Difference between revisions of "Robert Hunter interview 3/12/88"
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(Created page with "<pre> Robert Hunter interview 3/12/88 Copyright *c*1988 by Mary Eisenhart. All rights reserved. This interview was done around the time of the release of *Liberty*. . . . it...")
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Robert Hunter interview 3/12/88 Copyright *c*1988 by Mary Eisenhart. All rights reserved. This interview was done around the time of the release of *Liberty*. . . . it probably presupposes a fair amount of familiarity with Hunter's work, for a couple of reasons. One is the proverbial impossibility of stepping in the same river twice; I did a more general interview in 1984, and it's in the Fall 1984 Golden Road (the ostensible purpose of that interview was to discuss *Amagamalin Street*, but there's a lot of stuff about literature, songwriting, Hunter's adventures in Catholic school, and stuff like that. The reason I haven't uploaded this one is that the GR story is the most complete transcript that exists and the tape was destroyed in a fire, and somehow I just haven't gotten around to typing in 7 pages of about 5-point type. . .). The other continuity problem you may run into arises from the fact that I'd just finished transcribing maddog's tape of the Hunter interview he did for the Deadhead Hour, and Hunter was only too happy when I suggested not going over that same ground. The interview took place on the morning of Saturday, March 12. Later that evening the GD pretty much swept the Bammies, but Hunter didn't think he'd be going. He looked pretty comfortably settled in for the day, all right. We were in the living room of the house he's just moved out of. We got to talking about making videos, which has recently become one of Hunter's big interests. We talked about Justin Kreutzmann's "Making of Touch of Grey" video, and Hunter played me the video of "Bone Alley," which I was trying to talk him into releasing as a commercial product like Making of TOG, and that's pretty much where the tape starts. Robert Hunter: . . .We're going to print up a couple hundred copies of [the Bone Alley video] and give them to record stores if they buy a certain number of copies or something like this, a promo deal or something like that, for in-store showing and stuff like that. Other than that, I simply don't understand why anybody would attempt to sell a video when it's so easy to flip on the VCR and take it right off MTV. Mary Eisenhart: I think because the loss of quality on each generation is fierce. RH: I didn't realize they were selling the "Touch of Grey" video. ME: Not the Touch of Grey video, Justin Kreutzmann's Making Of. . . is a commercial product. I haven't seen the other. But I speak as one who hasn't had a tv for a year and a half. RH: I've got one, two--I've got four tvs now, and one, two three, four, five VCRs. Seven VCRs if you count the ones that are built into my cameras. I'm going loony on this stuff. ME: Technology has a way of doing that. RH: I went out about two or three days ago and got myself a Super 8 millimeter, you know, an old film camera--you try and FIND one of those things, it's impossible. But you need it to do animation, so I've got about 30 feet of animation that I've shot so far, I've been going like a little. . . . . . I've just been going like a bug on it, taking things like pliers and pencils and making them characters and whatever, having them chase each other and stuff. I'm just going to shoot dozens and dozens--everything and anything that occurs to me I'm going to shoot and out of all that I expect to--I'm just going to start building an animation library. I'm excited now, that's why I'm going to One Pass today, to look over what can be done. I did the post-production on this (Bone Alley). I took his footage in there and added video effects and things like that, and I just got *bit* right at that point. ME: I got to watch some of that kind of thing on the Throwing Stones video, and I can see how you'd get that way. RH: I've not seen that video. ME: I haven't seen the finished version either. No tv. Your last album was called *Rock Columbia*; this album is called *Liberty*. RH: I hadn't thought of that. That sounds very much like American Imagery, doesn't it? ME: It certainly does, and considering the brand of American imagery that's being put out by the Reagan regime, and considering that a lot of people were uncomfortable with the Minuteman imagery on the anniversary poster, can you clarify what you're pointing at? RH: Liberty doesn't have much to do with anything other than the notion of personal freedoms. That's what I'm--in the first song in there, it makes a statement on the point of "if I were a killer I'd kill for love," which is a statement on the subject of pulling the plug on brain-dead patients and things like that. I'm trying to make that clear in a video that I'm working on right now, in case--I'm afraid that line could be misinterpreted, and so the video thing that I've already shot for it has a hand going up to a bunch of plugs that says "Caution: Life Support System" and yanking them. Which I think at that point ought to clarify any possible misconception on that line. But it's about personal freedoms, in many directions. You've got the worried man [in the song of the same name on *Liberty*] who's taking the personal freedom and getting the hell out of