YouSaid · the spoken record

Joe Boyd

lines on the record: 64
first: 2025-01-22
most recent: 2025-01-22
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Trips through my collection. But this is more ambitious. This would be Joe Boyd's big A to Z two hour long segments on things beginning with A.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“But I'm going to do playlists, make it easy for people, Spotify playlists, but also YouTube, which will be much more elaborate, which will have a lot of clips, a lot of little mini documentaries about people, just endless rabbit holes that you can go down. And I'm putting that together. So that's a big project. But after that, I would like to figure out a way I haven't really started exploring it. I know there's issues with copyright and I have to, you know, but I want to figure out a way that I can. Play my collection. And tell stories about it. People can listen to. Whether that's a radio show or a podcast or whatever. I've done that before. It's Joe Boyd's A to Z, which people can find on my website, which are like 10 minute long.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I still have a lot of work to do on the book. You may think it's over now that it's out, but I've been I spent four months doing the audiobook because my voice is not so great these days after I would, I mean, it sounds fine now, but that I've been doing voice exercises. When I first started the audiobook after half an hour, 40 minutes of reading, I would start to sound like this. So it took me a long time. It's 41 hours, the audiobook, and I produced it myself. And it's now up on Amazon in America and Britain. And I'm now focused on putting together playlists on my website for people reading the book. Because people obviously makes people want to, and people are having to look it up themselves”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“So I have like 5,000 titles between essay and SU in the title. And it means you can hear all different versions of the same song. I've just the other day I listened to like 12 versions of Saint Louis Blues and eight versions of St. James Infirmary. And it's fascinating. It's great. I really like that. And that's, and then we just keep moving, keep going around and keep adding so every time around the alphabet, there's more different takes longer every time. But if I want to listen to a specific thing, I can always look it up, pull it out, which I did write in the book quite a lot, because it's all very well or very anally organized.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Better. Exactly And all of those digitized versions are wave files. No MP3 is allowed. And on that, I organize them by mostly, I mean, you can organize them any way you like, but I usually organize them by song title. And then I download a bunch of them in alphabetical order like at the moment I'm listening to. One of those big old iPods that actually my wife, Andrea, had it's her iPod, this big one, you know, with a big circle in the middle. She can fit. Wave level, you know, you can fit, I don't know, 5,000 tunes on or something. And so we've got, which covers from SA through SU.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“It's very elaborate, but it's works. I feel it's supremely rational, but possibly some people might find it eccentric. But they're all organized by country. I mean, all the vinyl and then I have CDs and drawers, custom-built drawers. And they're all organized by country alphabetical within the country. And basically, over the years, I have Loaded the CDs, digitized the vinyl, digitized cassettes. I have tons of cassettes. And I'm only, I don't know, a quarter of the way through. But it's all now on a hard drive. And I've got a computer with an old fashioned version of iTunes that has never been updated.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“And I just used to sit in front of those guitars and just listen to the way that those three guitars all playing these complicated arpeggios, they just somehow buzzed and chimed together in a very particular and unique way. It just is, I don't know, it's just one of the great sounds. And there's a book by an American guy who went to Kinshasa to figure it out. And he writes a whole book, Rumba Rules, it's called by Bob White, I think Robert White. He never could get it. I mean, he did. He played with bands. He said he kind of... Past he just about got away with it, but he never could really improvise the arpeggios that those guys do in Congolese Rumba.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Listen, I wish I know. I mean, I'm not a guitar player, so I can't even begin to say, but I do know that for me, that's one of the most magical sounds in world music. I mean, I had the great pleasure of working with an artist called Canda Bongo Man on Hannibal Records, and we organized tours for him to Britain and North America.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“And eventually that format became popular back in India. But when it first came to the West it was very different than the way it was in India.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“And they were mostly concerts in grand palaces and homes. And when they started coming into concert halls, they were very often as they had been in these grand homes. And there's a satyagic ray film called the music room in which you see these people, you know, with food and water and wine and whatever. It will last them for hours because they have to sit around and they would play slow ragas for a long time, morning ragas in the morning, and then you'd hear an afternoon raga. And Ravi compressed everything so that within one Sort of 40 40 minute passage, you heard slow and then medium and then fast and you had a table solo. And that's what Western audiences Grew to expect from an Indian music concert and Indian musicians delivered it.