Harvey Gerst and The Birds?

[Raymond]

I was just checking out Little Steven's Underground Garage on the radio and he
was talking about The Birds, speaking of, "everyone's favorite Bird, Harvey
Gerst". Care to comment Harvey, is that you? I know that Crosby was in that
group but they are a bit before my time.

[Harvey Gerst]

Post by Raymond
I was just checking out Little Steven's Underground Garage on the radio and he
was talking about The Byrds, speaking of, "everyone's favorite Byrd, Harvey
Gerst". Care to comment Harvey, is that you? I know that Crosby was in that
group but they are a bit before my time.

Yes, it's me. I was never "in" the Byrds, but McGuinn and I wrote the first two
songs they recorded as the Beefeaters before they changed their name.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Raymond]

Post by Harvey Gerst
Yes, it's me. I was never "in" the Byrds, but McGuinn and I wrote the first two
songs they recorded as the Beefeaters before they changed their name.

Cool! I've not met to many famous people before, so did that help get you
started in entertainment or where you already doing big time stuff before that?

[Harvey Gerst]

Post by Raymond

Post by Harvey Gerst
Yes, it's me. I was never "in" the Byrds, but McGuinn and I wrote the first
two songs they recorded as the Beefeaters before they changed their name.

Cool! I've not met to many famous people before, so did that help get you
started in entertainment or where you already doing big time stuff before that?

I was already on RCA Victor as a recording artist with a folk group, The
Villagers, and I was currently in a group called "The Men", which later went on
to success (without me) as the Association. I also wrote one song which wound up
on a Nitty Gritty Dirt Band album.

By that time, I had already designed the JBL F series of loudspeakers, and ran
sound for the Ash Grove, the Whiskey, the Trip, and the Troubadour - all of
which used sound systems that I had designed and installed.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[unitron]

Post by Harvey Gerst

Post by Raymond

Post by Harvey Gerst
Yes, it's me. I was never "in" the Byrds, but McGuinn and I wrote the first
two songs they recorded as the Beefeaters before they changed their name.

Cool! I've not met to many famous people before, so did that help get you
started in entertainment or where you already doing big time stuff before that?

I was already on RCA Victor as a recording artist with a folk group, The
Villagers, and I was currently in a group called "The Men", which later went on
to success (without me) as the Association. I also wrote one song which wound up
on a Nitty Gritty Dirt Band album.
By that time, I had already designed the JBL F series of loudspeakers, and ran
sound for the Ash Grove, the Whiskey, the Trip, and the Troubadour - all of
which used sound systems that I had designed and installed.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

So is there anybody in the business that makes you feel small and
insignificant the way you do the rest of us?

[Harvey Gerst]

Post by unitron

Post by Harvey Gerst

Post by Raymond

Post by Harvey Gerst
Yes, it's me. I was never "in" the Byrds, but McGuinn and I wrote the first
two songs they recorded as the Beefeaters before they changed their name.

Cool! I've not met to many famous people before, so did that help get you
started in entertainment or where you already doing big time stuff before that?

I was already on RCA Victor as a recording artist with a folk group, The
Villagers, and I was currently in a group called "The Men", which later went on
to success (without me) as the Association. I also wrote one song which wound up
on a Nitty Gritty Dirt Band album.
By that time, I had already designed the JBL F series of loudspeakers, and ran
sound for the Ash Grove, the Whiskey, the Trip, and the Troubadour - all of
which used sound systems that I had designed and installed.

So is there anybody in the business that makes you feel small and
insignificant the way you do the rest of us?

You misunderstand; I just happened to be in all the right places at all the
right times, and always thru dumb luck, not brilliant planning on my part. The
fact that I'm still alive (while most of my old friends aren't) is also dumb
luck; no diet, no exercise, I still smoke like a chimney, and eat mainly junk
food - just dumb luck.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Bob Smith]

Post by Harvey Gerst
You misunderstand; I just happened to be in all the right places at all the
right times, and always thru dumb luck, not brilliant planning on my part.

The

Post by Harvey Gerst
fact that I'm still alive (while most of my old friends aren't) is also dumb
luck; no diet, no exercise, I still smoke like a chimney, and eat mainly junk
food - just dumb luck.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

Well, whatever, here's hoping you have at least another 20 yrs of dumb
luck!!

bobs

bob smith
bs studios
we organize chaos
http://www.bsstudios.com

[Roger W. Norman]

This is why we need a "resume" section on the rap server. Something, btw, I
mentioned when you were just thinking about getting one set up. I still
think it's a good idea. Hank's resume is quite interesting too, amongst a
number of others.
--
Roger W. Norman
SirMusic Studio

Post by Harvey Gerst

Post by unitron

Post by Harvey Gerst

Post by Raymond

Post by Harvey Gerst
Yes, it's me. I was never "in" the Byrds, but McGuinn and I wrote the first
two songs they recorded as the Beefeaters before they changed their name.

Cool! I've not met to many famous people before, so did that help get you
started in entertainment or where you already doing big time stuff before that?

I was already on RCA Victor as a recording artist with a folk group, The
Villagers, and I was currently in a group called "The Men", which later went on
to success (without me) as the Association. I also wrote one song which wound up
on a Nitty Gritty Dirt Band album.
By that time, I had already designed the JBL F series of loudspeakers, and ran
sound for the Ash Grove, the Whiskey, the Trip, and the Troubadour - all of
which used sound systems that I had designed and installed.

So is there anybody in the business that makes you feel small and
insignificant the way you do the rest of us?

You misunderstand; I just happened to be in all the right places at all the
right times, and always thru dumb luck, not brilliant planning on my part.

The

Post by Harvey Gerst
fact that I'm still alive (while most of my old friends aren't) is also dumb
luck; no diet, no exercise, I still smoke like a chimney, and eat mainly junk
food - just dumb luck.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Chris Del Faro]

Post by Harvey Gerst
You misunderstand; I just happened to be in all the right places at all the
right times, and always thru dumb luck, not brilliant planning on my part. The
fact that I'm still alive (while most of my old friends aren't) is also dumb
luck; no diet, no exercise, I still smoke like a chimney, and eat mainly junk
food - just dumb luck.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

All hail Harvey, the highly intelligent AE version of Forrest Gump! <g>

Chris

[Harvey Gerst]

Post by Chris Del Faro

Post by Harvey Gerst
You misunderstand; I just happened to be in all the right places at all the
right times, and always thru dumb luck, not brilliant planning on my part. The
fact that I'm still alive (while most of my old friends aren't) is also dumb
luck; no diet, no exercise, I still smoke like a chimney, and eat mainly junk
food - just dumb luck.

All hail Harvey, the highly intelligent AE version of Forrest Gump! <g>

Chris,

The "Forrest Gump" part isn't too far off as a comparison.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Mike Rivers]

Post by Chris Del Faro
All hail Harvey, the highly intelligent AE version of Forrest Gump! <g>

Has this generation not learned that Harvey is The Pope of the Church
of the Divine Backbeat?



--
I'm really Mike Rivers (***@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[Jay-AtlDigi]

Post by Mike Rivers

Post by Chris Del Faro
All hail Harvey, the highly intelligent AE version of Forrest Gump! <g>

Has this generation not learned that Harvey is The Pope of the Church
of the Divine Backbeat?

That's "Da Pope!"

[Mike]

Post by Harvey Gerst

Post by unitron

Post by Harvey Gerst

Post by Raymond

Post by Harvey Gerst
Yes, it's me. I was never "in" the Byrds, but McGuinn and I wrote the first
two songs they recorded as the Beefeaters before they changed their name.

Cool! I've not met to many famous people before, so did that help get you
started in entertainment or where you already doing big time stuff before that?

I was already on RCA Victor as a recording artist with a folk group, The
Villagers, and I was currently in a group called "The Men", which later went on
to success (without me) as the Association. I also wrote one song which wound up
on a Nitty Gritty Dirt Band album.
By that time, I had already designed the JBL F series of loudspeakers, and ran
sound for the Ash Grove, the Whiskey, the Trip, and the Troubadour - all of
which used sound systems that I had designed and installed.

So is there anybody in the business that makes you feel small and
insignificant the way you do the rest of us?

You misunderstand; I just happened to be in all the right places at all the
right times, and always thru dumb luck, not brilliant planning on my part. The
fact that I'm still alive (while most of my old friends aren't) is also dumb
luck; no diet, no exercise, I still smoke like a chimney, and eat mainly junk
food - just dumb luck.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

<<<Standing next to Harvey Gerst trying to look as stupid>>

Mike http://www.mmeproductions.com

[unitron]

Post by Harvey Gerst

Post by unitron

Post by Harvey Gerst

Post by Raymond

Post by Harvey Gerst
Yes, it's me. I was never "in" the Byrds, but McGuinn and I wrote the first
two songs they recorded as the Beefeaters before they changed their name.

Cool! I've not met to many famous people before, so did that help get you
started in entertainment or where you already doing big time stuff before that?

I was already on RCA Victor as a recording artist with a folk group, The
Villagers, and I was currently in a group called "The Men", which later went on
to success (without me) as the Association. I also wrote one song which wound up
on a Nitty Gritty Dirt Band album.
By that time, I had already designed the JBL F series of loudspeakers, and ran
sound for the Ash Grove, the Whiskey, the Trip, and the Troubadour - all of
which used sound systems that I had designed and installed.

