudly over the top of Jimi] And they laugh at us
Jimi ; …an’ [harrumph] blue veins in their knees an’, y’know, knee caps showin’ white
socks on with brown shoes…
Noel: [interrupting again] They’re creeps
Jimi : …and they say, “Ha-ha look at that right there…
Noel: [again!] Uh
Jimi : [starting to lose it] What’s goin’ on here…
Mitch: [interrupting now] Talking about me again [?]
Jimi : [attempting to finish his sentence] And so…
Noel: [just keeps talking] And we’re free…
Jimi : [tut’s as if exasperated and falls silent]
Noel: [oblivious to the fact that he’s - very rudely - cut Jimi short] ..we’re free, they are.
Mitch: Yeah, but, you know, that’s why they complain
? : Reload chum
Tony: Sorry, cut
? : Tony, can we have the keys?
AFTER SHOW INTERVIEW OF NOEL BY TONY PALMER
Tony: How dido you think the second set went?
Noel: Lovely, very nice, I’ve enjoyed it, it was very good because we could hear ourselves, but it was good though, i-it was nice, I think it’s, most sets we do are very nice, don’t we? To me anyway
Tony: What, what sort of particular things do you get out of plying with this group as opposed to the other groups that you’ve played in? What is it you miss then?
Noel: Ha-ha-ha, money, um, ha-ha-ha, no, um, sort of, before I was with this group, I was
working with-em, professional groups in England which weren’t quite there, you know, we were doing things li’-travelling about the country earning thirty pounds a night and-um rushing about and doing nothing for four years, that’s what I did and I was very broke and all these scenes. And I went to Germany for a year and played eight hours a night and the usual scene, you know, and earned thirty pounds a week ha-ha, but it was a good experience though, anyway, I think.
Tony: Talk a bit about the-em the difficulties of sort of starting up and down, everyone
thinks that everyone makes a fortune immediately.
Noel: Oh, yeah. Well, um, you find, um, so you become popular and you think we’re
earning so and so a night and you think ‘Oh, I’ll be rich tomorrow’…
Jimi : Ha-ha-hmm
Noel: …and you think ha-ha, because one-once you become um to this status
there’s so many more expenses and-um things like that you see, it’s-it’s not as, if you do become big it takes about a year before you start um earning the money, I think .
Tony: Is it very hard to begin with though, I mean what sort of conditions do you
actually sort of suffer until you make it.
Noel: Well even now we still suffer the conditions, because you get to this state and um, all
the time people are saying you got to do an interview tomorrow and you got to do this tomorrow and you got to that tomorrow, can you talk to him nicely, smile please, click, all the time, really and um, really, since we’ve begun, we’ve never, ever really had um, a proper holiday and I think we could do with it huh.
Jimi : His chance is criminal
Jimi : Hm
Noel: Yeah, because um, they say “You got three days off,” then somebody says “Oh,
could you do this interview tomorrow?” and you have to say yes ha-ha. It’s very hard really, very hard, people think it’s very soft, but it’s very, very hard, lot’s of people have toured with us, publicity people and, say, filming people and they’ve died after a week, they just can’t keep up, it’s amazing ‘cause you get three hours sleep a night and four hours sleep a night, whew ha-ha-ha.
Tony: Is it because it that much of a strain. What-what sort of effects does it have on
Noel Um, tiredness?
Jimi : Ha-ha-ha
Noel : And ha-ha
Jimi : [Sniffs] Yes
Noel: No, I dunno, em, well we survive very well together, anyway so, we’re all right, we
work very hard I think, harder than a lot-most groups and-um when you get some sleep you just grab it!
Tony: What things do you miss about your sleep?
Noel : Um, sleep! Ha-ha-ha
Jimi : Ha-ha-ha
Noel : No, really, I-I can’t really say, because um, it’s so involved, there’s so many things
you could say about what I miss, but there’s nothing I miss really, because this is my life anyway and-um, so there.
Tony: We’re just about to run-we’ve almost run out of film
Noel : When?
Tony: Just tell us a few more things you miss, before we run out.
Noel : [Inhales] Um, I don’t miss anything, really, ‘cause I’m still happy, I still feel very
happy, because I feel the same as, people say “How do you feel to be in a big group?” and I say “Well I’m the same still,” and they say “What about all these girls and all that, sort of, “Chasing after you and people are asking you things?” well you say that, don’t you? If somebody asks you a question, you answer them.
? : Graham?