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, my understanding I obviously wasn't there, but my understanding is that Ravi Shankar's Vision of how to present Indian music to a Western audience, he knew that Western audience wouldn't sit still for six hours the way an audience might in, I mean, I think one of the things that was an interesting revelation for me was that Hindustani classical music in the 20s and 30s and the 19th century. very exclusive to the wealthy.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“The seventh major and the seventh flat and or the fifth or the fifth flatted, and that slide guitar, the bending of the guitar string, the slurring of the saxophone note, the slurring of the vocal, is an attempt to escape the straitjacket of Dorimi Faso Latido. And that was the thing that John Coltrane found fascinating about Indian music and Indian culture and what George Harrison found fascinating. And the slide allowed Mississippi Delta musicians going back to the 1920s to explore that world of between the notes, the notes, between the notes. And I think George Harrison, his exposure to Indian music led him to seize upon the slide. As a way to express. Once he realized that he was never going to be a virtuoso on the sitar, he refocused himself on the guitar and became kind of a master.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, I think so because I think that was one of the things that appealed to George about slide guitar. The way that you could find the notes between the notes, which is the basis of Indian music, because Indian music has scales that are not found on a piano. Know, that's one of the revelations that I got from the research on this book. Was that so many cultures around the world outside of Europe? Have scales that are not divided mathematically, that are mostly many times pentatonic, meaning five notes, and that blue notes that are such an integral part of American music. Are really an attempt by African American musicians to find that note that is somewhere hidden between the”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh, that's a tricky question. I mean, in some ways, the most popular tune is Norwegian wood, but there are lots of much more elaborate collaborations between George Harrison and Indian musicians in subsequent albums, in revolver. And Sergeant Pepper. But I would say that in a way, the most significant Effect of Indian music on the Beatles Was in the kind of much more abstract way that it affected Lenin and Harrison. It changed George Harrison's guitar playing. I mean, I think a lot of what you hear of George Harrison from the White Album and Abby Road all the way through into his solo work is very different than what you heard before he was exposed to those lessons with Ravi Shankar and his trips to India and his exposure to that culture.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I've just heard the contrary somebody wrote, I can't remember if somebody wrote or I heard this on a podcast or something, that the response to the film Has been that young people are going, oh, now we get it. And they're going back and listening to the early records. So I don't know. I mean, I don't say I go out there taking polls of young people. What do you think of Bob Dylan? So I don't really know what young people think of Bob Dylan. But, you know Music, the nature of music, one of the first important things that music does is it gives young generations a chance to give the finger to their parents generation and to reject things and to have their own thing. Part of the regenerative process of music.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“And you didn't have direct connections from amps to the PA system in those days. You had Sound coming straight out of the amp, and so with the sound of the drums, the sound of the bass, the sound of Bloomfield's guitar, you had to turn the vocal up so that it would be heard over the guitar. And that escalation of volume is kind of what shaped or defined the future of rock. And it became really loud music. And that was the first time anybody heard it. It was really shocking. And there was probably a little distortion because the speakers weren't used to it. But it was the kind of sound that would be normal two years later. But that night it wasn't. And I think. Newport and folk music and jazz never really recovered. Everybody who used to, every young person who used to become a folk or a jazz fan. Became a rock”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“This was a bull in a china shop, that this was big time something moving into this delicate little world. And I was totally on Dylan's side. Paul Rothschild and I were like yeah. But in retrospect I see Pete Seeger's point absolutely, and I would contest that, I mean, of course I would, wouldn't I, contest that the sound wasn't awful. It was just very loud. Nobody'd ever heard sound that loud. I think Rothschild, you know, Pushed up the faders, and But it had to be because you know, it was the equation, it was the first moment of rock. Nobody ever used the word rock before 1965. There was rock and roll, there was pop. There was rhythm and blues, but there wasn't rock. And this was rock because you had a drummer, Sam Leigh, who was hitting the drums very hard Mike Bloomfield This was his moment. He cranked up the level on his guitar.