April 24, 2024 • 56 mins
Season 3 : Episode XI
- Streamed Live in front of an International audience on Monday, November 26th, 2018 Special US Cadenza Episode!!! Featuring The Peasant Revolution Band The Peasant Revolution Band Variety Hour with Host Jeff Dodge will bring some of the world’s greatest musical talent, local writers & artists, producers & programmers and just plain old regular folk to our planet Earth’s attention. Also with topical sketches, stand-up comedy and live music.
- 00:01 "Celebrity Jaundice" Jeff Dodge as Ron Rump Jr. - Stew Dodge as Ronald Rump
- 02:19 "For the Love of Money" written by Kenneth Gamble, Leon Huff & Anthony Jackson © 1973
- 07:08 "Born In Chicago" written by Nick Gravenites © 1965
- 18:00 "You Left the Water Running" written by Dan Penn, Rick Hall & Oscar Franks © 1966
- 33:03 "Three Time Loser" written by Ronald Miller & Don Covay © 1966
- 50:36 "Runaway" written by Del Shannon & Max Crook © 1961
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Are we on?
(00:08):
Hello.
Hi, I am, hello, I am Ronald Rooneyer, I mean Junior.
I am, today you are witnessing celebrity jaundice with the crew here and we have some special
guests and first of all I would like to introduce my father, the one and only Mr. Ronald Rump
(00:34):
Senior, that's right, Ronald Rump is here and he is going to play a little celebrity
jaundice.
So here we go, Ron Rump, Ronald Rump everybody, thank you.
Ronald Rump, can you tell us a little bit about the celebrities we will be playing with, is
(00:57):
it Nick Nolte, is it Dennis Rodman, no, we will be playing a game in which each of you
will be judged on the task that you were presented with.
So okay, who wants to go first?
Celebrity jaundice.
Now Mr. Bradley, I heard that you didn't complete the task, did you?
(01:24):
Didn't do any of it.
And Mr. Ward, sitting there next to you, Mr. John Ward, what is your outcome?
Oh, just laugh at me, huh?
Just want to laugh at me, okay, that's fine, you can ignore me, but you will still all
(01:45):
pay the price.
Okay, who won the task, father?
Daddy?
You know who will be winning what?
Oh, I guess that means it's time for a little money, a little easy money.
(02:13):
So here we go, that's what it's all about, it's always about the money.
So here we go, that's what it's all about, it's always about the money.
(02:50):
So here we go, that's what it's all about, it's always about the money.
(03:19):
So here we go, that's what it's all about, it's always about the money.
(03:48):
So here we go, that's what it's all about, it's always about the money.
(04:18):
So here we go, that's what it's all about, it's always about the money.
So here we go, that's what it's all about, it's always about the money.
(05:06):
So here we go, that's what it's all about, it's always about the money.
(05:36):
So here we go, that's what it's all about, it's always about the money.
(06:06):
So here we go, that's what it's all about, it's always about the money.
(06:36):
So here we go, that's what it's all about, it's always about the money.
(07:06):
So here we go, that's what it's all about, it's always about the money.
(07:31):
So here we go, that's what it's all about, it's always about the money.
I was born in Chicago, 1941.
I was born in Chicago, 1941.
(07:56):
Well my father told me, son you better get a gun.
When my first friend went down I was about 17 years old.
When my first friend went down I was about 17 years old.
There's one thing I can say about that boy, he died bold.
(08:44):
When my second friend went down I was about 21 years old.
When my second friend went down I was about 21 years old.
(09:07):
There's one thing I can say about that boy, he died brave.
(09:37):
So here we go, that's what it's all about, it's always about the money.
(10:07):
Well the blues are alright if there's someone left to play the game.
(10:34):
Yeah the blues are alright if there's someone left to play the game.
All my friends are going, things just don't seem the same.
Not all of them.
(11:16):
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(11:42):
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(12:22):
Bag of Dreams is a three times a month open pop-up store in the basement of Jimmy Gimler's
Suit Bag.
Thanks Jimmy.
We specialize in black bags that always accent any wardrobe.
(12:49):
We sell Zenith computer bags, four track bags with bottle holders, homeless bags that could
be converted into a punk rock dress, New Yorker gym bags, classy, pilot bags, bike bags, and
(13:15):
board bags.
Vintage retro cool.
So Steve, who was dancing?
Who came to these shows and was there a lot of dancing?
I mean not just at the Crystal Boat.
(13:36):
Yeah people liked to dance.
It was a social event.
People hung out and got to know each other.
But there was a lot of dancing for sure.
There was this great story that one of the young girls at the time who worked here described
the dancing at that time as looking like bad aerobics.
(13:58):
Yeah I would call it the tree dance.
Yeah that's right.
He was starstruck.
These guys are going to be famous.
He was making a radio commercial.
(14:19):
I remember he said, he read it to me and he says how's the sound?
He read it to me and I said yeah just tell him Robin digs it.
No I said just tell him Robin says you'll dig it.
And he put that on there.
I think it must not have been more than a gig or two but I remember a few rehearsals.
(14:43):
I remember me getting hot because he wanted to play harmonica on a rack while he played his drums or something.
Or something.
Maybe he wanted to just do an intro and a harmonica and then play the drums.
I guess I wouldn't have it.
(15:06):
We owned this building back then.
What was this building like back then?
Was it actually a Masonic hall?
It was a Masonic temple and it was rentable.
There was no carpet in there.
There was no shit.
There was nothing in there.
It sounds kind of bad now but it was a lot worse.
(15:29):
We didn't have that many gigs at that point.
The coffee house scene was pretty dead.
I think we were old enough to play taverns yet.
Or they weren't.
I was probably.
This is Jim Feld.
Jim Feld is a guy that started an organization.
(15:51):
They call it PJ Group which stands for Photojournalism and also stands for let's throw some concerts and see if we can make a bunch of money.
The peanut butter conspiracy.
The Sopwood camel.
Stay out of this.