So is there anybody in the business that makes you feel small and
insignificant the way you do the rest of us?

You misunderstand; I just happened to be in all the right places at all the
right times, and always thru dumb luck, not brilliant planning on my part. The
fact that I'm still alive (while most of my old friends aren't) is also dumb
luck; no diet, no exercise, I still smoke like a chimney, and eat mainly junk
food - just dumb luck.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

Performer (with some pretty fair musicians), songwriter, loudspeaker
designer, designer, installer, and operator of sound systems for some
big name venues, sounds pretty "Renaissance Man" to me!
So, Harvey, whose resume do you look at and go "I'm not worthy"?

[Harvey Gerst]

Post by unitron
Performer (with some pretty fair musicians), songwriter, loudspeaker
designer, designer, installer, and operator of sound systems for some
big name venues, sounds pretty "Renaissance Man" to me!
So, Harvey, whose resume do you look at and go "I'm not worthy"?

Just about everybody's.

Having Merle Travis slowly show you how he plays "Saturday Night Shuffle" and
still not getting it, or playing the wrong E69 chord to "Foxy Lady", standing
two feet from Jimi Hendrix, while playing his white Strat, takes a lot of
hutzpah. I was a hack, and I knew it.

I could play a decent rhythm guitar and not embarrass myself too badly, but when
you play guitar with people like Hendrix, McGuinn, Rosmini, Clarence White,
Merle Travis, or Brownie McGee, you realize just how inadaquate you really are;
at least, I did. I've learned enough licks to impress the hell out of somebody
for about five minutes, and that's it.

My recording engineer chops? I've sat next to Al Schmitt and Dave Hassinger and
a few others; we won't even go there.

If I come off humble, it's because I have so much to be humble about. A lot of
people tell me how great I am, but I know I was, at best, OK - never great. But
I've lived a hell of a life, being around some truly great people.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[ScotFraser]

<< or playing the wrong E69 chord to "Foxy Lady", >>


Oughta be an E7/#9 I thinks, which some of us kids naively called a
'major/minor' chord or simply 'The Hendrix Chord'.


Scott Fraser

[Harvey Gerst]

Post by ScotFraser

Post by Harvey Gerst
or playing the wrong E69 chord to "Foxy Lady",

Oughta be an E7/#9 I thinks, which some of us kids naively called a
'major/minor' chord or simply 'The Hendrix Chord'.

See, I still can't get it right. You're right, it's an E7 with a raised 9th.
And the one I played for Hendrix was: open low E, E on the A string, G# on the D
string, D on the G string, G on the B string, and open high E string; close, but
no cigar. First of all, feeling stupid later about even playing it in front of
Hendrix, on his own damn Strat, and second, for getting it wrong.

I also screwed up Rosmini's "Finger Bustin' Blues", which Dick corrected with
glee, since I was one note shy of the opening run (which will break your
fingers).

Rather than just admire what they did, I stupidly tried to show off. On the
other hand, I did come up with a cool banjo run that Doug Dillard liked and
learned from me. And I can play a flashy version of "San Fransico Bay Blues".

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Mondoslug1]

Make something up - I'll believe it!

[Harvey Gerst]

Post by Mondoslug1
Make something up - I'll believe it!

Nah, the truth is way more unbelievable.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Mondoslug1]

Post by Harvey Gerst

Post by Mondoslug1
Make something up - I'll believe it!

Nah, the truth is way more unbelievable.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

Got any Quicksilver 1968ish anecdotes. The guy doing FOH with us was doing the
same for them back then - wondering if you might have crossed paths.

[Harvey Gerst]

Post by Mondoslug1

Post by Harvey Gerst

Post by Mondoslug1
Make something up - I'll believe it!

Nah, the truth is way more unbelievable.

Got any Quicksilver 1968ish anecdotes. The guy doing FOH with us was doing the
same for them back then - wondering if you might have crossed paths.

You need to talk to Bob O. for stories about Quicksilver Messanger Service. I
only saw them once or twice as I recall - never meet them.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Mike Rivers]

Post by Harvey Gerst
I also screwed up Rosmini's "Finger Bustin' Blues", which Dick corrected with
glee, since I was one note shy of the opening run (which will break your
fingers).

Reminds me of a story I heard Merle Travis tell about a younster who
came up to him at a county fair show and asked if he'd show him a part
to one of Travis' tunes that he just couldn't quite get. Travis kind
of snickered since it was one of those that he sped up in the
recording, and asked the kid to play as much as he could. The kid
played it at the speed and in the key as it was on the record, just
about perfectly.


--
I'm really Mike Rivers (***@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[Ricky W. Hunt]

Post by Mike Rivers
Reminds me of a story I heard Merle Travis tell about a younster who
came up to him at a county fair show and asked if he'd show him a part
to one of Travis' tunes that he just couldn't quite get. Travis kind
of snickered since it was one of those that he sped up in the
recording, and asked the kid to play as much as he could. The kid
played it at the speed and in the key as it was on the record, just
about perfectly.

This happened to Chet Atkins also. Some kid was having trouble playing a
Chet song and played it for Chet (which Chet said was 98% like the
recording). Chet told the boy to just keep practicing. What he didn't tell
the kid was the part was an overdub and even Chet couldn't play it live but
this kid had figured out a way.

[Roger W. Norman]

Move into jazz. That way when you hit a clunker, you just hit it several
more times giving the impression that you did it on purpose! <g>
--
Roger W. Norman
SirMusic Studio

Post by Harvey Gerst

Post by ScotFraser

Post by Harvey Gerst
or playing the wrong E69 chord to "Foxy Lady",

Oughta be an E7/#9 I thinks, which some of us kids naively called a
'major/minor' chord or simply 'The Hendrix Chord'.

See, I still can't get it right. You're right, it's an E7 with a raised 9th.
And the one I played for Hendrix was: open low E, E on the A string, G# on the D
string, D on the G string, G on the B string, and open high E string; close, but
no cigar. First of all, feeling stupid later about even playing it in front of
Hendrix, on his own damn Strat, and second, for getting it wrong.
I also screwed up Rosmini's "Finger Bustin' Blues", which Dick corrected with
glee, since I was one note shy of the opening run (which will break your
fingers).
Rather than just admire what they did, I stupidly tried to show off. On the
other hand, I did come up with a cool banjo run that Doug Dillard liked and
learned from me. And I can play a flashy version of "San Fransico Bay Blues".
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Patric D'Eimon]

Post by Roger W. Norman
Move into jazz. That way when you hit a clunker, you just hit it several
more times giving the impression that you did it on purpose! <g>

Hmmmm....What I know as E7 raised 9th (also "Born To Be Wild" jam chord) and
what Harvey described seem to be the same. What am I missing? Patric

[Jay Kadis]

Post by Patric D'Eimon

Post by Roger W. Norman
Move into jazz. That way when you hit a clunker, you just hit it several
more times giving the impression that you did it on purpose! <g>

Hmmmm....What I know as E7 raised 9th (also "Born To Be Wild" jam chord) and
what Harvey described seem to be the same. What am I missing? Patric

Different inversion.

-Jay

[ScotFraser]

<< Hmmmm....What I know as E7 raised 9th (also "Born To Be Wild" jam chord) and
what Harvey described seem to be the same. What am I missing? >>

There are a lot of positions & ways to voice it on the guitar. All valid. It's
a cool chord, having both a major 3rd & minor 3rd (sharp 9) in it, with a lot
of inherent tension.



Scott Fraser

[Roger W. Norman]

If you were really asking me, my post had nothing to do with the particular
chord (and how could you not know THAT particular chord (sorry Harvey)?),
but the fact that purporting to be a guitar player and being one could
actually end up being the genre you play within. The Sex Pistols didn't
play any chords well. It fit the genre. If you have a problem in jazz, hit
the same thing a few times more and then everyone figures you meant it.
Doesn't make any difference whether it's right or wrong as long as it's what
you meant to do. And believe me, I have years and some 700 recordings
(except those Scott still has that are mine!) that prove the point. Not all
of them, but within them, there's plenty of boffo clankers. I know they are
wrong, the musician's face is getting red, but two more of them babies and
the crowd loves it! Go figure.
--
Roger W. Norman
SirMusic Studio

Post by Patric D'Eimon

Post by Roger W. Norman
Move into jazz. That way when you hit a clunker, you just hit it several
more times giving the impression that you did it on purpose! <g>

Hmmmm....What I know as E7 raised 9th (also "Born To Be Wild" jam chord) and
what Harvey described seem to be the same. What am I missing? Patric

[Ricky W. Hunt]

Post by Roger W. Norman
Move into jazz. That way when you hit a clunker, you just hit it several
more times giving the impression that you did it on purpose! <g>

How true. One of my favorite quotes: "Art is whatever you can get away
with." - Andy Warhol

[ScotFraser]

<< See, I still can't get it right. You're right, it's an E7 with a raised
9th.
And the one I played for Hendrix was: open low E, E on the A string, G# on the
D
string, D on the G string, G on the B string, and open high E string; close,
but
no cigar. >>

That's more of a jazz voicing of the E7/#9, used in the last bar of the verses
on 'Taxman' if my aural memory still works. I think Hendrix voiced it as a
regular first position E major, then laid his little finger across the top 2
strings on the 3rd fret.