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Was moving away in a different direction. And he'd already recorded half an album with an electric band in the studio. And just before in the weeks leading up to the festival, we had the birds, Mr. Tambourine man, electric version on the top 40 radio. We had Dylan like a rolling stone with an electric band on the radio. It was Top forty big business mainstream popular culture. Moving into this delicate little Idealistic. Corner called the Newport Folk Festival, which was based on mostly all acoustic music music and very pure traditional or idealistic race. And somehow and everybody Per and Theodore Bequel and Alan Lomax, and a lot of people in the audience sensed that”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“It's basically Murray Lerner who shot that film festival, which is about the Newport Festival and has all the footage from 63, 64, 65, 66. And the other side of the mirror is all the Dylan footage from 63, 64, and 65. And it's fascinating. You know, 63, he's the idealistic singing about a coal miner and everybody looking at him like he's Woody Guthrie. And then in'64, he does a workshop. And Pete Seeger introduces him as the voice of a generation. And he gets up to the microphone and he sings Mr Tambourine And you look at Seeger looks kind of puzzled. Slightly shocked. What is this This isn't a protest song, this isn't a song you could sing at the barricades, this isn't a song, you know, that's going to Move the youth to revolution. What is this? And that is the beginning of what happened in 65 is that Dylan”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I think the controversy you could see it coming for a month, if not more. You know, you can see it actually to me. You can see it. Have you seen that film the other side of the mirror?”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“It was Paul Rothschild Not me. I've never been a sound engineer. I don't have any technical qualification to be a sound engineer. Neither did Paul, for that matter, but he was better at it than I was”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Behind my desk in June of'65 in New York at George Wayne's office was call up Paul Rothschild, the great producer, the guy who produced the doors and Janice Choplin and so many things. And I said, hey, Paul Once you come up to Newport and mix the sound And he said, okay, can I have three kin passes, meaning for his family, places to stay, passes to every event? I said, deal. You got it. And so Paul and I together sound checked everybody, every single artist that appeared at Newport, was sound checked in the morning by me and Paul, except for Dylan, who we sound checked in the evening six o'clock between the afternoon show and the evening show, because Dylan wouldn't get up in the morning to be sound checked. So the guy on the board, the guy whose hands were on those mixers.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“No, I was the production manager. There's a character in the film who is credited with playing the part of Joe Boyd, the sound engineer. And I think the actor who's supposed to be playing me is at the sound controls. I haven't seen the picture yet, but I was the production manager. I was very concerned with the sound. Because I had been to the 63 Newport Festival, and I thought it was a fantastic event. I was never to be forgotten seeing Mississippi John hurt and Doc Watson through the fog coming in off Narragansett Bay and Dylan linking arms with Joni and Pete and singing, we shall overcome, but the sound was terrible. All through this festival of sixty three I felt the sound was really crap. You'd have a bluegrass band with a guy playing the fiddle and you couldn't hear the fiddle. And so the first thing I did when I”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, yeah, you know, I mean, they had me there for sure because I brought them there. I paid them to come and I paid the studio and I hired the engineer and I sat there and told them when they'd got a great take. And then I sat with the engineer and they weren't anywhere around. And I mix the record. And I just mix things. To sound the way it feels like they should sound to me. Intellectual process like I have some idea about Sound that I want to get on this record. You put the multitrack through the board and you put up one track at a time and you get the bass to sound the way you think a bass should sound and then you get the bass drum to fit with it and then you get the drum kit to fit around that and then you get the rhythm guitar to fit in with the drum kit. And in the end you have a sound It doesn't come.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“To supply the demand that was out there following that tour, because it's the old story of the little independent label, the worst thing that can happen to you is to have a hit because the distributors pay you in 90 days and the pressing plants need to be paid in 30 days. And so you're always in this terrible squeeze. And the more records you sell, the worse the squeeze gets.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“They didn't take me by surprise. I mean, we cut the tracks in two days. And it just jumped out of the speakers at us. It took a few more evenings to get Linda's vocals finished, but it was clearly a fantastic record, and so I pretty much mortgaged myself. Everything I had, or everything Hannibal Records had, to buy plane tickets for them to fly to America to do a tour, because I knew that this was Hannibal Record's first real Home potential home run. And then I spent the next six months desperately struggling to get enough press enough records.