a bad situation, a relationship situation. "Black Shamrock," which I look at as an admonishment to a certain young person about why get hung up in this, if you don't like it, you know, you're young enough to get out and do something. Otherwise, you know, not getting hung up in aggravating cycles. Everything on that album, right up to "When A Man Loves A Woman," which is where your personal freedom or liberty is in your own head and can be in terms of your relationship--if you can keep that together, the rest of the stuff that's happening around you may not make that much difference. ME: Do you see more of a need these days to wave that personal freedom flag? RH: Absolutely. "This is the time that things we love are dying and the things we do not love are rushing to replace them." [quote from Rilke] ME: For example. .. RH: All the input that people have is input from major networks. I'm not certain we have the options for personal freedom any more. I'm not sure we have sufficient information to make choices which are not made for us by the machinery at this point. I think this is a frightening time; I think we are well into the 1984 syndrome. Well, well, well into it in a frightening way. ME: More so than we were in the '60s? RH: Of course. ME: How so? RH: You're asking me to THINK. I thought I was saying stuff that everyone just says, yeah, yeah, and agrees to, and says, yes, this is it, this is a time when our liberties are greatly endangered, we don't have a presidential candidate that we can believe in, we won't have one again, we have the freedom to vote as we are instructed to vote. Of course, what's new there. But in the '60s [inaudible] a generation expressed our notions of personal freedom and we outlined the ways in which we wanted them and we gave the powers that be a program for exactly [inaudible] ME: Given the situation, what are the responsibilities of individual people like us who feel an affinity for this? RH: You have to seek them out for yourself. What is freedom or liberty *to you.* I believe that there will come a time when these things have to be personal. If there are any personal terms that aren't already a great homogenized collective consciousness. Individual ways. As I was saying in the song Liberty, the freedom to dress like a duck. Something as outer as that, if that's what means freedom to you, because without that we do not have culture that can go anywhere except in totalitarian terms. So it's a protest against anything that has to do with totalitarianism, that we heap on ourselves, or which is put on us from the outside, and we're challenged to find individual points of departure within there. I am not counseling revolution, I am counseling the absolute need for discerning the nature of your own needs for freedom and liberty so that you don't have a totalitarian regime in your own head. That's all we can do. We can't fight the machine, I think, in any collective way, but we can be so many wild turkeys out there that it's hard to get a bead on us. ME: But to a lot of people, this is a time of greater freedom than has existed before. RH: You have opportunities, certainly. We have the opportunities--who takes 'em? There's not much left but the shopping malls around this area, as far as I know. Movies, television, shopping malls, if you want to go out and do something. . . . Oh well, no, anyway, I'm getting off track there. [inaudible] You could find yourself in a concentration camp and find personal liberties, personal freedoms. I think these things are interior. That's always been my point in talking about the Grateful Dead. Very seldom have I made any call in songs to collective or radical action. I say come with me or go alone in Uncle John's Band. Either way is good. You can join up this Deadhead network, fine, perhaps, [inaudible] something, but it's going to be a collective consciousness once again, and one personal choice is to go alone. I've said it several times in that record, also, "I say what occurs to me, and I don't check with you." There are key phrases all through there which are definitely just pointing towards personal freedom. I'm not speaking of [inaudible] up in arms against them. I don't see it them and us; I think we're one big collective machine, and the individual human being has the option if he can get smacked awake, either through poetry or some other confrontation, to see those things. But it must be on a personal level. ME: One of the things you encounter in the parking lot [outside of Dead shows] is people who use the GD scene as an excuse to do whatever they want with no regard to anybody else. So what's the flip side of that freedom? RH: License, you mean? ME: Yeah. It's a big problem in the Deadhead scene right now. All of a sudden it's having to absorb twice its customary numbers and try and keep things together. RH: [gets up, walks over to the window and throws back the curtain] Here's an example of what could be considered an example of personal freedom. Last night somebody heaved something through my window. That could be considered freedom. That could be considered liberty. I mean, common sense tells you when you're impinging on others. I don't look at liberty as an impingement on the freedoms--life and happiness, things Jefferson knew of, things like life, liberty and the pursuit of happiness of others--unless that pursuit of happiness happens to be breaking your windows, in which case we're