Scott Fraser

[georgeh]

Post by ScotFraser
That's more of a jazz voicing of the E7/#9, used in the last bar of the verses
on 'Taxman' if my aural memory still works. I think Hendrix voiced it as a
regular first position E major, then laid his little finger across the top 2
strings on the 3rd fret.

IMAMIC, I believe E7/#9 in Taxman is in the 3rd measure of ea verse.
But I didn't realize Hendix played it in the 1st pos. (though I haven't
"critically" listened to it in yrs).

Nor did I know (from another thread) that Liz Cotten played upside down
until a few days ago. Things like this make me keep reading RAP.

[ScotFraser]

<< IMAMIC, I believe E7/#9 in Taxman is in the 3rd measure of ea verse. >>

Yeah, it's in there somewhere, after each lyric phrase.

<<But I didn't realize Hendix played it in the 1st pos. (though I haven't
"critically" listened to it in yrs).>>

Somehow the 1st position version just sounds bigger & more Hendrixian to me.

<<Nor did I know (from another thread) that Liz Cotten played upside down
until a few days ago.>>

She must have come up with some really twisted voicings.

<< Things like this make me keep reading RAP.
Yeah, ultimately this stuff is a lot more satisfying than haggling with right
wing zealots.

Scott Fraser

[John Fowler]

Post by georgeh

Post by ScotFraser
That's more of a jazz voicing of the E7/#9, used in the last bar of the verses
on 'Taxman' if my aural memory still works. I think Hendrix voiced it as a
regular first position E major, then laid his little finger across the top 2
strings on the 3rd fret.

IMAMIC, I believe E7/#9 in Taxman is in the 3rd measure of ea verse.

Well actally, "Taxman" is in the key of D. It was a standard first
position 'C7" chord moved up a whole step (2 frets) and muting the top
and bottom strings for the D7 in the first two measures, then a D7/#9
for the first two chords of the third measure, as you point out.

Post by georgeh
But I didn't realize Hendix played it in the 1st pos. (though I haven't
"critically" listened to it in yrs).

Along the lines of the 800 pound gorilla making its bed wherever it
wishes, Hendrix played a 7/#9 chord pretty much any and everywhere he
liked on the guitar. In some songs the E7/#9's were played based on
the 7th fret position, others in first position, the the precise
voicing being exactly the same, but, as Scott Fraser points out,
having a different sound to them, due to different string length.

"Foxy Lady" (in F#) e.g., omitted the upper F# that would often have
been included, because it was the upper note of the riff uderlying the
chord in that song. With the few songs he did in C#, he took advantage
of the doubling that the open E string provided for the top note of
the C#7/#9 chord. "Spanish Castle Magic" being the only example i can
recall at the moment.

All of this is on film. btw, somewhere or another.

*Back to the thread, .....*

Yeah Harvey, write the dang book. You've written almost 1/4'th of it
in this thread already. Those who bought Michelle Phillip's and David
Crosby's books would definitely buy your book. Your lesser name
recognition could be overcome by some clever editor's title, and it
would be a more interesting book because your experience is much more
varied, and you are a better storyteller.


Best regards,


JF

[Peter Larsen]

Post by John Fowler
Yeah Harvey, write the dang book.

How do we submit advance orders?

Post by John Fowler
You've written almost 1/4'th of it
in this thread already. Those who bought Michelle Phillip's and David
Crosby's books would definitely buy your book. Your lesser name
recognition could be overcome by some clever editor's title,

You named it already ... O;-)

Post by John Fowler
JF

Kind regards

Peter Larsen

[Ben Bradley]

On Sun, 20 Jun 2004 15:45:14 +0200, Peter Larsen

Post by Peter Larsen

Post by John Fowler
Yeah Harvey, write the dang book.

How do we submit advance orders?

Send him checks noting in the comment line that it's for his book.

Of course, true to rock and roll spirit, he'll cash the checks and
spend the money on pizza and beer.

Post by Peter Larsen

Post by John Fowler
You've written almost 1/4'th of it
in this thread already. Those who bought Michelle Phillip's and David
Crosby's books would definitely buy your book. Your lesser name
recognition could be overcome by some clever editor's title,

You named it already ... O;-)

"Harvey Gerst and The Byrds" ??? But who are The Byrds? :)

Post by Peter Larsen

Post by John Fowler
JF

Kind regards
Peter Larsen

-----
http://mindspring.com/~benbradley

[Harvey Gerst]

Post by Ben Bradley

Post by Peter Larsen

Post by John Fowler
Yeah Harvey, write the dang book.

How do we submit advance orders?

Send him checks noting in the comment line that it's for his book.
Of course, true to rock and roll spirit, he'll cash the checks and
spend the money on pizza and beer.

Post by Peter Larsen

Post by John Fowler
You've written almost 1/4'th of it
in this thread already. Those who bought Michelle Phillip's and David
Crosby's books would definitely buy your book. Your lesser name
recognition could be overcome by some clever editor's title,

You named it already ... O;-)

"Harvey Gerst and The Byrds" ??? But who are The Byrds? :)

Actually, this idea of my writing a book started coming up about 12 years ago,
when I turned 55 (and people thought I'd probably croak any day). I thought of
calling the book,if I ever get around to writing it: "The Last Dinosaur".

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Harvey Gerst]

Post by ScotFraser

Post by Harvey Gerst
See, I still can't get it right. You're right, it's an E7 with a raised 9th.
And the one I played for Hendrix was: open low E, E on the A string, G# on the D
string, D on the G string, G on the B string, and open high E string; close, but
no cigar.

That's more of a jazz voicing of the E7/#9, used in the last bar of the verses
on 'Taxman' if my aural memory still works. I think Hendrix voiced it as a
regular first position E major, then laid his little finger across the top 2
strings on the 3rd fret.

Scott,

Exactly right.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[hank alrich]

Harvey Gerst...

Post by Harvey Gerst
I was already on RCA Victor as a recording artist with a folk group, The
Villagers, and I was currently in a group called "The Men", which later
went on to success (without me) as the Association. I also wrote one
song which wound up on a Nitty Gritty Dirt Band album.
By that time, I had already designed the JBL F series of loudspeakers,
and ran sound for the Ash Grove, the Whiskey, the Trip, and the
Troubadour - all of which used sound systems that I had designed and
installed.

So is there anybody in the business that makes you feel small and
insignificant the way you do the rest of us?

If you've ever met Harvey you know he's about the least arrogant, most
friendly and generous, most over the top funniest people ever to inhabit
Earth. He makes you feel tall and significant. He even makes EveAnna
think "I'm _tall_".

--
ha

[Taylor Miller]

Post by hank alrich
If you've ever met Harvey you know he's about the least arrogant, most
friendly and generous, most over the top funniest people ever to inhabit
Earth. He makes you feel tall and significant. He even makes EveAnna
think "I'm _tall_".

Yep, what a great guy. He even makes us who really aren't terribly
significant feel significant.

And the thing about it, is that he's sincere. It ain't no act.

Taylor

[Jay-AtlDigi]

Post by Taylor Miller

Post by hank alrich
If you've ever met Harvey you know he's about the least arrogant, most
friendly and generous, most over the top funniest people ever to inhabit
Earth. He makes you feel tall and significant. He even makes EveAnna
think "I'm _tall_".

Yep, what a great guy. He even makes us who really aren't terribly
significant feel significant.
And the thing about it, is that he's sincere. It ain't no act.
Taylor

I know we're all gushing over Harvey, but he really is a great guy. To
hang out with Harvey and Karen and Alex is to have a great time. Hi
Harvey! Hope I'm not making you blush... much...

[BlacklineMusic]

One time I was walking my grandma to the market when a gang of toughs held me
at knife point, stole my wallet, slapped granny, and then put the knife to my
throat. As they started to get away, guess who was there to stop them. None
other then Harvey Gerst. Yup. Harvey Gerst. He must have learned some karate
while writing with the Byrds because he beat the hell out of those guys and got
my wallet back. Great guy.
Steve
www.bangrecording.com
www.blacklinerock.com

[Harvey Gerst]

Post by BlacklineMusic
One time I was walking my grandma to the market when a gang of toughs held me
at knife point, stole my wallet, slapped granny, and then put the knife to my
throat. As they started to get away, guess who was there to stop them. None
other then Harvey Gerst. Yup. Harvey Gerst. He must have learned some karate
while writing with the Byrds because he beat the hell out of those guys and got
my wallet back. Great guy.

Steve,

That was you??? You were SO young back then!! LOL.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[BlacklineMusic]

Post by Harvey Gerst
That was you??? You were SO young back then!! LOL.

that was me alright. I'll never forget that day. never.
Steve
www.bangrecording.com
www.blacklinerock.com

[S O'Neill]

Post by BlacklineMusic
One time I was walking my grandma to the market when a gang of toughs held me
at knife point, stole my wallet, slapped granny, and then put the knife to my
throat. As they started to get away, guess who was there to stop them. None
other then Harvey Gerst. Yup. Harvey Gerst. He must have learned some karate
while writing with the Byrds because he beat the hell out of those guys and got
my wallet back. Great guy.