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, but it wasn't for Legion Leaf. That was from the pre I believe I think I'm correct in saying that that track has Ian Matthews on it And so it's from the unhalf bricking period of recordings. And I believe it was originally proposed either for what we did in our holidays, I think more like for unhalf-bricking. It never would have been considered for Legion Leaf because that was a high concept record that was going to be completely British. So there was never any question of putting. And I think I would support the idea of having that, I mean, I thought it was a good song and they do a very nice version of it. And there was talk of it being on half-bricking, I think. But somehow they decided it didn't make the cut.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Singer songwriters when I first met them, they were singing all kinds of Phill oak songs, and Eric Anderson songs and Bob Dylan songs. And then When the tragedy happened and they wanted to change their repertoire, Music from Big Pink came out, and that kind of blew their mind. And they thought, we better not do any more American music because these guys just nailed it. You know, you can't do anything better than this. But they took the spirit of music from Big Pink. And applied it to British traditional music. And that was the result of that leech and leaf. So, I think that could qualify as a bridge of some kind between the two traditions.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Collaborating with American traditional artists and collaborating with British traditional artists. There's a wonderful guy called Tim Erickson, who he lives in Massachusetts, and he's one of the leaders of the Sacred Harp shape note revival of that singing tradition. And he sings American folk music, but mostly from New England, mostly Northeastern American folk music. And he comes to England and tours with Eliza Carthy and explores those connections between ballads, ancient British ballads, and the way that they Arrive in North America. There's so many connections back and forth. And of course, in the modern days, you know, Richard Thompson. You know, has he and Simon Nichol and the other guys in Fairport? Grew up listening to American music. They grew up listening to jug band music. They grew up listening to.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I think Let me think. I mean, you know, Natalie Merchant was such a huge fan of Sandy Denny and Shirley Collins. And when I did that, the record I did right after fables was the wishing chair, which nobody talks about today. I mean, that record has sort of sunk beneath the waves of history, but it had some lovely tracks on including just as the tide was aflowing, which is Natalie's. American folk rock take on. Classic British folk song. And of course, oh what's her name Cassidy? Joanna Cassidy, what's the name of the girl? Husang, who had a very famous version of who knows where the time goes, which is Sandy Denny, classic Sandy Denny song. And I think that she made that song. Very popular Sam Amadon goes back and forth between”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“And so I felt always that the mixes were a little bit. Compared to what I had imagined, you know, but Michael didn't want his voice too prominent or too strong. Peter didn't want his guitar too prominent or too strong. So that shaped the sound of the record. And I think I had wanted it a little different. I think they, when they heard it, felt was this really something better than what we had before. But over the years, all of them, well, I haven't seen Bill, but the others have all come to me at various times and said, you know. We really love that album now”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Contribute something on Wendell G, you know, sounded like my kind of backyard, you know, was a folky tune. And I got a horn section, a British horn section to play on. Can't get there from here and a British string section to play on feeling gravity's pull. So that may have had some effect, but I mean, It's a funny thing. I think at the time, They were a bit disappointed in the album. I was a bit disappointed because I never felt I got to sound quite right because While we were mixing it, Michael Stipe would say Bring the voice down, keep the voice down, don't let the voice be too far out in front. And Peter Buck kept saying bring the guitar back a little bit. I don't want it to be too stick out too much. I said, well, guys, come on. What am I building this mix around here? I've got nothing left.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Baffered. I don't know. There were tensions in the group that I was unaware of. They are the, I mean, when I was dealing with them, and I think ever since then, I've stayed in touch with many of them. They're the most well-organized professional group of people I've ever encountered. I mean, they were just so clear and together. From my perspective as an outsider. I understand that there were tensions within the group and there were the rainy weather and the hour-long drive to the studio did not help. But somehow my way of working with them captured that mood. And I did the tracks that I felt I could.