talking about something else here. I suppose there's a big crossover into license. I would say that any person who's concerned with the notions of individual liberties rather intuitively knows where to draw the line. In other words, you can't prescribe. ME: All these doors are open, but you're responsible for what happens when you go through them. RH: It'll be a little bit more dangerous because right now the broad conservative bent of consciousness is moving toward safety and security. This is fine to a certain degree; past that degree it's a living death of trying to maintain what you have. ME: To jump to another project, is there some affinity between the Liberty concept, which you've been putting out for some 20 years in various forms, and your Duino Elegies project? RH: I suppose so. As I was doing this, I had to fight with the little critic in my head that says who the hell do you think YOU are, to have any right to do that? I said, "Look," to myself, "Does this line sound better than any other translation of this line so far, or not?" Because that's what I was going for. Each line in that I would not be satisfied until it either said the same--some of the stuff can be translated directly across and everybody's got the same translation of that line--or shades of meaning are possible in it. If it didn't sound better, I kept working at it until it did. At that point, I have to trust my own taste. That's my absolute final arbiter and judge, it's my own taste. If my taste is bad, then this is a bad translation. If my taste is good, this is a good translation. *I'm* not the judge. ME: What are the particular problems that you run into translating somebody else's work, as contrasted to creating your own work? RH: Well, I lent Rilke my style.. . .The particular problems are just to be sure that you have the shade of meaning that that writer is trying to direct. I felt that I had a good grasp of what the Elegies mean. I don't find them as ambiguous as some people. I think I know what he's talking about, in fact I'm pretty sure I do, I would say that I AM sure, except that would be a grossly egotistical statement. But I'm not flattened by Rilke; I never was. I think what he is saying had not been said before, nor could it have been said before the turn of the century. It's a collective growing idea, and he was there when Picasso was first making his splash, and there was just a lot going on in Europe at that time, and he's in the avant garde. ME: This is essentially his last work, right? RH: He did the Sonnets to Orpheus directly after writing the final elegy. But he wrote those in a day or two, I think, two or three days. He was off--he'd broken through in the Elegies and he was running on the energy he'd broken through to, and just kept whizzing. I beleive that what's valuable in Rilke can be found in the Elegies, personally. ME: Is there any truth to the legend that he died of blood poisoning contracted from a rose thorn? RH: No! (laughs) There was somebody who did, I'm not certain, but it wasn't Rilke. ME: This is an Urban Legend on the Well right now. . . "How appropriate to have a Rilke translation. .." RH: (laughs) You should leave it that way. No, he died of some kind of a rare blood disease which caused him a great deal of agony and pain. A terrible thing to lay on such a sensitive person as he. He spent his last months in terrible agony. ME: What drew you to him in the first place? Why translate him and not somebody else? Last time I talked to you [in 1984] you said you were going to translate Wagner. . . RH: (laughs) I started to translate *Parsifal*, got just a little bit into it, and suddenly realized it was vacuous. It didn't have anything to say. It SOUNDS like it has a lot to say. . .(laughs) That's going to be my last translation, I'm pretty sure of that. I bit off more work than I realized when I started. I didn't make a conscious decision to translate Rilke. I've always loved Rilke; one evening I was just reading several translations at once and comparing and contrasting and thinking, "You know, that just doesn't ring the way I know it should ring." So I said, "Why don't you try it yourself?" And I pulled down my Cassell's German Dictionary, and looked up shades of meaning and things, and I translated the first page of it, and I said, "Now that sounds the way *I* would like it to sound." And the next night I didn't have anything to do so I went a little bit further in it, an before I knew it I'd finished the first elegy. It was taking a couple of days, a week, whatever. Then I was going to just put it away. That was a nice interesting exercise, I did it for personal pleasure. And then I felt drawn to do it a little bit more, and the next thing I knew I realized I was doing a full-scale translation of the Elegies, and so I rolled up my sleeves and got to work. The first draft took, I'd say, probably about three months. I'd start working about nine in the evening and work till about two or three in the morning, and just kept at it. I finally went through five or six revisions before I came up with what looked like it was saying it right. ME: Now that you've published a book of your translation of somebody else's poetry, does this mean that we might see a book of YOUR poetry one of these days? RH: Yeah. I want to get that Faust out one of these days, but I want to give it a full rewrite first. I have it over on Osborne computer disks right now and if