He rode with me to Southern California to book the Iron Butterfly in 1968.
(16:17):
The Jefferson airplane, the Grateful Dead, the doors.
I didn't watch it too much.
I never thought of being a big legend.
I agree. I thought they sucked.
I came back and I sat up there on the balcony and watched them.
Jim Morrison had that black leather thing on.
(16:38):
I heard that he never took it off.
How much interaction would you have with the band members?
With the Nationals?
They were really nice.
They were the Grateful Dead.
Stu blew up an amp.
Jerry Garcia says, go ahead and use our stuff.
Or anything you need.
Go ahead and use our stuff.
(17:00):
I don't know if that's the way it is nowadays.
I don't think you'd see that.
I was living with a woman too.
I'd go to the show and Stu would bring girlfriends over there sometimes.
And have them rub his back.
(17:21):
We ended up in Los Angeles, up in the valley, at this hotel.
And I called this girl that I met in college, Kathy Cunningham, and proposed to her.
Really? That's where that came from?
That's where that came from.
It was from sleep deprivation.
(17:43):
It was sleep deprivation because we went to San Francisco the first night and down it is we didn't have a room.
You'll get us a piano tomorrow.
I think it's past due.
Statue of limitations.
Right to the left that voter running When you left being behind
(18:19):
You left that voter running Running from these eyes of mine Running from these eyes of mine
You locked the door, you took the key to my heart Your fingers souped my life away
(18:41):
But you regret and you'll be upset When you get that voter bill to pay Get that voter bill to pay
You left that voter running When you left being behind
(19:03):
You left that voter running It's running from these eyes of mine Running from these eyes of mine
Hey Johnny!
(19:43):
You moved out of the shade when I'm on You visit all night long on that telephone
(20:08):
But you regret and you'll be upset When you get that voter bill to pay Get that voter bill to pay
You left that voter running When you left being behind You left that voter running It's running from these eyes of mine Running from these eyes of mine
(20:41):
Take it on!
Yeah!
(21:07):
And that's a considerable amount to pay nowadays.
(21:37):
Thank you.
Thank you.
(22:16):
I wish I was a catfish Just swimming in the sea
Have you good looking women Fishing after me, fishing after me
(22:57):
Fishing after me
(23:27):
I went down to my baby's house And I sat down on her step
(23:56):
She said come in here now Now Chauncey goes to my husband Just now there
(24:56):
Now there's two trains running And there's not one going home
(25:19):
Now one runs right at midnight And the other just bolted
And the other just bolted And the other just bolted
(26:02):
And the other just bolted And the other just bolted
(26:25):
And the other just bolted And the other just bolted
Mr. John Ward!
(26:49):
Okay, what do you want me to say? I'm seeing this every month, you know.
Saffir Brothers, Taste the City, Downtown Blend coffee is really good stuff.
You're going to love it. I drink it every day. It's good every day.
(27:12):
Never had a bad cup of Saffir Brothers, Taste the City, Downtown Blend coffee.
It's great. It's great coffee. No, it's good coffee. It's always good.
It's good stuff. Saffir Brothers, you know, it's great.
(27:36):
I love this coffee. I drink it every day. I drink it all the time. It's always good.
Saffir Brothers, Downtown Blend, Taste the City coffee. You're going to love it too.
(27:59):
Yeah, you're the grill master. So out you go to the garage to get the old grill.
First thing you got to do is fix the damn thing. It's seen a lot of wear and tear in its day.
(28:21):
And there's no grilling without some lighter fluid and some charcoal. Oh, no.
Where's the charcoal? It's a trip to the store. So forget it.
We'll cook you the steak of your dreams. Just come on over to Billy Bob's Steakhouse.
(28:44):
We have a patio and a deck. You're not going to regret all the effort you save yourself
by treating yourself to a great steak dinner.
Oh,
(29:16):
I'm coming up Sednick with a show
This is your market of choice for all Russians things.
(29:39):
Here you find Moscow candle cages, golden clocks from our famous gold regions.
We sell funny keychains and gemstones from the Siberian hinterlands along with black
seashells.
(30:01):
We have finest wine.
Komi's has toys for children and handmade ships from St. Petersburg.
We bring you back to the old country with memories of motherland.
(30:23):
At Komi's Russian import market all are welcome.
And put the nick in Nikonak.
(31:28):
Stop drinking it and you're gonna love it too.
I'll just use that I guess.
No, this thing is driving me nuts.
Intensity shuttle doesn't work.
Alright, well we'll just pick it up and I'll edit something together.
(31:50):
Here we go.
And we're gonna go to black.
And they're with us.
We apparently have really bad audio happening.
So I have a fallback device here and we'll just pick up like nothing happened.
(32:11):
Alright we're back and we're having some audio difficulties.
I don't know if it's our Russian sponsors or the Portuguese.
But always this comes up.
That was beautiful sounding.
What was that song?
It's called Long Distance Call.
Muddy Waters song.
Muddy Waters?
Now we have another one that you were about to do.
(32:33):
There's been anymore.
Let's do another one.
You'd like to sing, Steve.
I would love to.
You left your old water running or what?
How about...
God, what the fuck is that?
Is that a song, Steve?
You know, the one we were just, you were showing in the...
Oh, God.
What the hell is that?
(32:56):
Yeah.
Yeah.
Three time moves.
Yeah.
Yeah.
(33:18):
Yeah.
(33:40):
Yeah.
Yeah.
Yeah.
(34:11):
Yeah.
Yeah.
(34:41):
Yeah.
Yeah.
(35:11):
Yeah.
Yeah.
(35:41):
Yeah.
Yeah.
(36:03):
Yeah.
Yeah.
Yeah.
(36:34):
Yeah.
Woo.
It's rockin'.
So, that takes us to the 70s.
I could sit and get my pills.
The 90s, the 2000s.
So, when did, where did US Cadenza go in its...
(36:57):
Well, I always heard there was like a heyday point of hitting, didn't you guys play the
Bay Area?
No.
No.
No.