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“You know, I don't think any, you know, I would never take responsibility for the way musicians play. I'm not a musician. I did not sort of push REM in a particular direction. They were looking to change things, and I persuaded them that the only way I could do the record, because I was still running my record label. I had an office in London, and we were teetering on the edge of insolvency constantly. And so I didn't feel I could go to America for an extended period to make a record, but I could go up the road to North London, and so I persuaded them to come to England and to do the record. And they didn't have a great time there. They insisted on staying in the middle of London. And then every day it was like an hour's drive through traffic, through North London, so they got to the studio a bit.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“It was great. I mean, I loved Sid. Unfortunately, you know, I mean, fortunately or unfortunately, when I worked with him, he was very clear and very, I mean, he was. He wasn't talkative. He was, you know, when we were with, I just did with Pink Floyd, I just did the first single Arnold Lane. I worked with Timothy UFO Club, and I went to rehearsals and I knew them all very well. And Sid was great. Roger did most of the talking, but when some important decision would come, the other three would allow. Look at And Sid would say, I think we should do this. And they'd say, OK, that's what we're going to do. So he was a quiet leader and the sweetest guy you can imagine. I was very fond of Sid and very, very. About how it all ended.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, he was very, very Sure of what he wanted just before the afternoon. Album was released. I had tried to save space in the copy on the back of the cover, and there were two Rossini tracks. So the first time Rossini is mentioned track one, I put Giacomino Rossini, and I was trying to, it would cost me an extra line to spell out Giacomino. So I put G Rossini the second time for the thieving magpie. And I got a call at 6 a.m. at my home in Los Angeles when Stanley saw the proofs of the cover. And he said Joe? I want Giacomino spelled out in full, both times. That was Stanley, you know.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“But Stanley insisted on approving the edit because we had to get it down to four minutes or four and a half minutes. And I tried to play it to him over the phone. And every time I'd play it to him over the phone, the phone would cut off. And it turned out that one of Walter Carlos' chords was exactly the same as the International Digital Signal for Disconnect. And so in the middle of each time I played it to him, we had to send a messenger to London to play it to Stanley so he could approve it.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, sure. I mean, you know, that, I mean, the music to that film is one of the great strengths of the film. He would call me up and say, I need the Kurt Wangler according from 1956 on Deutsche Grammophone of the Beethoven symphony number whatever. And so I called Deutsche Graffone and license it. And the funniest thing was Walter Carlos, who just at the time that he was recording the soundtrack, the electronic Beethoven, he was transitioning to being Wendy Carlos. So still as Walter, I think the credit is Walter. He did that great electronic version of Beethoven's ninth. And that one, the record company, was excited to release a single.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Around the same time And as I said before, when you asked me about it, I said I was involved with a soundtrack to Clockrook Orange, and I wasn't at the same time. Basically, I did whatever Stanley Kubrick asked me to do. You don't have creative input with Stanley.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“And the next morning I got a call from the warehouse, Warner Bros. Records warehouse, saying, do you know about this record number of such and such? And I said, yeah, that's a promotion single for deliverance. He said, do you know where I can get some more of them? I just had an order for five thousand copies from Minneapolis. The record company said, okay, I guess we'll release it. And then they had this number one record.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“And they said Nah, come on, are you kidding, bluegrass? What are you talking about? We're releasing Doobie Brothers Neil Young. We're not going to release this hayseed stuff. And so I had to go back across the street and explain to the rep film company and to Bormann that the record company was not going to release it. They were furious, but at least I got them, the record company, to press up like 500 white label promos. And Boorman took them with him when he started doing talk shows. And he did a talk show in Minneapolis. His first date on his promotional tour was Minneapolis.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“So I said okay. I knew Eric and I thought he was pretty good, not quite as good as Bill, but pretty good. So I called Weisberg and he came to Atlanta with his regular guitar player. And we did as Bormann asked Borman came to the session for a bit. We played it upside down, backwards to speed and everything, and then we took it up to the location and did the playback with the strange looking young boy and the city guy with the guitar and that whole scene. I was there when they shot it. But the funny part of it was that when the film was finished One of my jobs was to go across the street to the record company and promote the film music to the record company to get them excited about it. And I played them dueling banjoes. And I said, John Bormann thinks this should be a single.