I can ever get it transferred over onto Mac disks like that I could look at what I had. . . [intense pressure applied by computer journalist to get lyricist to convert files] RH: Yeah, I'm going to get some stuff out. Definitely I'll keep publishing. That was the beginning of it, and I see it can be done. It's no great shakes to get a book out. I've passed through the magical wall of fire that says "Thou Shalt Fear To Publish." ME: Do you think that you might do a certain amount of promotional book-signings and the like? RH: As little as humanly possible. I haven't been on the Rilke. What I've done is talked about it in my Liberty interviews, which seems as good a way to put it forth as any. I've also just finished making a tape with Tom Constanten, of a reading of it. He's playing Brahms, Chopin, one Schubert piece, and one Scriabin piece. We've got it done now, and I think it's pretty successful. ME: And you're going to bundle it with the book? RH: I think that that's what I'll to do. Bundle it with the book and give it to public radio. I'm not thinking of retailing it by itself. ME: That's the kind of thing I'd like to see on CD. . . RH: I don't think it would be cost-effective. And I don't think there'd be a great demand for it, quite frankly. What I'd just as soon see done with that is to broadcast it and alert people to tape it. It's good clean quality; I think you'd get a pretty good generation off the radio. I just think that it's a nice companion for the book, because people tend to listen a lot more easily than they read these days. ME: Yeah; I read, but I also play *The Flight of the Marie Helena* in my car driving around. . . RH: I think Flight of the Marie Helena was a good kickoff for recording the Elegies. It gave me a notion of how to use my voice properly. It's a lot more relaxed reading than Marie Helena, and the music is--well, TC playing *good stuff* behind it. This is like the Marie Helena in Wonderland. . . (laughs) I like the tape. I think it'll give a lot of people a good insight, at least, into my translation, because the emphases are in the right place. You can read a book, and there's no emphasis lines unless every other word is underlined or something, so *I* underlined the words that needed emphasizing. I think I made a good deal of sense of it. ME: How do you feel about the fact that the Grateful Dead, and its message, and its music, and its culture, and everything else, is essentially attracting not only huge quantities of people it never did before, but also apparently a different KIND of people. Why now, after 22 years? RH: A well-recorded hit song. Simple as that. I think that's all we ever needed. We needed just to touch a match to a fuse, and we did, and I think that-- Well, everybody knows we're experiencing a great growth explosion right now, and I think that the growth explosion will mainly follow the laws of that sort of thing. What goes up comes down. What goes up quickly may come down quickly. I think we'll find ourselves--unless we follow up with another real killer album, in which case the same thing'll apply, only longer--I think that those who are attracted to us because we're media darlings at the moment will filter off into the next media thing and drop us. And we'll be left with our core audience, enlarged by those who came, saw, and felt part of this and want to stay with it. So it will be somewhat larger after this, but I should say that we'll boil back to our core audience as soon as we put out a lousy record, and we better be real good to 'em, because we're going to meet 'em on our return. (laughs) I was reading (my diary) a couple of weeks ago, and I got to the point, I think a month or two before Touch of Grey was released, or In the Dark. Things were going so well right then. I started making notes every week or so, yeah, I'm still up. I'm still happy. I felt that I had worked hard, and and I'd earned the right to have at least a season of feeling that accomplishments had paid off, and felt just grand. It felt wonderful. ME: What changed from your perspective? We know what it looked like from the outside, but what was it like on the inside? RH: Everybody was just happy. Everybody in the scene was happy. I mean, we'd worked and worked and worked and worked. I mean, we're not putting out records for nobody to listen to, for nobody to play on radio, for it to not enter into the American consciousness, or world consciousness. I mean, we're trying to talk to people. And all of a sudden people are listening. And it's just grand. ME: Do you attribute the fact that they're listening to the fact that you put out a well-recorded hit record, rather than any particular external circumstances? RH: Well, this seems to be what does push bands over the edge, is the hit record. And we had a hit video and a hit record at the same time, and that's sufficient reason. There may be other factors involved. Well, you know, the Deadheads don't like this one little bit. They don't like sharing their band with the murky masses out there, but as I wrote in my letter to them, this never was intended to be a private party, it just turned out that way. . .