Oh, okay.
They came up here.
Oh, okay.
So...
Melodious Funk did.
That's okay.
I'm thinking Melodious Funk.
Yeah, I'm thinking Melodious Funk for that.
But then the US Cadenza was kind of a, almost a house band for the Crystal, wasn't it?
(37:20):
Well, yeah, kinda the Crystal, not so much the Crystal, but Masonic Temple, we got really
close with Jim Felden.
He was doing all those shows I came through.
In 68, Jim and I drove down to Van Nuys, California, to put the Iron Butterfly to play at the Civic
Auditorium.
That was, that's another story.
(37:41):
But the Masonic Temple, so we played with Mubby Grape, Griffildad Doors, Buddy Guy,
Steve What's His Face.
Yeah, Miller.
Steve Miller.
I would dig.
So, yeah, wasn't there a story about him?
Well, I don't blame Steve.
(38:03):
He came, the band that came up with him was not really his band, you know, and he had
a hired keyboard player that was, didn't know any of the stuff, was really atrocious.
And I think it was only right that Steve only paid him $45 and wouldn't give him a ride
back to San Francisco.
I mean, that's, there's nothing wrong with that.
Well, he was probably just starting out back then, wasn't he?
(38:25):
No, he was already $45.
That's a lot more than it was.
None of that.
But one of these days we'll work our way up to $45 a man, it'll be great.
What do you think, you guys?
Well, so then the Art Museum then is what the...
(38:47):
Yeah, it was the Masonic Temple.
Yeah, and he was the first guy, he went and talked to the stodgy people at the Masonic
Temple and got it.
He had a whole bunch of epic shows there.
We didn't play all of them, but playing with the dead and the doors was a whole lot of
fun, you know?
Well, and let's talk about that.
(39:08):
What was the, let's start with the Grateful Dead experience.
There's a rumor that Jerry ended up laughing at you for some reason.
Well, yeah, my aunt blew up that afternoon, and I'm standing out there and there's smoke
coming out of the back of my twin, and Garcia walks by and says, dude, too bad.
What are you going to do?
And I said, I have no idea.
(39:29):
And he says, why don't you use my amp?
I said, that'd be great, Mr. Garcia.
Wow, that's swell.
And so we had the last band that played before they did, and got out there.
Our first tune was Born in Chicago, which is harmonica starts at verse and then the
guitar break.
And I was playing, there was a cable coming out with a female jacket.
(39:53):
He said, I'll pull you in there, okay?
And it's kind of weird because I was standing there and I could hear this, behind me, and
that's weird.
And I found out later on I was plugged into three twin reverbs, a Standale Super Imperial
and a Jules Schoeman amplifier all at the same time.
(40:15):
And I didn't know that.
I cranked my volume up and played one note.
And I put his pants fell off.
And they were at which stage, right in the wings, is the band, the dead.
They're back there pointing at me and rolling on the floor.
Real funny guys.
So that was pretty good.
Well, now you saw that dead documentary that was out not that long ago.
(40:40):
Is that how you finally knew what amps you were playing on?
Yeah, because I saw the greatful dead documentary.
I was waiting for Jerry Garcia to look like the guy I saw.
And finally, they had a clip of them playing someplace and that was exactly the way I remember
him, you know.
Skinny little Mexican guy with hair sticking out, black hair, no beard.
(41:02):
Me and Bill Feldman and Terrell Vanemar in Bill Feldman's Volkswagen microbus picked
him up at the airport and he had his West Hall custom in a partial case at 56, old black
window.
We were walking back to the car and Vanemar was carrying his West Hall.
He was sort of walking Jerry Garcia and Feldman and me are kind of up here.
(41:25):
Fertil's back there and he's got Jerry Garcia's West Hall.
And I look at Terrell and he looks at me.
You know, we're in North Portland so we know all the blues and all the brushy area there
by heart.
And he could just, zoop, disappear in the brush with that West Hall.
I mean, I can't prove it but I bet he was thinking that.
(41:46):
He was telling me by looking at his face he looked at me like...
So you and the dad built a reputation of trust between each other.
Were they the Warlocks?
Yeah, they were.
Did you ever play with them?
No, that was pre, that was like 63.
(42:08):
They were also Mother McCree's jug band or something.
Jug stoppers.
And then even before that Jerry Garcia had short hair and a goatee and he was real skinny.
He was skinny wasn't he?
He looked like the Peter Bolman.
Yeah, he looked like Paul Stuckey and doing folk music.
(42:29):
Right, right.
Wearing pleated pants and a nice shirt with a sweater.
But yeah, when I was watching that thing and I saw that clip of film and he moved aside
and there was the rig that they brought to Portland that I played through
within a couple of months of when that clip was made.
Now I get it.
(42:50):
Because the twins are stacked, three of them, and instead of girl cloth they have desert paintings.
There's a coyote on this one and some kind of desert leaf.
It's a really wall of sound development I imagine.
On U2, what the doors, can you tell me a little bit about that?
(43:11):
Either do you have any recollections on that?
Playing or opening or meeting the doors?
The best sounding band, just about the best sounding band I've ever heard.
Really? Not only a good show but sound.
Yeah, and then Morrison crawling out like some kind of lizard or something.
But the sound of it was really good. Big and loud but really good.
(43:35):
I think it's because of that. Well actually they're all great players weren't they?
Yeah, no bass player but in a B3.
Yeah, yeah.
A lot of multitude of scenes.
They bummed my cigarettes.
Oh, all of them?
I thought, you know, fuckers are the rock stars.
I kind of thought maybe this doesn't pay that good.
(44:03):
Or it could be a Los Angeles thing.
Could be, could be.
And they had those weird amplifiers scattered around.
Jordans.
What were they?
Jordans.
Jordans, tall stacks of stuff here and there.
They never caught on.
Yeah, I think they probably got them for free.
Oh yeah.
They were Jordan artists.
(44:25):
Was any individual performance stick out to you guys that night?
Or your own in particular?