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“And play it slow and play it in minor key and in major key, and play it upside down and sideways and, you know, like that. So I said, I know just the guy, Bill Keith, who was, I don't know if you know Bill Keith, but he was one of the great, he played with Bill Monroe for many years, but he was an MIT graduate. And a city guy who mastered the bluegrass banjo and could play Bach on the banjo and he could do anything. And so I tracked down Bill Keith, and he was in Ireland he decided he had to learn how to play pedal steel guitar, and he was touring with Kathy Dalton. And I said, When are you going to be back? I need you and Atlanta to do this session. He said, nah, I've met this girl. I think I'm going to stay in Ireland for a while. Get Weisberg to do it.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“John Borman was the director, and I was at that time I had the title Director Music Services for Warner Brothers Films. I had a big office in the music bungalow on the lot, and directors and producers would come to see me and say what they wanted, get me John Williams, you know, and I'd pick up the phone and call the agent John Williams. In this case, John Borman came to see me. and he had a cassette of the That he had recorded off the car radio while driving around Georgia looking for locations. And the cassette was of an instrumental bluegrass track called dueling banjoes. And he said I want to use this in a scene so we have to pre record it so that the actors can't. But I also Want to use the theme Melody, the sort of ideas in that as the basis of the score for the whole movie. So I need a banjo player who can play it straight.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“No, he just They had a way of communicating, and very often when Tuts would say something, I wouldn't understand the word what he said. You know, he had a very thick patois when he spoke. Listen, it's a long time ago. I'm trying to remember. I mean, I had a lot of exchanges with him, but most of the time my dialogue was with Warwick Lynn and who was an extraordinary guy, who, as I say in the book, looked a bit like... Had a striking resemblance to Jeff Chandler in Broken Arrow as Coaches. He had long black hair and gold teeth and half Chinese, half Afro Jamaican.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Such, you know. I was so thrilled to be working I was called in to finish off Regie Got Sol, which the tracks had been done in Kingston and his producer, Warwick Lynn, a wonderful guy. Brought the tapes to London, and I worked with Warwick and Toots on finishing them off, adding some overdubs and harmonies and Was great. He was very affable. He had ideas. He was insistent on certain things. Toots, you know, God bless him, smoked a lot of dope. And he was behind a cloud a lot of the time. And Warwick Lynn was the sort of messenger between us. You know, I had a number of conversations with Toots, but if we had to make a decision about who was going to play on this track or how we're going to deal with this question, Warwick would talk patois with Tuts and then talk English to me.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“as they used to say about the Osset Mandelstam, the Russian poet, the romance of the precise he goes into just nuanced details of life like fifty four forty six, that's my number. That was his number in prison. And he built a whole song about his number on the back of his prison uniform. I just think he's, you know, and he's known or his songs are known around the world. Everybody, you know, recognizes pressure drop and 546 and monkey man.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“They varied over time. Yeah, yeah. No, well, no, no. Toots and the Mateus is a vocal trio originally. Toots with two guys who sang harmonies. And over the years, And so it's really about Toots Hibbert. And as I say in the book, to me, Toots is as great a songwriter as Bob Marley. And it's fascinating the difference between them. You know, Marley has these wonderful sense of Sweeping statements. If you listen to so many of Marley's songs are didactic, you know, do this. Get up, stand up. Lively up yourself, you know, sort of you take orders from Marley in the most wonderful way. Toots finds these little vignettes of daily life in the Jamaica and makes a song out of them. And I think he's a poet. He's a Balzac. He's a genius of”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Cycles of a lead voice and what they call a cutter, someone who enters after fall echoing the line that the lead voice says. It's very complex and very not just harmonically but in terms of the way that the music unfolds.”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, it's a complete. I mean, Albania is not Slavic. You know, it is completely itself. It's the roots of the language go right back to the origins of Indo-European language group, language family. And so it has no connection to Slavic culture. Some, obviously, there's been borrowings and influence across the border, but the harmonic sense that the distinguished Bulgarian harmonies, that close second, the impossibly close dissonances that you hear and the Mistere de Wabul Guerre and in traditional singing in villages. Know the Albanian tradition is completely different. It's equally wonderful, but it's very, very, I wouldn't, it's more polyphonic in the sense there are. It's not so much about harmony as about”
2025-01-22 · Conversations with Tyler · Joe Boyd on the Birth of Rock, World Music, and Being There for Everything · IDENTIFIED FROM THE TRANSCRIPT · source