(laughs) ME: Yeah, there's been a fair amount of discussion of that letter. It's been uploaded and passed around. RH: And it was, by the way--that was passed through the band. These were the band's ideas that had come up in meetings, things that we felt had to be addressed, and I was more or less appointed to put it in letter form. So this is less a speaking for myself than speaking the general feeling there. I do want that understood. Because my interests in the commercial arm of this are exceedingly slight. I don't like to see things going wrong, and I'd like to help make them right, but there's been quite a response to this letter. And the commercial office is slagged down with piles of letters addressed to me, and I'm afraid that the perception is that I'm in charge of the commercial office, and it's not so. And that is a whole can of termites. I never wanted us to get into this (laughs) selling stuff in the first place, beyond our records, but now that we are I'll see what I can do to help. But I really view it vaguely with alarm when I see the mess it's causing in the parking lots with the bootleggers and the mafioso. ME: Most people want to do right and not rip off the Dead, but this summer there was a lot of bad feeling among the artists on how this was handled, because there seemed to be a lot of arbitrary crackdowns instead of going after the highly visible big-time guys. RH: I've read the Well's stuff on this. Gans gave me a big stack of stuff on this, and I'd like to get more of that stuff sent to me. I do want to read that and keep up on it, because it DOES change my point of view. I mean, what are we going to do, hire 100 security cops to watch for all the stuff like that and turn ourselves into . . . ME: It seems that you would lose the essetial thing if you turned into a police state. What would you like to see? What can the audiences do for the Grateful Dead? You're operating with a phenomenal amount of goodwill; if you made some suggestions. . . RH: People would pay no attention. They wouldn't pay any attention. That's a fact. There's some need to control the bootleg merchandise, out there, not only because of profit we're losing, but mainly because it's making a scabby scene out there and everybody knows it. What I read on the Well confirms it--people are talking about how they don't LIKE going there very much any more. They like the Grateful Dead enough to go anyway, but it's a scabby scene. And that we should clean up. ME: [summary of Express article on mayhem at the Henry J] RH: How can the Deadhead community police themselves is the big question. 'Cause if the Grateful Dead does it, we don't have any option except to hire a bunch of cops and send 'em out there. I mean, they're turning US into cops in that case. It's not the good Deadheads, it's the bad ones we're worried about. ME: If somebody paints grafitti at Laney College when the Deadheads are in town, the Deadheads'll get blamed for it whether they had anything to do with it or not. RH: And very slowly venues will start closing across the United States as this stuff goes on. So for your own self-preservation, tuck a garbage bag in your back pocket and maybe pick something up afterwards. Because it is your scene out there. [hypothetical solutions to the problem] We actually do need you now to help. The band could shut down for a year, and then the bootleggers and all this scene that's coming around it would probably dissipate and go out looking for other marks. But the fact is they would get together just as soon as we did, and that wouldn't seem like much of an option. Another option that I was outlining was maybe filling squirtguns with ink and going around and squirting bootleggers (laughs), but then again this isn't worth one cracked head, actually, that's not right either. So I think the main thing is, right now, that dialogue between the band and the Deadheads has been opened. The solution I'd like to be is to make it uncomfortable for the professional bootleggers and the ticket counterfeiters, uncomfortable for them in some way. But that has to be a Deadhead action. I think if we can get together on some kind of strategy I think we can police our own environment. [discussion of scalpers] RH: It's hard for me to understand how anybody could be so desperate to get into a Grateful Dead show myself, so--I have to put myself into their shoes, and feel like, hey, this is a matter of life and death for me. There's something a little bit weird about it in the first place. But that's for me; I do understand it is that way. Maybe I don't have the amount of sympathy I should for all this, and don't really see the problem. (laughs) ME: Well, I can see that too, seven years after my first concert, but there's a certain point, especially when all this is very new to you, when this is essentially your lifeline. And there's a lot of people who either really hate what they do or do something that's basically pretty dead and nothing, and this is the only time they're alive is at Dead shows. . . RH: Oooh, that's . . . ME: Some of them have got parents with expectations, some of them have got mortgages. . . RH: You're going to find this problem, like when people are defining their individual liberties in terms of a group that services these liberties--this isn't individual liberty again, this is just kind of a hippie totalitarianism of its own that's growing up here. And it's creating a logistical problem of great magnitude. To the point where they've rejected my song, Keep Your Day Job. (laughs) ME: Well, they didn't want to hear it. . . Neither did I. RH: I said keep it until your night job pays. (laughs) I didn't say hang onto it forever, for cryin' out loud. ME: Keep punching