Tony: Sorry [film cut] Go on where you left off, talk about, I mean talk about this sort of
image, ‘cause we left it on a common sort of fact of the pop world, which I understand
? : Yeah
? : That’s the truth
Noel: People say um, “How does it feel like to be - um, a-as they put it - a star?” and I
think, “Well, I’m just me, anyway, aren’t I?” I ca-I can’t, I could never get big headed I don’t think, I go home and um, I find that people are frightened of me now, they sort of, they see you on TV and all this crap and all that and they think you’re different, but you aren’t really and um…
Jimi : Mh-hmm
Noel:…they think it’s such a difference, they think you’re different and you aren’t,
lot’s of people have interviewed us and they think “Oh, the so and so, so and so, big pop stars,” an-and we talk to them and that’s it, they say “You’re very nice,” I say “Were just normal people, why em, think we’re different, just because we em, we’re sex-successful,” you know, an’ it’s, it get’s, it get’s to be a hang up sometimes ha-ha.
Tony: Like what?
Noel: Well you people saying, um, well, you just get people around you all the time, you-
you go to a gig and-um, and you go into the dressing room, you want to relax before you go on and there’s all these thousands of people asking you all these silly little questions, like “What colour socks do you wear? And things and I always associate that with um, they should ask that about a teeny bopper groups, I don’t think we are, using a phrase.
Jimi : Mh-hm
Noel: All this um, no-ha-ha I don’t know, but I think we’re just normal people and we
talk as straight as we can.
Jimi : Ha-ha-ha…
Noel: Don’t we?
Jimi : …uh-ha right, well, as quick as you can ha-ha
Tony: Do you hate …, do you hate all this sort of image bit.
Noel: No it’s lovely ha-ha-ha
Jimi : Ha-ha-ha what are you complaining about?
Noel: What are we complaining about? well we’re still normal, aren’t we,? we’re still
people, aren’t we?
Tony: But I mean do you dislike all this low publicity, or do you, make you out to be
something that you know you’re not, I mean is there a great amount of dishonesty?
Noel: Well sometimes you-y’-they say-um, you go to an interview and you get this-um
person come in with a little notepad and a snappy flash hah-uh and they say I’m from so and so, they aren’t really, they just got there, just because they want to meet you and they ask silly questions like, “What are you gonna do in your future?” who knows? The future’s the future, you can’t say, you can’t say what your gonna do in the future and-um and other times we’ve had interviews when people walked in and said, “I know what it means to do interviews with groups, so let’s just relax and talk normally” um and it’s been nice and you can talk and you can-uh speak properly about what you think and that’s the way to do em, interviews and things like that huh and photographs and oh, I dunno.
Tony: Do you like being photographed?
Noel: Um, yeah, wouldn’t you be, love being photographed? I’d like to be photographed,
I’d like to be photographed, why not? Huh-uh
Jimi : Hmm
Noel: Ha-ha, it’s everything to me, [sniff] It’s good, but-um
Mitch: Do you really think you haven’t changed?
Noel: Well, I’ve changed a bit, I’ve changed a bit
Jimi : Hmm, people don’t want you to change
Noel: Like, I find that, I go home, the biggest thing I’ve thought about since I’ve been with
this group, I go home to my home town in England and-um, I’ve got all my old friends there and they say things to me like, “I went to-um Boulogne, for a holiday last year for a week” and they’re so chuffed about it, you know? and they’ve got their little job, their little girlfriend, they’re steady and I say, well, I’ve just come back from New York and so and so and so and so and they can’t believe that I’ve been around that much and I find that, erm, to me, I’ve learnt much more about life than they have, through travelling and meeting people an’, oh, I dunno, don’t know what to say, really, well I’ve changed, ain’t I? I’m still the same really, hah
Jimi : Mh-hmm
Noel: Ha-ha-ha, can’t see a thing, ‘cause the lights too bright, ask me another question.