The biggest surprise I ever got at one of those shows was the Sons of Champlain.
Sons of Champlain, who was that?
It's a big horn band from San Francisco.
(44:46):
They showed up, they straggled one in, they're all dressed funky and you know, beards and crap.
And they look like, kind of like hobos, you know.
And then one guy's on crutches, you know.
And they kind of bumped into each other and I think they were all really stoned.
It took about 45 minutes for them to get set up to even do anything at all, you know.
(45:08):
And the crowd's kind of going, okay, this is good.
And...
That was not uncommon.
No, not at all.
I was thinking, I've never heard these guys and I'm afraid this is going to suck.
And Champlain went, one, two, three, four.
And there was the best band I've ever heard in my entire existence.
(45:31):
And the crowd just went, yeah.
Nobody ever...
Have you heard of it before that?
No.
And then later they came and crashed my gig at Key Largo one night and we said, sure, go on up and play.
And they got up and did a set.
Really?
I don't know if it was the whole band or not because I didn't...
(45:52):
I don't think they'd fit.
There's about two people in there.
Who fucking cares about horns anyway?
This is not a horn town.
Well, it seems like there's been a battle between horns and guitarists, which might lead to...
I'm a...
I had a...
Well, yeah, I was curious about you, Steve, with the 80s and a little thing called Badly Bradley.
(46:15):
Now, how long did that go for?
Three years, four years, something like that.
It was a four-piece guitar, guitar, and bass drum.
Was that the 80s then?
Yeah.
Okay.
I guess I remember that because I'm...
I remember that in the 80s, I was in this rockabilly band called the Rascals and they were based in Vancouver.
(46:38):
And then Badly Bradley probably started about 85 or 86.
What was the band with the tenor player?
That was the rhythm tone.
It was Art Chaney.
Art Chaney.
That's a fucking horn player.
See, you broke down.
You know, horn players are very...
They're hard to get on with.
You were.
(46:59):
I wouldn't even discuss them.
You weren't a band I'd make out with.
You knew an old horn joke, didn't you?
Do I know any horn jokes?
Let me think about it.
Scott used to tell me something about it.
Careful, we know plenty of drummers do.
But you should not forget to make mention of the Sleazy Pieces.
The Sleazy Pieces.
(47:20):
Now, what was that?
That was the 70s.
The fuck was that?
That was...
I don't know.
That was as famous as you got, I think.
Earl Benson.
Earl Benson.
He was a...
It's hard to describe.
It was guitar, guitar, bass, drums once again.
We had a vocalist, too.
The guy that we used to watch before we started, before we had bands, he was kind of a mainstay
(47:45):
at the coffee houses.
He was this beatnik guy with a beard and he played auto harp and he sang parodies of the
hit parade, of songs on the hit parade.
Or Elizabethan Ballads.
He was a folk scholar guy.
A strange personality, but just did some really interesting things.
When he joined us, he started to write.
(48:09):
His writing was really great.
Bizarre, but great.
I don't know who to compare him to.
He had a huge following, too, in the 70s.
That's after Dr. Korn had quit playing at the Frankincense or the sax.
You guys owned that place for a number of years.
What was sax and frankincense, same place?
(48:32):
Yeah, it was frankincense when it opened in 71.
Then to Sax Front Avenue, they just changed the name, ownership.
That was one of the biggest clubs in town for the first five or six years.
They had live music.
This was a yammer and front.
Front, yeah.
Yammer, yeah.
That building's still there, right?
(48:54):
Yeah.
Gosh, we're getting into it here.
I should probably wrap it up.
I want to thank you guys for coming and doing this.
I don't know if we'll have any sound when this is finished, but we'll see what happens.
Good mingling job in here.
(49:15):
Well, there's always that.
I'll just have to dub it over if we don't have sound.
It's good that you're quitting now.
What do you think, guys? I'm pretty sure that's all we remember.
They're doing a pretty good job of it.
I'm talking about us.
They're still doing a good job of poking at us.
We need to prod these things out of the generations so that we can pass on to the generations behind us.
(49:41):
At least you didn't use the word probe.
Well, I'm saving that.
What I like to do is I like to probe our mayor a little bit, this Mayor Ted Wheeler.
Say goodnight, Jeff.
Oh, it's my lovely wife, Jamila.
What's that?
Say goodnight, Jeff.
Good night, Jeff.
(50:02):
This reminds me of a little thing.
Do you remember this goes out to our old friend Paul Allen that you once jammed with, Dad?
I remember I got to mix my dad playing with Paul Allen.
My first official mixing job, he said, don't touch anything.
It was Jeff Petrie's wedding.
(50:23):
Jeff Petrie's wedding, Paul Allen on guitar, Stu on fiddle, and Dub Debris on keyboards.
American drums.
I think we did a little something like this.
(50:51):
As I walk alone, I think of the one point that you would have done while I was so young.
I find that I so soon I wonder, what makes you think of the one of the ones so young.
(51:21):
I'm walking in the rain, tears are rolling down the pain, I wish I knew the real me, till when this misery and I wander.
Why, why, why, why, why, I wonder why? Why, why, why, why, why, why? Cause she ran away and I wonder
(51:53):
Where to stay?
I knew the right way
I ran, ran, ran, ran the right way
(52:30):
I'm a sailor in a rain
Through the fall and then I feel the pain
I'm watching my love give by again
Till when this is I lead no wonder
(52:55):
Why, why, why, why, why, why, why
She led the way and I wonder
If she will stay my little runaway
(53:41):
They run, run, run, they do run
And we're out
Was that your video that was playing with you?
Was that the current group you're in?
Oh, well, that's just us really.
(54:02):
That was cool.
Well, we have two people that aren't really in it
We can pose and sing and get both of you to do it
So, they look good on camera
I know, but you know what?
So, you guys are in the video?