that cash register while transforming yourself into something else. RH: (laughs) Yeah. ME: It is true. On the other hand, Ship of Fools is enjoying this great resurgence. [Billboard in Berkeley with the Contragate guys captioned "Don't lend a hand to raise no flag atop no ship of fools"] Was it specifically a political song when you wrote it? RH: It's funny. A lot of my songs are just talking to myself, you know, and I can't recall the exact situation of Ship of Fools. Of course there was big political stuff going on at the time, and I'm sure that it was partly about that. A lot of my stuff though--it's not the wise man out there cautioning the unwise on how to become wise, it's the wise part of me talking to the unwise part of me and kind of trying to straighten myself out. I mean, this whole thing--a lot of my stuff is a big dialogue with myself over the years. And I suspect the same is true for most long-term songwriters. Outside is inside--how does it look? (laughs) ME: So how have things evolved for 20 years from your standpoint? What's different now from [1974's Tales of the Great] *Rum Runners* [his first solo album]? RH: Hey, I'm remixing Rum Runners in a couple of weeks. I'm going into the studio with Tom Flye. You know there's a lot of Rum Runners that isn't on the album, like there are incredible jam outs at the end of Arizona Lightning and It Makes Me Mad, and some of the other tunes have. . . I'd totally forgotten, they got clipped off in order to get the right amount of time on the album sides, 'cause it was just too much for one record, so I'm going to put it out on CD. I'm going to put all the jams. With automated mixing we should be able to--there's all kinds of levels on Rum Runners that you don't hear on the record, instrumental interplays, and things that just had to kind of be left out. But with automated mixing and CD right now, I mean, the whole grand party that we had making Rum Runers, I think, can be brought out. I'm going to have Tom Flye go at it. ME: Who's Tom Flye again? RH: He's just the ace mixer around. He mixed for John Lennon, and Rick James, and right now he's--he's been working with Mickey on this Walter Cronkite sailboat extravaganza [a documentary on Dennis Conner's America's Cup victory] lately, so he's free for a while. He wants to take the project on, and I want to like duck some of my vocals back, because some of those brash vocals on it, duck 'em back a little bit and bring out some of the instrumental interplay that's going on there, 'cause there's a hell of an album there. I just listened to the Dan Healy mixes of the album, which I hadn't listened to it in 13 years or however long it's been since that record came out.. I'm just AMAZED at the amount of stuff in that record that never did really make it to disk. So I think that this one could use its shoes shined and put out again. I LOVE the record. I like it better than anything I've done (laughs). I hated it for years and years, and I finally just listened to it and I thought HEY! 'Cause I'm far enough away from it now that all my body cells have changed entirely two times over, and I can look at it the way other people look at it now. Everybody always says, why don't you reissue Rum Runners? You've never done a better record.. . Okay, I'll get it out. . .(laughs) ME: That'll be good news to a lot of people like me who've been making do with old scratched copies. RH: I've only got one copy of that and one copy of Tiger Rose. So I'd like some nice copies myself. ME: Are you going to do the same thing to Tiger Rose? RH: I think I'll wait a little while. I'm actually thinking of redoing the vocals on Tiger Rose, because you know I had to leave the studio and go to England--my son was being born--before I had a chance to put final vocals on that, and I'm not satisfied with them in any way. And I don't see that just because everybody else leaves a record as though it's pressed in concrete for all time, why I need to do that. I think I might just outrageously go ahead and redo a couple of the vocals on Tiger Rose. But Rum Runners, no. I won't touch anything. I'm going to leave all the broken tones and everything right intact, because that record IS as it is. ME: What was it like recording it? It was the first record you ever made, and it seems to have about 50 of your closest friends on it. .. RH: It's LIVE. (laughs) It's live and it's got warts. Garcia says that it's got--every way to make a record improperly or engineer it improperly is on that. He says people who had no business with their hands on recording equipment were helping to record this thing. . .In fact it was one huge party and went on month after month after month up at Mickey's studio where we could run all day and all night and people'd come in and overdub and [Steve] Schuster brought his band in, made arrangements for certain things. It was just one big party. God knows who isn't on that record. I think I'll write a little blurb inside describing the scene on that evening. I want to keep making records, but I think in between them I think I'll release one of the old ones for each of the new ones I do. Get 'em updated, remixed. I want to remix Rock Columbia. I'm not satisfied with that. In Tom Flye's hands, with automated mixing, I know there's a much better record in Rock Columbia than anybody's hearing. Same with Amagamalin Street--once again I've got a record there that is not properly put together.