Talk about being in the right place at the right time. He wasn't kidding!

[hank alrich]

Post by BlacklineMusic
One time I was walking my grandma to the market when a gang of toughs held
me at knife point, stole my wallet, slapped granny, and then put the
knife to my throat. As they started to get away, guess who was there to
stop them. None other then Harvey Gerst. Yup. Harvey Gerst. He must
have learned some karate while writing with the Byrds because he beat the
hell out of those guys and got my wallet back. Great guy.

This is the stuff of which legends are imagined.

Amen.

--
ha

[Patrick Covert]

Post by unitron
So is there anybody in the business that makes you feel small and
insignificant the way you do the rest of us?

Actually, Harvey tends to make me feel more like I am significant,
since someone like him will take the time to be helpful, and treats me
as someone serious. You could join in the chorus of people trying to
get him to write a book.


-----= Posted via Newsfeeds.Com, Uncensored Usenet News =-----
http://www.newsfeeds.com - The #1 Newsgroup Service in the World!
-----== Over 100,000 Newsgroups - 19 Different Servers! =-----

[n***@sbcglobal.netNOSPAM]

Post by Patrick Covert

Post by unitron
So is there anybody in the business that makes you feel small and
insignificant the way you do the rest of us?

Actually, Harvey tends to make me feel more like I am significant,
since someone like him will take the time to be helpful, and treats me
as someone serious. You could join in the chorus of people trying to
get him to write a book.

HARVEY, WRITE A BOOK!

:) (I'd read it)
--


Neil Henderson
Progressive Rock
http://www.saqqararecords.com

[Paul Stamler]

Yeah, Harvey, do write that book. I'll certainly buy one.

Something Harvey's post points up, though, is how much smaller the world of
pop music and recording was in the 1960s. That the same guy ran sound for
three important clubs, designed speakers for JBL, wrote songs that appeared
on LPs, etc. is a tribute to Harvey's abilities and versatility, no question
about that. But it's also a story of how interconnected, internecine and
even inbred the music scene was back then. It was a cozy little world. Well,
maybe not cozy.

Peace,
Paul

[Harvey Gerst]

Post by Paul Stamler
Yeah, Harvey, do write that book. I'll certainly buy one.
Something Harvey's post points up, though, is how much smaller the world of
pop music and recording was in the 1960s. That the same guy ran sound for
three important clubs, designed speakers for JBL, wrote songs that appeared
on LPs, etc. is a tribute to Harvey's abilities and versatility, no question
about that. But it's also a story of how interconnected, internecine and
even inbred the music scene was back then. It was a cozy little world. Well,
maybe not cozy.

Paul,

You bring up a great point that is very true. The "degrees of separation" were
very small indeed. Back then, it seemed that everything was connected, with the
hubs being The Troubadour and The Ash Grove, the main showcases for new and
traditional music.

At the Troubadour, you'd see all the new acts, like the Dillards, the Modern
Folk Quartet, the Smothers Brothers, Linda Ronstadt w/The Stone Poneys, Joni
Mitchell, Jackson Browne, and Poco, while the Ash Grove featured more eclectic
traditional acts, like Odetta, Ramblin' Jack Elliot, the New Lost City Ramblers,
Merle Travis, Brownie and Sonny, Lightning Hopkins, Doc & Merle Watson, Albert
King, Flatt and Scruggs, and the Firesign Theater.

The audiences were "hip" to both clubs and the performers from the Troub would
be in the audience at the Ash Grove. Throw in some of the other great clubs,
like the Golden Bear, the Mon Ami, the Mecca, the Ice House, Terrea Lee's
Garret, and all the after-hours coffee houses and private after-show parties,
and you almost never had to go home.

I'd sit around for hours, jamming with people like Mississipi John Hurt, Brownie
and Sonny, Frank Zappa, Jim McQuinn, Bud and/or Travis, Tad Diltz, Hoyt Axton,
Dick Rosmini, and a ton of other people that went on to become well deserved
legends.

It was a unique time, and a unique gathering of incredible talents in one place
that I doubt will ever be repeated again. I was privileged and honored (and
yes, mainly lucky) to be a very small part of that era.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[ScotFraser]

<< That the same guy ran sound for
three important clubs, designed speakers for JBL, wrote songs that appeared
on LPs, etc. is a tribute to Harvey's abilities and versatility, no question
about that >>

And the efficacy of coffee.


Scott Fraser

[hank alrich]

Post by Paul Stamler
Yeah, Harvey, do write that book. I'll certainly buy one.

What he said, popester.

Post by Paul Stamler
Something Harvey's post points up, though, is how much smaller the world of
pop music and recording was in the 1960s. That the same guy ran sound for
three important clubs, designed speakers for JBL, wrote songs that appeared
on LPs, etc. is a tribute to Harvey's abilities and versatility, no question
about that. But it's also a story of how interconnected, internecine and
even inbred the music scene was back then. It was a cozy little world. Well,
maybe not cozy.

Inbreeding isn't cozy?

--
ha

[Paul Stamler]

Post by hank alrich

Post by Paul Stamler
Yeah, Harvey, do write that book. I'll certainly buy one.

What he said, popester.

Post by Paul Stamler
Something Harvey's post points up, though, is how much smaller the world of
pop music and recording was in the 1960s. That the same guy ran sound for
three important clubs, designed speakers for JBL, wrote songs that appeared
on LPs, etc. is a tribute to Harvey's abilities and versatility, no question
about that. But it's also a story of how interconnected, internecine and
even inbred the music scene was back then. It was a cozy little world. Well,
maybe not cozy.

Inbreeding isn't cozy?

It is not permissible to use the word "cozy" in discussing the music
business unless one is discussing illegal deals.

Peace,
Paul

[hank alrich]

"hank alrich" wrote...

Post by hank alrich

Post by Paul Stamler
But it's also a story of how interconnected, internecine and
even inbred the music scene was back then. It was a cozy little world.
Well, maybe not cozy.

Inbreeding isn't cozy?

It is not permissible to use the word "cozy" in discussing the music
business unless one is discussing illegal deals.

I see; so inbreeding is legal.

--
ha

[Harvey Gerst]

Post by hank alrich

Post by Paul Stamler
Something Harvey's post points up, though, is how much smaller the world of
pop music and recording was in the 1960s. That the same guy ran sound for
three important clubs, designed speakers for JBL, wrote songs that appeared
on LPs, etc. is a tribute to Harvey's abilities and versatility, no question
about that. But it's also a story of how interconnected, internecine and
even inbred the music scene was back then. It was a cozy little world. Well,
maybe not cozy.

Inbreeding isn't cozy?

I guess it depends on who you're inbreeding with - it's all relative.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Kevin Krell]

Post by Harvey Gerst

Post by hank alrich

Post by Paul Stamler
Something Harvey's post points up, though, is how much smaller the world of
pop music and recording was in the 1960s. That the same guy ran sound for
three important clubs, designed speakers for JBL, wrote songs that appeared
on LPs, etc. is a tribute to Harvey's abilities and versatility, no question
about that. But it's also a story of how interconnected, internecine and
even inbred the music scene was back then. It was a cozy little world. Well,
maybe not cozy.

Inbreeding isn't cozy?

I guess it depends on who you're inbreeding with - it's all relative.

Groan.

Post by Harvey Gerst
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[georgeh]

Post by n***@sbcglobal.netNOSPAM
HARVEY, WRITE A BOOK!
:) (I'd read it)

Hell, I'd even BUY it !

[Fred Banta]

Post by Patrick Covert

Post by unitron
So is there anybody in the business that makes you feel small and
insignificant the way you do the rest of us?

Actually, Harvey tends to make me feel more like I am significant,
since someone like him will take the time to be helpful, and treats me
as someone serious. You could join in the chorus of people trying to
get him to write a book.

Well, I'd buy his book. I'd be interested in hearing about the days
of Gram Parsons or at the Ash Grove around the time of the Dillards.
I enjoyed this thread and am reminded why I should come back to this
newsgroup more often. God bless you, Harvey Gerst.

[Raymond]

Post by Harvey Gerst
I was already on RCA Victor as a recording artist with a folk group, The
Villagers, and I was currently in a group called "The Men", which later went on
to success (without me) as the Association. I also wrote one song which wound up
on a Nitty Gritty Dirt Band album.
By that time, I had already designed the JBL F series of loudspeakers, and ran
sound for the Ash Grove, the Whiskey, the Trip, and the Troubadour - all of
which used sound systems that I had designed and installed.

I went out to LA after College in 97 and tried to get on at the Roxy, Tommy Gun
was running the place then, I think he wanted someone with more experience than
me but he did take the time to talk with me and give me a few more leads,
pretty cool dude. After I struck out in LA I came back home to NC and hooked up
with a few production companies and did about 4 years of anything and
everything. None of the bands I was in had any real success but we all had some
good times. Sure wish things could have been different but its great to talk
with all you great folks here at RAP.

[mcp6453]

Post by Harvey Gerst

Post by Raymond

Post by Harvey Gerst
Yes, it's me. I was never "in" the Byrds, but McGuinn and I wrote the first
two songs they recorded as the Beefeaters before they changed their name.