You know, this is nothing, I see you now
I'm a sailor in a rain
(54:25):
I'm a sailor in a rain
I'm a sailor in a rain
I'm a sailor in a rain
We're a passing revolution band
Just trying to really understand
You know what I mean
If you're talking about the new
(54:47):
Join our passing revolution band
Join our passing revolution band
Join our passing revolution band
Join our passing revolution band
(55:14):
And this status quo, it just can't stay
It's gotta go and get the hell away
Well, I thought I'd be good at passing days today
But somebody's gotta make their own way
We're a passing revolution band
(55:37):
Just trying to really understand
Yeah, trust us on this music
It's the feeling of division
Join our passing revolution band
Join our passing revolution band
Join our passing revolution band
Are we on?
(00:08):
Hello.
Hi, I am, hello, I am Ronald Rooneyer, I mean Junior.
I am, today you are witnessing celebrity jaundice with the crew here and we have some special
guests and first of all I would like to introduce my father, the one and only Mr. Ronald Rump
(00:34):
Senior, that's right, Ronald Rump is here and he is going to play a little celebrity
jaundice.
So here we go, Ron Rump, Ronald Rump everybody, thank you.
Ronald Rump, can you tell us a little bit about the celebrities we will be playing with, is
(00:57):
it Nick Nolte, is it Dennis Rodman, no, we will be playing a game in which each of you
will be judged on the task that you were presented with.
So okay, who wants to go first?
Celebrity jaundice.
Now Mr. Bradley, I heard that you didn't complete the task, did you?
(01:24):
Didn't do any of it.
And Mr. Ward, sitting there next to you, Mr. John Ward, what is your outcome?
Oh, just laugh at me, huh?
Just want to laugh at me, okay, that's fine, you can ignore me, but you will still all
(01:45):
pay the price.
Okay, who won the task, father?
Daddy?
You know who will be winning what?
Oh, I guess that means it's time for a little money, a little easy money.
(02:13):
So here we go, that's what it's all about, it's always about the money.
So here we go, that's what it's all about, it's always about the money.
(02:50):
So here we go, that's what it's all about, it's always about the money.
(03:19):
So here we go, that's what it's all about, it's always about the money.
(03:48):
So here we go, that's what it's all about, it's always about the money.
(04:18):
So here we go, that's what it's all about, it's always about the money.
So here we go, that's what it's all about, it's always about the money.
(05:06):
So here we go, that's what it's all about, it's always about the money.
(05:36):
So here we go, that's what it's all about, it's always about the money.
(06:06):
So here we go, that's what it's all about, it's always about the money.
(06:36):
So here we go, that's what it's all about, it's always about the money.
(07:06):
So here we go, that's what it's all about, it's always about the money.
(07:31):
So here we go, that's what it's all about, it's always about the money.
I was born in Chicago, 1941.
I was born in Chicago, 1941.
(07:56):
Well my father told me, son you better get a gun.
When my first friend went down I was about 17 years old.
When my first friend went down I was about 17 years old.
There's one thing I can say about that boy, he died bold.
(08:44):
When my second friend went down I was about 21 years old.
When my second friend went down I was about 21 years old.
(09:07):
There's one thing I can say about that boy, he died brave.
(09:37):
So here we go, that's what it's all about, it's always about the money.
(10:07):
Well the blues are alright if there's someone left to play the game.
(10:34):
Yeah the blues are alright if there's someone left to play the game.
All my friends are going, things just don't seem the same.
Not all of them.
(11:16):
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(12:22):
Bag of Dreams is a three times a month open pop-up store in the basement of Jimmy Gimler's
Suit Bag.
Thanks Jimmy.
We specialize in black bags that always accent any wardrobe.
(12:49):
We sell Zenith computer bags, four track bags with bottle holders, homeless bags that could
be converted into a punk rock dress, New Yorker gym bags, classy, pilot bags, bike bags, and
(13:15):
board bags.
Vintage retro cool.
So Steve, who was dancing?
Who came to these shows and was there a lot of dancing?
I mean not just at the Crystal Boat.
(13:36):
Yeah people liked to dance.
It was a social event.
People hung out and got to know each other.
But there was a lot of dancing for sure.
There was this great story that one of the young girls at the time who worked here described
the dancing at that time as looking like bad aerobics.
(13:58):
Yeah I would call it the tree dance.
Yeah that's right.
He was starstruck.
These guys are going to be famous.
He was making a radio commercial.
(14:19):
I remember he said, he read it to me and he says how's the sound?
He read it to me and I said yeah just tell him Robin digs it.
No I said just tell him Robin says you'll dig it.
And he put that on there.
I think it must not have been more than a gig or two but I remember a few rehearsals.
(14:43):
I remember me getting hot because he wanted to play harmonica on a rack while he played his drums or something.
Or something.
Maybe he wanted to just do an intro and a harmonica and then play the drums.
I guess I wouldn't have it.
(15:06):
We owned this building back then.
What was this building like back then?
Was it actually a Masonic hall?
It was a Masonic temple and it was rentable.
There was no carpet in there.
There was no shit.
There was nothing in there.
It sounds kind of bad now but it was a lot worse.
(15:29):
We didn't have that many gigs at that point.
The coffee house scene was pretty dead.
I think we were old enough to play taverns yet.
Or they weren't.
I was probably.
This is Jim Feld.
Jim Feld is a guy that started an organization.
(15:51):
They call it PJ Group which stands for Photojournalism and also stands for let's throw some concerts and see if we can make a bunch of money.
The peanut butter conspiracy.
The Sopwood camel.
Stay out of this.
He rode with me to Southern California to book the Iron Butterfly in 1968.
(16:17):
The Jefferson airplane, the Grateful Dead, the doors.
I didn't watch it too much.
I never thought of being a big legend.
I agree. I thought they sucked.
I came back and I sat up there on the balcony and watched them.
Jim Morrison had that black leather thing on.
(16:38):
I heard that he never took it off.
How much interaction would you have with the band members?
With the Nationals?
They were really nice.
They were the Grateful Dead.
Stu blew up an amp.
Jerry Garcia says, go ahead and use our stuff.
Or anything you need.