Jimi : Serious, he’ll be-ha-ha able to catch you out
Tony: That was very good, you made your own punch line, cut, cut Bill
AFTER SHOW INTERVIEW OF MITCH BY TONY PALMER
Tony: Mitch go on to talk about this sort of image business, which I think we’ve been, I
think’s very interesting, I mean for example
Tony: I mean there is this thing about love
Mitch: Well, the thing that people build up, you know, it’s kind o’ strange, you know, like,
obviously the other people have so much to do with it, like, you suddenly read in the paper, like-uh, like I ca’-I ca’ I came back, like last time I came back from the States for example I-I bought a teargas gun back, right? and I had it confiscated by the customs and due to that I got some, some press and you suddenly read in the paper, “So and so, pop star,” right? eh, you know, it was kind of funny to see that sort of thing in print. I think you do change an awful lot…
Noel: Certainly need it in New York, gas gun [sniff]
Mitch: …you know, I-I think, I think because y’-you travel around so much, you know, you
become very cynical about, or at least I have, anyway, but the thing is that, like, before I was working in groups, anyway, like, I’ve-I come from, like, the other side of business of work, being at drama school and that sort of thing, but, like, Noel was saying that, when he goes home to, like, Folkstone, people don’t accept him as they used to do an’ I find, like, eve-even, like, although I was still working in the business as such, I find that-that people do change, like, you make a special effort, maybe, some times, to go out to try to, sort of-eh, to try to get contact with your old friends, you know, and you think naturally, because they’re in, like, entertainment-showbiz, you know, that-that, you know, it’s gonna be the same thing, they’re gonna be on the same wavelength and they-they clam up completely, you know, I-I know that-that we’ve changed, we’re bound to, but other people make things really difficult for you sometimes, you know.
Tony: Do you resent that, or, sort of, the aura that goes with being a pop star?
Mitch: No not at all, no, not, I think…
Tony: Talk about that for a moment, I mean, sort of.
Mitch: I think you-you can become very, very introvert about things, like, you know, I just
went home to England for a couple of days, right? an’ I got back there and-uh, my-in actual fact my mother knows-mu’ much more about the pop-ha-ha business than I seem to, like, she says, I-I go back, she says, “What do you think of so and so, in the charts” and this, that and the other, now I don’t know half of these people and bec’-I-I don’t particularly want to, you know, maybe I’m frightened of-of, like, you take influences from wherever you can, because no matter how bad a group is, no matter how bad a drummer might be, he might have some little idea that you’ve never thought of, there’s always something there, but I’d-I’m-I‘d rather concentrate on-on doing my own thing an’-an doing our thing in the group, you know.
Tony: Wha’-what has working with this particular group done for you?
Mitch: What has it done for me? It’s given me freedom, complete freedom, I mean, like, I-I
decided at a certain period of my life, that I wanted to be a musician instead of anything else, you know, I mean, it’s kind of, it’s-it’s very frustrating because it’s the one thing that I’ve never been trained to do, I’ve worked very hard at it, you know, but the thing is it’s important for me to be successful, like, financially, very quickly, because, for example this year, at the moment, I fancy coming over to New York for maybe-uh, I dunno, maybe later Autumn, so I can go to study at music school, now it’s important to me that I can afford to do that, because, like, people say, “Oh, you make a lot of money,” sure, you know, but we’ve got the basic responsibilities, same as anyone else, you know, the tax man always take all the rest of it, but even if we don’t work we’ve still got-uh, like, there’s publicists, road managers, the rest of it to do, so I’ve got to be able to afford to do that, like, you know, people don’t honestly realise, like, I can’t do without a bank clerk, or a-or a dustman, or anyone, because I can’t live my life comfortably without those people, but what they basically don’t realise is that-tha’ – I might be wrong about this - I believe there’s a need for people like me, and, like, anyone connected with the pop business, because whether you want to sit at home, you know, on your backside at home and watch television, or go to a movie, or anything, you know, someone’s got to have some kind of escapism, you know, the kids basically want to feel…that it’s something… that maybe they’re not it, I don’t-I don’t know, you know, I can’t, I can’t analyze it.
Tony: Well, try a bit more about, about the way the kids think, how you think the kids think
about you… I mean…
Tony …we were talking earlier about
Mitch: …yeah. I’ll tell you what, one thing, one thing I’ve, sort of, noticed is that, maybe,
like, if we go into a TV studio, you know, like, we-we always, sort of, get a fair amount of attention from people and that’s very flattering , it has, has a lot of drawbacks sometimes, because you don’t get any privacy, I mean, like, there is no, there is no break in between your life, like, you know, if you’re on tour, especially, you have no private life, right, if you, all right, a hotel room, all we see is one hotel room an’ another hotel room an’ another, but really, like, you know, “An Englishman’s home in his-is his castle,” an’ that thing, but that, you know, that is our home for-for that time an’ people don’t respect that sort of thing, but it’s really flattering, on the other hand, but, you know, it gets a bit much at times.
Tony: I’m sure. Do you um, I mean, you say you want to go to music school, I mean,
you sound as if you want to escape from the, the pop world.