Cool! I've not met to many famous people before, so did that help get you
started in entertainment or where you already doing big time stuff before that?

I was already on RCA Victor as a recording artist with a folk group, The
Villagers, and I was currently in a group called "The Men", which later went on
to success (without me) as the Association. I also wrote one song which wound up
on a Nitty Gritty Dirt Band album.
By that time, I had already designed the JBL F series of loudspeakers, and ran
sound for the Ash Grove, the Whiskey, the Trip, and the Troubadour - all of
which used sound systems that I had designed and installed.

It is interesting to note that Roger McGuinn (formerly of the Byrds) has
effectively punted his reliance on record companies and has started
distributing his latest CD ("Limited Edtion") himself.
http://www.aprilfirstproductions.com.

[Bob Olhsson]

Post by mcp6453
It is interesting to note that Roger McGuinn (formerly of the Byrds) has
effectively punted his reliance on record companies and has started
distributing his latest CD ("Limited Edtion") himself.

Of course there's always the distinct possibility that nobody wanted to
release his latest CD. The biggest stars of the '40s and '50s couldn't get
record deals 30 years later.

[mcp6453]

Post by Bob Olhsson

Post by mcp6453
It is interesting to note that Roger McGuinn (formerly of the Byrds) has
effectively punted his reliance on record companies and has started
distributing his latest CD ("Limited Edtion") himself.

Of course there's always the distinct possibility that nobody wanted to
release his latest CD. The biggest stars of the '40s and '50s couldn't get
record deals 30 years later.

Of course that is true. My point was not that he rejected a label deal
as I have no idea if he was offered one. He is certainly over 25 years
old. My point is that he is successfully distributing his own CD with
great success, thereby negating his need for a conventional label deal.
He is lucky to have a high traffic web site.

I could be wrong, but I think the model he is using will be the business
model that MOST artists will have to use to be successful, since there
are so few label deals available. You don't sell as many CDs, but you
sure do make a lot more money.

[EggHd]

<< He is certainly over 25 years old. >>

Plenty of people over 25 with record deals.

<< My point is that he is successfully distributing his own CD with
great success, thereby negating his need for a conventional label deal. >>

Is he having "great success"?

<< He is lucky to have a high traffic web site. >>

I wouldn't consider working your entire adult life to build your brand name
lucky. That's hard work.

<< I could be wrong, but I think the model he is using will be the business
model that MOST artists will have to use to be successful, since there
are so few label deals available. >>

It can be a good model on one hand. On the other having a label that will
promote the project to radio and the media will help drive ticket sales
therefor increasing touring income.

<< You don't sell as many CDs, but you
sure do make a lot more money. >>

A band like Metalica don't make anywhere near the money from Cds than they do
from touring. yet having the Warner Music Group spend millions to promote a
new release drives the tour attendence.

there is alwasy a trade off.



---------------------------------------
"I know enough to know I don't know enough"

[mcp6453]

Post by EggHd
<< He is certainly over 25 years old. >>
Plenty of people over 25 with record deals.

I don't recall saying otherwise.

Post by EggHd
<< My point is that he is successfully distributing his own CD with
great success, thereby negating his need for a conventional label deal. >>
Is he having "great success"?

Yes.

Post by EggHd
<< He is lucky to have a high traffic web site. >>
I wouldn't consider working your entire adult life to build your brand name
lucky. That's hard work.

He has not worked his entire adult life to build his web site, which was
the subject of my comment. There are plenty of artists who do not have
the web presence that he does. He was on the web before it was cool.

Post by EggHd
<< I could be wrong, but I think the model he is using will be the business
model that MOST artists will have to use to be successful, since there
are so few label deals available. >>
It can be a good model on one hand. On the other having a label that will
promote the project to radio and the media will help drive ticket sales
therefor increasing touring income.

There's a cloud behind every silver lining, huh?

Post by EggHd
<< You don't sell as many CDs, but you
sure do make a lot more money. >>
A band like Metalica don't make anywhere near the money from Cds than they do
from touring. yet having the Warner Music Group spend millions to promote a
new release drives the tour attendence.

There ain't no free lunch.

Post by EggHd
there is alwasy a trade off.

Why the contentious attitude? Everything in my post was intended to be
positive.

[EggHd]

<< Plenty of people over 25 with record deals.

I don't recall saying otherwise >>

Maybe I didn't understand the reason to mention he was over 25 years old in
regard to if he had a record deal or not. What was the reason for that
comment?

<< > Is he having "great success"?

Yes. >>

Measured how?

<< He has not worked his entire adult life to build his web site, which was
the subject of my comment. There are plenty of artists who do not have
the web presence that he does. He was on the web before it was cool. >>

But without a brand name nobody will visit it.

<< There's a cloud behind every silver lining, huh? >>

What does this mean? You don't want another view of why people do certain
deals?

<< Why the contentious attitude? Everything in my post was intended to be
positive. >>

The other side of the coin is contentious? That's new.



---------------------------------------
"I know enough to know I don't know enough"

[Roger W. Norman]

Having a web presence doesn't do anything if one hasn't a name for people to
look up. There are literally millions of "no name" artists out there, some
of which are quite good, and they don't turn a decent dollar on 'net sales.
Besides, it's not the CDs sold, it's the live performances that make the
day, and concessions, etc., so a CD is only good if it actually gets people
to your performances. It's a strange world, where it's necessary to perform
to get people to notice you, and then it's necessary to get out in front of
the people and perform to continue making money. The CDs are a MECHANISM,
not a means to and end. Ultimately even Steely Dan had to tour.
--
Roger W. Norman
SirMusic Studio

Post by mcp6453

Post by EggHd
<< He is certainly over 25 years old. >>
Plenty of people over 25 with record deals.

I don't recall saying otherwise.

Post by EggHd
<< My point is that he is successfully distributing his own CD with
great success, thereby negating his need for a conventional label deal.
Is he having "great success"?

Yes.

Post by EggHd
<< He is lucky to have a high traffic web site. >>
I wouldn't consider working your entire adult life to build your brand name
lucky. That's hard work.

He has not worked his entire adult life to build his web site, which was
the subject of my comment. There are plenty of artists who do not have
the web presence that he does. He was on the web before it was cool.

Post by EggHd
<< I could be wrong, but I think the model he is using will be the business
model that MOST artists will have to use to be successful, since there
are so few label deals available. >>
It can be a good model on one hand. On the other having a label that will
promote the project to radio and the media will help drive ticket sales
therefor increasing touring income.

There's a cloud behind every silver lining, huh?

Post by EggHd
<< You don't sell as many CDs, but you
sure do make a lot more money. >>
A band like Metalica don't make anywhere near the money from Cds than they do
from touring. yet having the Warner Music Group spend millions to promote a
new release drives the tour attendence.

There ain't no free lunch.

Post by EggHd
there is alwasy a trade off.

Why the contentious attitude? Everything in my post was intended to be
positive.

[n***@sbcglobal.netNOSPAM]

Post by EggHd
<< You don't sell as many CDs, but you
sure do make a lot more money. >>
A band like Metalica don't make anywhere near the money from Cds than they do
from touring. yet having the Warner Music Group spend millions to promote a
new release drives the tour attendence.
there is alwasy a trade off.

IMO, there are benefits to both business models - the good thing is,
nowadays there IS another option.
--


Neil Henderson
Progressive Rock
http://www.saqqararecords.com

[Bob Olhsson]

Post by mcp6453
I could be wrong, but I think the model he is using will be the business
model that MOST artists will have to use to be successful, since there
are so few label deals available. You don't sell as many CDs, but you
sure do make a lot more money.

You only make more money IF you have a large enough following.

Obtaining a large enough following doesn't come cheap. It isn't about
"models," it's about actual flesh and blood fans to buy the CD.

[EggHd]

<< Obtaining a large enough following doesn't come cheap. It isn't about
"models," it's about actual flesh and blood fans to buy the CD. >>

Good point.


---------------------------------------
"I know enough to know I don't know enough"

[Roger W. Norman]

AND the same flesh and bones fans to come to concerts, which provide far
higher return on investment based on CD acceptance. Danny Gatton, playing
locally even at a high dollar club/event didn't get the same nororiety nor
dollars that someone with a "brand" name did. But it's questionable if
anybody could actually play a guitar better than Danny. Sadly, he taught me
to put the guitar down! <g>
--
Roger W. Norman
SirMusic Studio

Post by Bob Olhsson

Post by mcp6453
I could be wrong, but I think the model he is using will be the business
model that MOST artists will have to use to be successful, since there
are so few label deals available. You don't sell as many CDs, but you
sure do make a lot more money.

You only make more money IF you have a large enough following.
Obtaining a large enough following doesn't come cheap. It isn't about
"models," it's about actual flesh and blood fans to buy the CD.
--
Bob Olhsson Audio Mastery, Nashville TN
Mastering, Audio for Picture, Mix Evaluation and Quality Control
Over 40 years making people sound better than they ever imagined!
615.385.8051 http://www.hyperback.com

[Roger W. Norman]

Nothing new. Check out Prince, who was probably the first to decry the
major's deals and distribute his own work via the internet. He still lives
pretty well.
--
Roger W. Norman
SirMusic Studio

Post by mcp6453

Post by Bob Olhsson

Post by mcp6453
It is interesting to note that Roger McGuinn (formerly of the Byrds) has
effectively punted his reliance on record companies and has started
distributing his latest CD ("Limited Edtion") himself.