Go ahead and use our stuff.
(17:00):
I don't know if that's the way it is nowadays.
I don't think you'd see that.
I was living with a woman too.
I'd go to the show and Stu would bring girlfriends over there sometimes.
And have them rub his back.
(17:21):
We ended up in Los Angeles, up in the valley, at this hotel.
And I called this girl that I met in college, Kathy Cunningham, and proposed to her.
Really? That's where that came from?
That's where that came from.
It was from sleep deprivation.
(17:43):
It was sleep deprivation because we went to San Francisco the first night and down it is we didn't have a room.
You'll get us a piano tomorrow.
I think it's past due.
Statue of limitations.
Right to the left that voter running When you left being behind
(18:19):
You left that voter running Running from these eyes of mine Running from these eyes of mine
You locked the door, you took the key to my heart Your fingers souped my life away
(18:41):
But you regret and you'll be upset When you get that voter bill to pay Get that voter bill to pay
You left that voter running When you left being behind
(19:03):
You left that voter running It's running from these eyes of mine Running from these eyes of mine
Hey Johnny!
(19:43):
You moved out of the shade when I'm on You visit all night long on that telephone
(20:08):
But you regret and you'll be upset When you get that voter bill to pay Get that voter bill to pay
You left that voter running When you left being behind You left that voter running It's running from these eyes of mine Running from these eyes of mine
(20:41):
Take it on!
Yeah!
(21:07):
And that's a considerable amount to pay nowadays.
(21:37):
Thank you.
Thank you.
(22:16):
I wish I was a catfish Just swimming in the sea
Have you good looking women Fishing after me, fishing after me
(22:57):
Fishing after me
(23:27):
I went down to my baby's house And I sat down on her step
(23:56):
She said come in here now Now Chauncey goes to my husband Just now there
(24:56):
Now there's two trains running And there's not one going home
(25:19):
Now one runs right at midnight And the other just bolted
And the other just bolted And the other just bolted
(26:02):
And the other just bolted And the other just bolted
(26:25):
And the other just bolted And the other just bolted
Mr. John Ward!
(26:49):
Okay, what do you want me to say? I'm seeing this every month, you know.
Saffir Brothers, Taste the City, Downtown Blend coffee is really good stuff.
You're going to love it. I drink it every day. It's good every day.
(27:12):
Never had a bad cup of Saffir Brothers, Taste the City, Downtown Blend coffee.
It's great. It's great coffee. No, it's good coffee. It's always good.
It's good stuff. Saffir Brothers, you know, it's great.
(27:36):
I love this coffee. I drink it every day. I drink it all the time. It's always good.
Saffir Brothers, Downtown Blend, Taste the City coffee. You're going to love it too.
(27:59):
Yeah, you're the grill master. So out you go to the garage to get the old grill.
First thing you got to do is fix the damn thing. It's seen a lot of wear and tear in its day.
(28:21):
And there's no grilling without some lighter fluid and some charcoal. Oh, no.
Where's the charcoal? It's a trip to the store. So forget it.
We'll cook you the steak of your dreams. Just come on over to Billy Bob's Steakhouse.
(28:44):
We have a patio and a deck. You're not going to regret all the effort you save yourself
by treating yourself to a great steak dinner.
Oh,
(29:16):
I'm coming up Sednick with a show
This is your market of choice for all Russians things.
(29:39):
Here you find Moscow candle cages, golden clocks from our famous gold regions.
We sell funny keychains and gemstones from the Siberian hinterlands along with black
seashells.
(30:01):
We have finest wine.
Komi's has toys for children and handmade ships from St. Petersburg.
We bring you back to the old country with memories of motherland.
(30:23):
At Komi's Russian import market all are welcome.
And put the nick in Nikonak.
(31:28):
Stop drinking it and you're gonna love it too.
I'll just use that I guess.
No, this thing is driving me nuts.
Intensity shuttle doesn't work.
Alright, well we'll just pick it up and I'll edit something together.
(31:50):
Here we go.
And we're gonna go to black.
And they're with us.
We apparently have really bad audio happening.
So I have a fallback device here and we'll just pick up like nothing happened.
(32:11):
Alright we're back and we're having some audio difficulties.
I don't know if it's our Russian sponsors or the Portuguese.
But always this comes up.
That was beautiful sounding.
What was that song?
It's called Long Distance Call.
Muddy Waters song.
Muddy Waters?
Now we have another one that you were about to do.
(32:33):
There's been anymore.
Let's do another one.
You'd like to sing, Steve.
I would love to.
You left your old water running or what?
How about...
God, what the fuck is that?
Is that a song, Steve?
You know, the one we were just, you were showing in the...
Oh, God.
What the hell is that?
(32:56):
Yeah.
Yeah.
Three time moves.
Yeah.
Yeah.
(33:18):
Yeah.
(33:40):
Yeah.
Yeah.
Yeah.
(34:11):
Yeah.
Yeah.
(34:41):
Yeah.
Yeah.
(35:11):
Yeah.
Yeah.
(35:41):
Yeah.
Yeah.
(36:03):
Yeah.
Yeah.
Yeah.
(36:34):
Yeah.
Woo.
It's rockin'.
So, that takes us to the 70s.
I could sit and get my pills.
The 90s, the 2000s.
So, when did, where did US Cadenza go in its...
(36:57):
Well, I always heard there was like a heyday point of hitting, didn't you guys play the
Bay Area?
No.
No.
No.
Oh, okay.
They came up here.
Oh, okay.
So...
Melodious Funk did.
That's okay.
I'm thinking Melodious Funk.
Yeah, I'm thinking Melodious Funk for that.
But then the US Cadenza was kind of a, almost a house band for the Crystal, wasn't it?
(37:20):
Well, yeah, kinda the Crystal, not so much the Crystal, but Masonic Temple, we got really
close with Jim Felden.
He was doing all those shows I came through.
In 68, Jim and I drove down to Van Nuys, California, to put the Iron Butterfly to play at the Civic
Auditorium.