Mitch: No, not really, not at all, it’s just that, you sudden’ like, the-there is no infinity
to what you can do, you suddenly realise that, maybe, maybe you want-but you might want to, sort of, do another arrangement on something and why-why call other-other people in to do it for you, you know, you suddenly realise that it’s possible to write music and you might have the ideas, but you can’t put down on paper and there’s nothing to substitute hard work, it’s like anything else, like, being-being in a-in the group to me, is comparable to being in the army - apart from the hair cuts, you know – [laugh] because, you know, you’ve got to have a certain-certain amount of self discipline like anything else, I mean there’s loads of opportunities open to you, but, you know, you ca’- you-you can make yourself out of it, if you’re not careful, because I know that, like, I, before I was in-in a group this successful, I used to look back and see people, like, suffering from nervous exhaustion, and that thing, an’ you think, “Oh, they’re trying to get out of a booking, they don’t wanna do this, that an’ the other,” but I can look back over the past year and think of three or four times when I’ve honestly felt, “I just can’t go on any more,” you know, you really have to be careful.
Tony cut, I’m gonna stop there, because we’re just about to run out of film here, we
did get some other..
Mitch: Right, okay.
Tony: Ahm, We-we talked slightly, but then never quite got round to it, about this-um one
of this commonest ah, common assumptions about the pop world is this business about girls and sex, which I know is a, well, [Mitch laughs] you know, is a load of rubbish, but not entirely.
Tony: ‘d you say anything about that then?
Mitch: Eh, well, it’s like anything else, I guess, you know, like, sure it’s, you know, it’s
there, but, I mean, like, do you just want to be another, another, sort of, a name in a diary? you know, I mean that’s what it boils down to, you know, it’s like-uh, so and so, one night, so and so and so the next night, but the thing is, the older you get, you su’-you suddenly look back and you realise that they’re someone’s daughters and it could be your daughter and you suddenly feel, like, at one time you-I used to, sort of, think, “I’ve got no moral obligation or responsibility to the kids at all” and since I’ve come to America, people point out things to you on your record that you didn’t even know existed on your record, they get into things so much and, like, basically, you know, you have got some kind of moral obligation to ‘em, at least I think you have, but, you know, w-what about-about, the girls, eh
Tony: Yeah, I mean do the-I mean do the, do other people think that’s fun, or is it, is
it a case of rather not..
Mitch: Yeah, they, well, other people, like, they-they wanna make out it’s the…
Tony: Who wants who, I mean, do you want girls, or do the girls want you?
Mitch: Ah-ha, there’s no telling about that
Noel: nah, ageing
Mitch: Now off, it’s like anything else, you know, if-if you have-uh, if you have too much
alcohol you get drunk and you get sick, an’ if you have too many girls you get fed up with it, you know, it’s like anything, anything can be abused, you know, it’s a, I don’t know, it’s up to you, a lot of people join, it’s like, a lot of-lot of guys, you know, go an’ make, might-might wanna become actors, or they might wanna become anything, but it-it’s nothing, you know, to substitute hard work, basically I’ve got my music and no one can take that away from me and that’s something to-to get into, you know, but af’-y’-y’-after a while you just get bored of it, really, you know, you..
Tony: But does it happen a great deal?
Mitch: Of course, it happens a great deal
Noel: You get chicks knocking on your door at nine o’clock in the morning and they just
say, “Hello” and nothing else…
Mitch: Well, you know, like, you-y’…
Noel: …because they wanna meet you and you’re standing there completely shattered,
because you think it might be something important, like, you’ve got your pyjamas on, but you’re goin’ and they knock on the door and say, “Oh, hello,” there’s all these little, young-young chicks and they say, I don’t know what they expect from you
Mitch: Yeah, it’s…that’s very true, it’s like, this morning, you know, like, I get phone calls
from, like, maybe, eight o’clock, eight thirty in the morning, I mean, I wonder how people find out where you are, or what hotel you’re staying at, but they find out and they phone you up, I mean, I didn’t get to bed ‘till five o’clock this morning, which might mean’s my own fault, but when you start getting phone calls, I mean, they-they’ve got nothing to say to you, they-they phone you up an’ they just say, “Who’s that?” an’ you say, “Oh, ay, eh, eh it’s so and so,” an’-uh they-they just start giggling, you know, an’ like, you know, we’re no different to anyone else, we really got have-our, our sleep, you know.
Tony: Cut, splendid, very good, excellent
Mitch: Plus the fact that…