Of course there's always the distinct possibility that nobody wanted to
release his latest CD. The biggest stars of the '40s and '50s couldn't get
record deals 30 years later.

Of course that is true. My point was not that he rejected a label deal
as I have no idea if he was offered one. He is certainly over 25 years
old. My point is that he is successfully distributing his own CD with
great success, thereby negating his need for a conventional label deal.
He is lucky to have a high traffic web site.
I could be wrong, but I think the model he is using will be the business
model that MOST artists will have to use to be successful, since there
are so few label deals available. You don't sell as many CDs, but you
sure do make a lot more money.

[EggHd]

<< Check out Prince, who was probably the first to decry the
major's deals and distribute his own work via the internet. He still lives
pretty well. >>

He's selling out 18,000 seaters right now (multi nights) and went back to a
major.



---------------------------------------
"I know enough to know I don't know enough"

[Roger W. Norman]

I assume the contract was written without his ability to simply offer up his
500 canned songs from 10 years ago as he tried to do with Sony(?). I keep
remembering the line that says you're only as good as your next song, and if
I'm correct, that was said to Hank Williams?
--
Roger W. Norman
SirMusic Studio

Post by EggHd
<< Check out Prince, who was probably the first to decry the
major's deals and distribute his own work via the internet. He still lives
pretty well. >>
He's selling out 18,000 seaters right now (multi nights) and went back to a
major.
---------------------------------------
"I know enough to know I don't know enough"

[EggHd]

<< I assume the contract was written without his ability to simply offer up his
500 canned songs from 10 years ago as he tried to do with Sony(?). >>

he used to be with Warner during the period when he wanted off majors. Which is
funny as the label at the time was run by Mo Ostin, one of the most artist
friendly execs out there.

Then he released his own stuff - then did a deal with Arista- then EMI and now
Sony. But these are licensing deals.



---------------------------------------
"I know enough to know I don't know enough"

[Mike Rivers]

Post by Bob Olhsson

Post by mcp6453
It is interesting to note that Roger McGuinn (formerly of the Byrds) has
effectively punted his reliance on record companies and has started
distributing his latest CD ("Limited Edtion") himself.

Of course there's always the distinct possibility that nobody wanted to
release his latest CD.

This is quite likely since these days he's recording mostly
traditional folk songs. Not a large commercial market for that.
McGuinn fans will buy because it's him, and a few folk music fans will
buy because he has some interesting versions of the songs. But he's
not emphasizing the singer-songwriter thing (unless he has a newer
project than one I saw a year an a half or so ago) so there's not a
lot of money to be made from publishing.

--
I'm really Mike Rivers (***@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[Bob]

That's even before the Preflight sessions! I love those sessions so much: so
fresh, so unproduced and unprocessed...
Not that I'm that old of course, cheers,
Bob

Post by Harvey Gerst
Yes, it's me. I was never "in" the Byrds, but McGuinn and I wrote the first two
songs they recorded as the Beefeaters before they changed their name.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[MandoBazaaro]

Hi Harvey...

Some of favorite music went down during those days...
Too bad I was only 15 and had to hear some of it through the back
doors of some of those clubs you mention...(g).

Could you tell a few stories of some of those bands, especially the
ones whose live shows rarely compared to their recordings?

Like:
Did you ever see the Byrd's original lineup play a really steller set
with all the harmonies and instruments happenin'? Hope you were
running sound at the time...

Same with Buffalo Springfield?

So many of those bands were often so damn delicate and inconsistant.
Love and Moby Grape come to mind.
I *do* remember fondly a Moby Grape set at the Fillmore, with them
tearing up their first album, but so many times it was more like a
trainwreck with a lot of the bands of that mid-60's era....
Drugs and crappy monitiors are a bad mix...(g).

I'd just love to hear some stories of magical nights...
Did you ever run tape?

Thanks in advance...
Bruce

[Harvey Gerst]

Post by MandoBazaaro
Hi Harvey...
Could you tell a few stories of some of those bands, especially the
ones whose live shows rarely compared to their recordings?

At Monterey Pop, Otis Redding (with Booker T & the MG's) was incredible, as was
Hendrix, and Janis.

Post by MandoBazaaro
Did you ever see the Byrd's original lineup play a really steller set
with all the harmonies and instruments happenin'? Hope you were
running sound at the time...

Things were tighter when Clarence White joined them, but I heard some great sets
at the Trip (with all the original members), where I did run (ruin?) their
sound. They did some sets at the Golden Bear in Huntington Beach that were also
spectacular, and at Ciro's, when they were just getting started.

Post by MandoBazaaro
Same with Buffalo Springfield?

Buffalo Springfield could always be counted on to do a great show. My favorite
group to hear live.

Post by MandoBazaaro
So many of those bands were often so damn delicate and inconsistant.
Love and Moby Grape come to mind.

Yup, Arthur Lee could be all over the map, same with Moby. Actually, Big
Brother was among the most variable; Janis was always great, but the group went
from great to terrible at times.

Post by MandoBazaaro
I *do* remember fondly a Moby Grape set at the Fillmore, with them
tearing up their first album, but so many times it was more like a
trainwreck with a lot of the bands of that mid-60's era....
Drugs and crappy monitiors are a bad mix...(g).

My memories of the Fillmore consist mainly of Bill Graham walking around,
screaming. But, he was a great guy.

The Doors were the epitome of the "trainwreck" syndrome. The first two times I
heard them, I walked out on the show, thinking they were a bad cover band;
Robbie was hopelessly out of tune, and the timing just wasn't there. But, they
did a show in Santa Barbara and at the Whiskey that was mesmerizing - one of the
best shows ever.

Post by MandoBazaaro
I'd just love to hear some stories of magical nights...

One night at the Ash Grove, Earl Scruggs kicked off Foggy Mountain Special so
fast, nobody in the group could keep up; Only time I ever saw Scruggs grin on
stage. I remember the first night Albert King discovered how to control and use
feedback. There was a little known folk group from New York called the
Harvesters (2 men, 2 women) that were so good, they were almost scary sounding.
And of course, just sitting around, listening to people like Dick Rosmini, Merle
Travis, or Brownie McGee - always magical.

Post by MandoBazaaro
Did you ever run tape?

I only ran tape at the Ash Grove, both for Ed Rearl, and myself. All his tapes
were ruined sometime ago by a flooded basement. I've got maybe 30 or 40 reels
from the early 60's, of Flatt and Scruggs, Jesse Fuller, Lightning Hopkins,
Firesign Theater, Brownie and Sonny, Ramblin' Jack Elliot, Doc and Merle Watson,
Chambers Brothers, Barbara Dane, and a few others.

Bruce, thank you for making me relive those wonderful moments just now.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Bob Olhsson]

... Actually, Big
Brother was among the most variable; Janis was always great, but the group went
from great to terrible at times....
The Doors were the epitome of the "trainwreck" syndrome. The first two times I
heard them, I walked out on the show,

That was exactly my reaction to Big Brother only the second time was 25
years later! I literally got sick to my stomach both times.

[Bob]

Mind you, Arthur Lee's still (should I say again? ) touring and he's very,
very good. He has a band of youngsters around him, fine musicians too.....In
fact, he''ll play next month in our tiny country (Holland)....I''ll be
there...
cheers,
Bob

[Roger W. Norman]

Harvey, I think it's time to move those recordings from tape to digital,
don't you? I volunteer and will supply time and materials.
--
Roger W. Norman
SirMusic Studio

Post by Harvey Gerst

Post by MandoBazaaro
Hi Harvey...
Could you tell a few stories of some of those bands, especially the
ones whose live shows rarely compared to their recordings?

At Monterey Pop, Otis Redding (with Booker T & the MG's) was incredible, as was
Hendrix, and Janis.

Post by MandoBazaaro
Did you ever see the Byrd's original lineup play a really steller set
with all the harmonies and instruments happenin'? Hope you were
running sound at the time...

Things were tighter when Clarence White joined them, but I heard some great sets
at the Trip (with all the original members), where I did run (ruin?) their
sound. They did some sets at the Golden Bear in Huntington Beach that were also
spectacular, and at Ciro's, when they were just getting started.

Post by MandoBazaaro
Same with Buffalo Springfield?

Buffalo Springfield could always be counted on to do a great show. My favorite
group to hear live.

Post by MandoBazaaro
So many of those bands were often so damn delicate and inconsistant.
Love and Moby Grape come to mind.

Yup, Arthur Lee could be all over the map, same with Moby. Actually, Big
Brother was among the most variable; Janis was always great, but the group went
from great to terrible at times.

Post by MandoBazaaro
I *do* remember fondly a Moby Grape set at the Fillmore, with them
tearing up their first album, but so many times it was more like a
trainwreck with a lot of the bands of that mid-60's era....
Drugs and crappy monitiors are a bad mix...(g).