That was, that's another story.
(37:41):
But the Masonic Temple, so we played with Mubby Grape, Griffildad Doors, Buddy Guy,
Steve What's His Face.
Yeah, Miller.
Steve Miller.
I would dig.
So, yeah, wasn't there a story about him?
Well, I don't blame Steve.
(38:03):
He came, the band that came up with him was not really his band, you know, and he had
a hired keyboard player that was, didn't know any of the stuff, was really atrocious.
And I think it was only right that Steve only paid him $45 and wouldn't give him a ride
back to San Francisco.
I mean, that's, there's nothing wrong with that.
Well, he was probably just starting out back then, wasn't he?
(38:25):
No, he was already $45.
That's a lot more than it was.
None of that.
But one of these days we'll work our way up to $45 a man, it'll be great.
What do you think, you guys?
Well, so then the Art Museum then is what the...
(38:47):
Yeah, it was the Masonic Temple.
Yeah, and he was the first guy, he went and talked to the stodgy people at the Masonic
Temple and got it.
He had a whole bunch of epic shows there.
We didn't play all of them, but playing with the dead and the doors was a whole lot of
fun, you know?
Well, and let's talk about that.
(39:08):
What was the, let's start with the Grateful Dead experience.
There's a rumor that Jerry ended up laughing at you for some reason.
Well, yeah, my aunt blew up that afternoon, and I'm standing out there and there's smoke
coming out of the back of my twin, and Garcia walks by and says, dude, too bad.
What are you going to do?
And I said, I have no idea.
(39:29):
And he says, why don't you use my amp?
I said, that'd be great, Mr. Garcia.
Wow, that's swell.
And so we had the last band that played before they did, and got out there.
Our first tune was Born in Chicago, which is harmonica starts at verse and then the
guitar break.
And I was playing, there was a cable coming out with a female jacket.
(39:53):
He said, I'll pull you in there, okay?
And it's kind of weird because I was standing there and I could hear this, behind me, and
that's weird.
And I found out later on I was plugged into three twin reverbs, a Standale Super Imperial
and a Jules Schoeman amplifier all at the same time.
(40:15):
And I didn't know that.
I cranked my volume up and played one note.
And I put his pants fell off.
And they were at which stage, right in the wings, is the band, the dead.
They're back there pointing at me and rolling on the floor.
Real funny guys.
So that was pretty good.
Well, now you saw that dead documentary that was out not that long ago.
(40:40):
Is that how you finally knew what amps you were playing on?
Yeah, because I saw the greatful dead documentary.
I was waiting for Jerry Garcia to look like the guy I saw.
And finally, they had a clip of them playing someplace and that was exactly the way I remember
him, you know.
Skinny little Mexican guy with hair sticking out, black hair, no beard.
(41:02):
Me and Bill Feldman and Terrell Vanemar in Bill Feldman's Volkswagen microbus picked
him up at the airport and he had his West Hall custom in a partial case at 56, old black
window.
We were walking back to the car and Vanemar was carrying his West Hall.
He was sort of walking Jerry Garcia and Feldman and me are kind of up here.
(41:25):
Fertil's back there and he's got Jerry Garcia's West Hall.
And I look at Terrell and he looks at me.
You know, we're in North Portland so we know all the blues and all the brushy area there
by heart.
And he could just, zoop, disappear in the brush with that West Hall.
I mean, I can't prove it but I bet he was thinking that.
(41:46):
He was telling me by looking at his face he looked at me like...
So you and the dad built a reputation of trust between each other.
Were they the Warlocks?
Yeah, they were.
Did you ever play with them?
No, that was pre, that was like 63.
(42:08):
They were also Mother McCree's jug band or something.
Jug stoppers.
And then even before that Jerry Garcia had short hair and a goatee and he was real skinny.
He was skinny wasn't he?
He looked like the Peter Bolman.
Yeah, he looked like Paul Stuckey and doing folk music.
(42:29):
Right, right.
Wearing pleated pants and a nice shirt with a sweater.
But yeah, when I was watching that thing and I saw that clip of film and he moved aside
and there was the rig that they brought to Portland that I played through
within a couple of months of when that clip was made.
Now I get it.
(42:50):
Because the twins are stacked, three of them, and instead of girl cloth they have desert paintings.
There's a coyote on this one and some kind of desert leaf.
It's a really wall of sound development I imagine.
On U2, what the doors, can you tell me a little bit about that?
(43:11):
Either do you have any recollections on that?
Playing or opening or meeting the doors?
The best sounding band, just about the best sounding band I've ever heard.
Really? Not only a good show but sound.
Yeah, and then Morrison crawling out like some kind of lizard or something.
But the sound of it was really good. Big and loud but really good.
(43:35):
I think it's because of that. Well actually they're all great players weren't they?
Yeah, no bass player but in a B3.
Yeah, yeah.
A lot of multitude of scenes.
They bummed my cigarettes.
Oh, all of them?
I thought, you know, fuckers are the rock stars.
I kind of thought maybe this doesn't pay that good.
(44:03):
Or it could be a Los Angeles thing.
Could be, could be.
And they had those weird amplifiers scattered around.
Jordans.
What were they?
Jordans.
Jordans, tall stacks of stuff here and there.
They never caught on.
Yeah, I think they probably got them for free.
Oh yeah.
They were Jordan artists.
(44:25):
Was any individual performance stick out to you guys that night?
Or your own in particular?
The biggest surprise I ever got at one of those shows was the Sons of Champlain.
Sons of Champlain, who was that?
It's a big horn band from San Francisco.
(44:46):
They showed up, they straggled one in, they're all dressed funky and you know, beards and crap.
And they look like, kind of like hobos, you know.
And then one guy's on crutches, you know.
And they kind of bumped into each other and I think they were all really stoned.
It took about 45 minutes for them to get set up to even do anything at all, you know.
(45:08):
And the crowd's kind of going, okay, this is good.
And...
That was not uncommon.
No, not at all.
