He had played in numerous garage bands while Miller had come out of the coffee house-folk circuit. Mortensen had left Los Angeles in 1971 along with Chris Miller (guitar, sax) during the hippie exodus from the cities, looking for cheap rent and a good time. Mortensen later came to find that Cain was from San Francisco cult legends the Sons of Champlin, and, with the band's ex-manager Bamboo, he had come from Marin to form a commune. The two played a set together before Cain left without a word. Guitarist Doug Mortenson was playing a gig in a bar called the Rite Spot in northern California one night in 1971, when Tim Cain (sax, guitar) walked in, took out his flute, and proceeded to bring down the house. Ain't No Use ( Miller, Stevenson) - 1:33ġ4.Rounder (Instrumental) ( Skip Spence) - 2:04ġ5.Looper (Audition Recording) ( Peter Lewis) - 2:38ġ6.Indifference (Audition Recording) ( Skip Spence) - 2:53ġ7.Bitter Wind (Previously Unissued) ( Bob Mosley) - 2:50ġ8.Sweet Ride (Never Again) (Long Version) ( Moby Grape) - 5:56ġ967-68 The Place And The Time (2009 Sundazed release) Someday ( Miller, Stevenson, Spence) - 2:30ĩ. Hey Grandma ( Jerry Miller, Don Stevenson) - 2:25Ĩ. It Takes A Lot To Laugh It Takes A Train To Cry ( Bob Dylan) - 3:00ġ0.Come Here Sweet Man ( Martha Velez) - 5:08ġ1.Let the Good Times Roll ( Leonard Lee) - 2:55ġ. Feel So Bad ( Sam Lightnin' Hopkins) - 5:14ĩ. Very Good Fandango ( Martha Velez) - 0:38ħ. In My Girlish Days ( Minnie Lawlers) - 2:44ĥ. Swamp Man ( Henry Bellinger, Martha Velez) - 2:56Ĥ. I'm Gonna Leave You ( Jackie Johnson, Lionel Whitfield) - 4:08Ģ. They, of course, had their musicianship flowing and after a few rehearsal run throughs, we hit the songs running.ġ. I had practiced the tunes on my own, so when the players arrived, I had an idea as to what my thoughts were on the songs, how they could be sung, but only imaginings as to how they could work with these players. Most of the tunes were “head arrangements”, ideas that came on the spot. The musicians and I got down to the business of making music together. As they set down to play, Clapton, who was rather shy and careful, seemed to caress his guitar, passed a soft cloth over it, and appeared to caress it as a shield of personal discretion. Eric played for her and gazed from the fire in his guitar to her serene very still sparkled baby face. She never uttered a word…I know now why she was so discreet. She was quite beautiful, but the most astounding part of her presence were the sparkles that she had somehow put on her cheeks…Later, I found out that she was some British Lord’s daughter who was barely 15 years old. That day, there was a very young girl that Clapton had brought with him to the session.
0 kommentar(er)