My memories of the Fillmore consist mainly of Bill Graham walking around,
screaming. But, he was a great guy.
The Doors were the epitome of the "trainwreck" syndrome. The first two times I
heard them, I walked out on the show, thinking they were a bad cover band;
Robbie was hopelessly out of tune, and the timing just wasn't there. But, they
did a show in Santa Barbara and at the Whiskey that was mesmerizing - one of the
best shows ever.

Post by MandoBazaaro
I'd just love to hear some stories of magical nights...

One night at the Ash Grove, Earl Scruggs kicked off Foggy Mountain Special so
fast, nobody in the group could keep up; Only time I ever saw Scruggs grin on
stage. I remember the first night Albert King discovered how to control and use
feedback. There was a little known folk group from New York called the
Harvesters (2 men, 2 women) that were so good, they were almost scary sounding.
And of course, just sitting around, listening to people like Dick Rosmini, Merle
Travis, or Brownie McGee - always magical.

Post by MandoBazaaro
Did you ever run tape?

I only ran tape at the Ash Grove, both for Ed Rearl, and myself. All his tapes
were ruined sometime ago by a flooded basement. I've got maybe 30 or 40 reels
from the early 60's, of Flatt and Scruggs, Jesse Fuller, Lightning Hopkins,
Firesign Theater, Brownie and Sonny, Ramblin' Jack Elliot, Doc and Merle Watson,
Chambers Brothers, Barbara Dane, and a few others.
Bruce, thank you for making me relive those wonderful moments just now.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Mike Rivers]

Post by Roger W. Norman
Harvey, I think it's time to move those recordings from tape to digital,
don't you? I volunteer and will supply time and materials.

I've seen the closet. This is not a casual project. It deserves
someone who will not only make the copies, but document what's there.


--
I'm really Mike Rivers (***@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[Roger W. Norman]

You calling me a slouch? <g>
--
Roger W. Norman
SirMusic Studio

Post by Mike Rivers

Post by Roger W. Norman
Harvey, I think it's time to move those recordings from tape to digital,
don't you? I volunteer and will supply time and materials.

I've seen the closet. This is not a casual project. It deserves
someone who will not only make the copies, but document what's there.
--
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[Tommy B]

In 1969, I was in LA for a couple of months.
We recorded a demo at Electra Studios.
One of the guys in the "group" had been in the "Paxton Lodge" group, with
Jackson Browne, which is why we were there. We went over to see Jackson, and
he played his newest song, "My Opening Farewell".
That was good! ;-) Then there was Jimmy Spheris, he came over and played
this song, "Old Man from China"???? AWESOME!!! Like a pointilistic painting!
We lived across the street from the Dillards and Warren Zevon. Still the
most amazing thing was running into Jim Morrison. We were wallking down
Sunset, Hoover Richmond, who was Jac Holtzman's asst., Jack Wilce and
myself. There hanging on a parking meter was Jim.
Hoover said hi, and introduced us, and we both shook his hand. That was good
too, but the best part was across the sidewalk on the grass. Jim's wife, who
was a beautiful redhead, with their irish setter.
Both had the exact same color hair!!!
It was a "Breck" momment, my friends.
So why did Ollie Stone use a golden retriever in his movie, "THE DOORS"?
Even with the right dog, it still would have been a dog.

Tom

Post by Harvey Gerst

Post by MandoBazaaro
Hi Harvey...
Could you tell a few stories of some of those bands, especially the
ones whose live shows rarely compared to their recordings?

At Monterey Pop, Otis Redding (with Booker T & the MG's) was incredible, as was
Hendrix, and Janis.

Post by MandoBazaaro
Did you ever see the Byrd's original lineup play a really steller set
with all the harmonies and instruments happenin'? Hope you were
running sound at the time...

Things were tighter when Clarence White joined them, but I heard some great sets
at the Trip (with all the original members), where I did run (ruin?) their
sound. They did some sets at the Golden Bear in Huntington Beach that were also
spectacular, and at Ciro's, when they were just getting started.

Post by MandoBazaaro
Same with Buffalo Springfield?

Buffalo Springfield could always be counted on to do a great show. My favorite
group to hear live.

Post by MandoBazaaro
So many of those bands were often so damn delicate and inconsistant.
Love and Moby Grape come to mind.

Yup, Arthur Lee could be all over the map, same with Moby. Actually, Big
Brother was among the most variable; Janis was always great, but the group went
from great to terrible at times.

Post by MandoBazaaro
I *do* remember fondly a Moby Grape set at the Fillmore, with them
tearing up their first album, but so many times it was more like a
trainwreck with a lot of the bands of that mid-60's era....
Drugs and crappy monitiors are a bad mix...(g).

My memories of the Fillmore consist mainly of Bill Graham walking around,
screaming. But, he was a great guy.
The Doors were the epitome of the "trainwreck" syndrome. The first two times I
heard them, I walked out on the show, thinking they were a bad cover band;
Robbie was hopelessly out of tune, and the timing just wasn't there. But, they
did a show in Santa Barbara and at the Whiskey that was mesmerizing - one of the
best shows ever.

Post by MandoBazaaro
I'd just love to hear some stories of magical nights...

One night at the Ash Grove, Earl Scruggs kicked off Foggy Mountain Special so
fast, nobody in the group could keep up; Only time I ever saw Scruggs grin on
stage. I remember the first night Albert King discovered how to control and use
feedback. There was a little known folk group from New York called the
Harvesters (2 men, 2 women) that were so good, they were almost scary sounding.
And of course, just sitting around, listening to people like Dick Rosmini, Merle
Travis, or Brownie McGee - always magical.

Post by MandoBazaaro
Did you ever run tape?

I only ran tape at the Ash Grove, both for Ed Rearl, and myself. All his tapes
were ruined sometime ago by a flooded basement. I've got maybe 30 or 40 reels
from the early 60's, of Flatt and Scruggs, Jesse Fuller, Lightning Hopkins,
Firesign Theater, Brownie and Sonny, Ramblin' Jack Elliot, Doc and Merle Watson,
Chambers Brothers, Barbara Dane, and a few others.
Bruce, thank you for making me relive those wonderful moments just now.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Harvey Gerst]

Post by Tommy B
In 1969, I was in LA for a couple of months.
We recorded a demo at Electra Studios.

On La Cienega? One of my favorite hangouts. Plus, I was in love/lust with
Patty Farrela (the office manager there).

Post by Tommy B
One of the guys in the "group" had been in the "Paxton Lodge" group, with
Jackson Browne, which is why we were there. We went over to see Jackson, and
he played his newest song, "My Opening Farewell".

Great guy, great song.

Post by Tommy B
That was good! ;-) Then there was Jimmy Spheris, he came over and played
this song, "Old Man from China"???? AWESOME!!! Like a pointilistic painting!

Oh God, Jimmy and Tully Spheeris? Memories washing over me. What a tragedy.

Post by Tommy B
We lived across the street from the Dillards and Warren Zevon. Still the
most amazing thing was running into Jim Morrison. We were wallking down
Sunset, Hoover Richmond, who was Jac Holtzman's asst., Jack Wilce and
myself. There, hanging on a parking meter, was Jim.

Hoover Richmond? Is that Fritz Richman, from Jim Kweskin's Jug Band, and the
engineer at Electra?

Post by Tommy B
Hoover said hi, and introduced us, and we both shook his hand. That was good
too, but the best part was across the sidewalk on the grass. Jim's wife, who
was a beautiful redhead, with their irish setter.
Both had the exact same color hair!!!
It was a "Breck" momment, my friends.
So why did Ollie Stone use a golden retriever in his movie, "THE DOORS"?
Even with the right dog, it still would have been a dog.

I love that Paul Rothchild actually played the sleazy promoter (the little short
bald guy who tries to get Jim to leave the Doors)in the Stone movie, while the
Rothchild character in the movie is this tall handsome dude with long brown
hair.

Tom,

As you've just illustrated, it was a great time to be alive and living in L.A.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Mike Rivers]

Post by Harvey Gerst
Hoover Richmond? Is that Fritz Richman, from Jim Kweskin's Jug Band, and the
engineer at Electra?

It's Fritz RichMOND and Jac HolzMAN. I don't know if he's also Hoover.
Fritz is a cool guy though. I interviewed him once for a radio
program. Really knows his jazz history, as well as his washtubs.


--
I'm really Mike Rivers (***@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[georgeh]

Post by Mike Rivers

Post by Harvey Gerst
Hoover Richmond? Is that Fritz Richman, from Jim Kweskin's Jug Band, and the
engineer at Electra?

It's Fritz RichMOND and Jac HolzMAN. I don't know if he's also Hoover.
Fritz is a cool guy though. I interviewed him once for a radio
program. Really knows his jazz history, as well as his washtubs.

Man that guy (Fritz) can play some (washtub) bass. I loved Kweskin too.
And Mel Lyman. And Geoff Muldaur wasn't too shabby. Saw him a few
yrs ago in AnnArbor, and Geoff STILL took me to school.

[Harvey Gerst]

Post by Mike Rivers

Post by Harvey Gerst
Hoover Richmond? Is that Fritz Richman, from Jim Kweskin's Jug Band, and the
engineer at Electra?

It's Fritz RichMOND and Jac HolzMAN. I don't know if he's also Hoover.
Fritz is a cool guy though. I interviewed him once for a radio
program. Really knows his jazz history, as well as his washtubs.