I was thinking, I've never heard these guys and I'm afraid this is going to suck.
And Champlain went, one, two, three, four.
And there was the best band I've ever heard in my entire existence.
(45:31):
And the crowd just went, yeah.
Nobody ever...
Have you heard of it before that?
No.
And then later they came and crashed my gig at Key Largo one night and we said, sure, go on up and play.
And they got up and did a set.
Really?
I don't know if it was the whole band or not because I didn't...
(45:52):
I don't think they'd fit.
There's about two people in there.
Who fucking cares about horns anyway?
This is not a horn town.
Well, it seems like there's been a battle between horns and guitarists, which might lead to...
I'm a...
I had a...
Well, yeah, I was curious about you, Steve, with the 80s and a little thing called Badly Bradley.
(46:15):
Now, how long did that go for?
Three years, four years, something like that.
It was a four-piece guitar, guitar, and bass drum.
Was that the 80s then?
Yeah.
Okay.
I guess I remember that because I'm...
I remember that in the 80s, I was in this rockabilly band called the Rascals and they were based in Vancouver.
(46:38):
And then Badly Bradley probably started about 85 or 86.
What was the band with the tenor player?
That was the rhythm tone.
It was Art Chaney.
Art Chaney.
That's a fucking horn player.
See, you broke down.
You know, horn players are very...
They're hard to get on with.
You were.
(46:59):
I wouldn't even discuss them.
You weren't a band I'd make out with.
You knew an old horn joke, didn't you?
Do I know any horn jokes?
Let me think about it.
Scott used to tell me something about it.
Careful, we know plenty of drummers do.
But you should not forget to make mention of the Sleazy Pieces.
The Sleazy Pieces.
(47:20):
Now, what was that?
That was the 70s.
The fuck was that?
That was...
I don't know.
That was as famous as you got, I think.
Earl Benson.
Earl Benson.
He was a...
It's hard to describe.
It was guitar, guitar, bass, drums once again.
We had a vocalist, too.
The guy that we used to watch before we started, before we had bands, he was kind of a mainstay
(47:45):
at the coffee houses.
He was this beatnik guy with a beard and he played auto harp and he sang parodies of the
hit parade, of songs on the hit parade.
Or Elizabethan Ballads.
He was a folk scholar guy.
A strange personality, but just did some really interesting things.
When he joined us, he started to write.
(48:09):
His writing was really great.
Bizarre, but great.
I don't know who to compare him to.
He had a huge following, too, in the 70s.
That's after Dr. Korn had quit playing at the Frankincense or the sax.
You guys owned that place for a number of years.
What was sax and frankincense, same place?
(48:32):
Yeah, it was frankincense when it opened in 71.
Then to Sax Front Avenue, they just changed the name, ownership.
That was one of the biggest clubs in town for the first five or six years.
They had live music.
This was a yammer and front.
Front, yeah.
Yammer, yeah.
That building's still there, right?
(48:54):
Yeah.
Gosh, we're getting into it here.
I should probably wrap it up.
I want to thank you guys for coming and doing this.
I don't know if we'll have any sound when this is finished, but we'll see what happens.
Good mingling job in here.
(49:15):
Well, there's always that.
I'll just have to dub it over if we don't have sound.
It's good that you're quitting now.
What do you think, guys? I'm pretty sure that's all we remember.
They're doing a pretty good job of it.
I'm talking about us.
They're still doing a good job of poking at us.
We need to prod these things out of the generations so that we can pass on to the generations behind us.
(49:41):
At least you didn't use the word probe.
Well, I'm saving that.
What I like to do is I like to probe our mayor a little bit, this Mayor Ted Wheeler.
Say goodnight, Jeff.
Oh, it's my lovely wife, Jamila.
What's that?
Say goodnight, Jeff.
Good night, Jeff.
(50:02):
This reminds me of a little thing.
Do you remember this goes out to our old friend Paul Allen that you once jammed with, Dad?
I remember I got to mix my dad playing with Paul Allen.
My first official mixing job, he said, don't touch anything.
It was Jeff Petrie's wedding.
(50:23):
Jeff Petrie's wedding, Paul Allen on guitar, Stu on fiddle, and Dub Debris on keyboards.
American drums.
I think we did a little something like this.
(50:51):
As I walk alone, I think of the one point that you would have done while I was so young.
I find that I so soon I wonder, what makes you think of the one of the ones so young.
(51:21):
I'm walking in the rain, tears are rolling down the pain, I wish I knew the real me, till when this misery and I wander.
Why, why, why, why, why, I wonder why? Why, why, why, why, why, why? Cause she ran away and I wonder
(51:53):
Where to stay?
I knew the right way
I ran, ran, ran, ran the right way
(52:30):
I'm a sailor in a rain
Through the fall and then I feel the pain
I'm watching my love give by again
Till when this is I lead no wonder
(52:55):
Why, why, why, why, why, why, why
She led the way and I wonder
If she will stay my little runaway
(53:41):
They run, run, run, they do run
And we're out
Was that your video that was playing with you?
Was that the current group you're in?
Oh, well, that's just us really.
(54:02):
That was cool.
Well, we have two people that aren't really in it
We can pose and sing and get both of you to do it
So, they look good on camera
I know, but you know what?
So, you guys are in the video?
You know, this is nothing, I see you now
I'm a sailor in a rain
(54:25):
I'm a sailor in a rain
I'm a sailor in a rain
I'm a sailor in a rain
We're a passing revolution band
Just trying to really understand
You know what I mean
If you're talking about the new
(54:47):
Join our passing revolution band
Join our passing revolution band
Join our passing revolution band
Join our passing revolution band
(55:14):
And this status quo, it just can't stay
It's gotta go and get the hell away
Well, I thought I'd be good at passing days today
But somebody's gotta make their own way
We're a passing revolution band
(55:37):
Just trying to really understand
Yeah, trust us on this music
It's the feeling of division
Join our passing revolution band
Join our passing revolution band
Join our passing revolution band
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On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!