Duh, you're right, Mike. Jac was an investor in Acoustic Control at one point.
And yeah, it's Richmond.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Tommy B]

I think Hoover's brother is/was Fritz.
ANd I never said I could spell well..........anyway.
Tom

Post by Mike Rivers

Post by Harvey Gerst
Hoover Richmond? Is that Fritz Richman, from Jim Kweskin's Jug Band, and the
engineer at Electra?

It's Fritz RichMOND and Jac HolzMAN. I don't know if he's also Hoover.
Fritz is a cool guy though. I interviewed him once for a radio
program. Really knows his jazz history, as well as his washtubs.
--
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[Tommy B]

I forgot the most amazing thing!
We went over to David Anderle's house, he had just gotten some acetates from
England, the whole "LET IT BE" album, before Phil got his hands on it.
Paul Rothchild lived in Englewood NJ.
Met him once. He seemed like a lovely man.
Tom

Post by Tommy B
I think Hoover's brother is/was Fritz.
ANd I never said I could spell well..........anyway.
Tom

Post by Mike Rivers

Post by Harvey Gerst
Hoover Richmond? Is that Fritz Richman, from Jim Kweskin's Jug Band,

and the

Post by Mike Rivers

Post by Harvey Gerst
engineer at Electra?

It's Fritz RichMOND and Jac HolzMAN. I don't know if he's also Hoover.
Fritz is a cool guy though. I interviewed him once for a radio
program. Really knows his jazz history, as well as his washtubs.
--
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

[Harvey Gerst]

Post by Tommy B
I forgot the most amazing thing!
We went over to David Anderle's house, he had just gotten some acetates from
England, the whole "LET IT BE" album, before Phil got his hands on it.
Paul Rothchild lived in Englewood NJ.
Met him once. He seemed like a lovely man.

Tom,

Paul had houses on both coasts. He had a little place off Lookout Mountain in
Laurel Canyon. On Merryweather or Stanley Hills Road. I don't remember the
exact street, but I'll bet that I could still find the house. He had a brightly
colored gypsy wagon in his front yard. Bruce Langhorne lived a little further up
the same street.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[ScotFraser]

<< Bruce Langhorne lived a little further up
the same street. >>

One of my folk clients brought Bruce in for a session a few years ago. Some
mighty fine picking went down. No Dylan stories emerged, though, but I did get
the lowdown on "Brother Bru Bru's Hot Sauce", which I had been buying for my
brother Bruce for years.


Scott Fraser

[ScotFraser]

<< The Doors were the epitome of the "trainwreck" syndrome. The first two
times I
heard them, I walked out on the show, thinking they were a bad cover band;
Robbie was hopelessly out of tune, and the timing just wasn't there. But, they
did a show in Santa Barbara and at the Whiskey that was mesmerizing - one of
the
best shows ever. >>

Was the Santa Barbara show at the Earl Warren Fairgrounds, probably spring of
'67? Jordan amplifiers stacked 3 high?



Scott Fraser

[Harvey Gerst]

Post by ScotFraser
<< The Doors were the epitome of the "trainwreck" syndrome. The first two
times I
heard them, I walked out on the show, thinking they were a bad cover band;
Robbie was hopelessly out of tune, and the timing just wasn't there. But, they
did a show in Santa Barbara and at the Whiskey that was mesmerizing - one of the
best shows ever. >>
Was the Santa Barbara show at the Earl Warren Fairgrounds, probably spring of
'67? Jordan amplifiers stacked 3 high?

No, this was later, in a high scool or college gym. This was their first show
using the Acoustic Control amps. We threw the amps together and I made a mad
dash to Santa Barbara, to at least show up, knowing I'd be at least an hour
late for the show. We didn't even test the amps to make sure they'd work, just
plugged in the power cord and made sure they lit up, since I was sure they'd
hafta use their Jordan amps for this show.

When I got there, I found that they had told the crowd they were waiting on
their new amps (and didn't bother to bring the Jordans). A bunch of students
helped me unload the amps and we got them up on stage and everything plugged in
(with me going "Oh, shit" under my breath, since these were never tested).

To my surprise, everything worked perfectly, and they put on a spectacular show.
When Jim got arrested on stage in New Haven a few months later (with a Life
magazine photographer in attendance), the spread in Life got our amps some
attention, and Acoustic Control took off big time.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Raymond]

Wow, I started this thread about a week ago and it's still going strong!
Harvey, you really got a lot of supporters and stories on your side. I hope I
have as much or even half as much in 10 or 15 years.

[Raymond]

Why does every body keep posting in front of me? I don't get it, even if I
start the thread people keep (rudely) posting in front of me. Isn't this what
the quote thing is for?
I don't care if I only have a so so studio in planing stages right now or I've
not always been on top of everything or not, I think it's rude to post in front
of someone.

[Roger W. Norman]

Nobody can post "in front of you". Perhaps your clock is wrong? Whatever
time your computer says you post is what's put up, so that's the only thing
I can think of.
--
Roger W. Norman
SirMusic Studio

Post by Raymond
Why does every body keep posting in front of me? I don't get it, even if I
start the thread people keep (rudely) posting in front of me. Isn't this what
the quote thing is for?
I don't care if I only have a so so studio in planing stages right now or I've
not always been on top of everything or not, I think it's rude to post in front
of someone.

[Phil Kile]

On Fri, 18 Jun 2004 13:04:52 -0500, Harvey Gerst

Post by Harvey Gerst

Post by ScotFraser
<< The Doors were the epitome of the "trainwreck" syndrome. The first two
times I
heard them, I walked out on the show, thinking they were a bad cover band;
Robbie was hopelessly out of tune, and the timing just wasn't there. But, they
did a show in Santa Barbara and at the Whiskey that was mesmerizing - one of the
best shows ever. >>
Was the Santa Barbara show at the Earl Warren Fairgrounds, probably spring of
'67? Jordan amplifiers stacked 3 high?

No, this was later, in a high scool or college gym. This was their first show
using the Acoustic Control amps. We threw the amps together and I made a mad
dash to Santa Barbara, to at least show up, knowing I'd be at least an hour
late for the show. We didn't even test the amps to make sure they'd work, just
plugged in the power cord and made sure they lit up, since I was sure they'd
hafta use their Jordan amps for this show.
When I got there, I found that they had told the crowd they were waiting on
their new amps (and didn't bother to bring the Jordans). A bunch of students
helped me unload the amps and we got them up on stage and everything plugged in
(with me going "Oh, shit" under my breath, since these were never tested).
To my surprise, everything worked perfectly, and they put on a spectacular show.
When Jim got arrested on stage in New Haven a few months later (with a Life
magazine photographer in attendance), the spread in Life got our amps some
attention, and Acoustic Control took off big time.
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

Geez, now there's a story I haven't heard in 30+ years. Not since the
periodic company pep talks on the production floor. What a blast from
the past!

Phil Kile
Former Acoustic Control Employee

[Harvey Gerst]

?

Post by Phil Kile
Geez, now there's a story I haven't heard in 30+ years. Not since the
periodic company pep talks on the production floor. What a blast from
the past!
Phil Kile
Former Acoustic Control Employee

I guess I am really getting old. I don't remember ever giving anybody a pep talk
on the production floor at Acoustic Control. Usually, I just locked myself in
my little cubicle and worked on manual and photos and stuff. Was this in Van
Nuys, after I left the company?

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Phil Kile]

On Sat, 19 Jun 2004 16:51:47 -0500, Harvey Gerst

Post by Harvey Gerst
?

Post by Phil Kile
Geez, now there's a story I haven't heard in 30+ years. Not since the
periodic company pep talks on the production floor. What a blast from
the past!
Phil Kile
Former Acoustic Control Employee

I guess I am really getting old. I don't remember ever giving anybody a pep talk
on the production floor at Acoustic Control. Usually, I just locked myself in
my little cubicle and worked on manual and photos and stuff. Was this in Van
Nuys, after I left the company?
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

I transitioned from Culver City to Van Nuys with the company, but what
I remember most was the new place (which made me a real happy camper
'cause I lived in Mission Hills at the time). It was the Prez (Steve?,
my memory for names from that era is failing fast) who was giving the
talks. It took me quite a while to realize you were the same Harvey I
remembered from there.

Phil

[Harvey Gerst]

Post by Phil Kile

Post by Harvey Gerst
?

Post by Phil Kile
Geez, now there's a story I haven't heard in 30+ years. Not since the
periodic company pep talks on the production floor. What a blast from
the past!
Phil Kile
Former Acoustic Control Employee

I guess I am really getting old. I don't remember ever giving anybody a pep talk
on the production floor at Acoustic Control. Usually, I just locked myself in
my little cubicle and worked on manual and photos and stuff. Was this in Van
Nuys, after I left the company?

I transitioned from Culver City to Van Nuys with the company, but what
I remember most was the new place (which made me a real happy camper
'cause I lived in Mission Hills at the time). It was the Prez (Steve?,
my memory for names from that era is failing fast) who was giving the
talks. It took me quite a while to realize you were the same Harvey I
remembered from there.

Sounds about right, Phil. I lived it; Steve Marks would talk about it.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/