Jan Savage 1942-2020

By Harvey Kubernik

Guitarist Jan Savage, who was born Buck Jan Reeder, of the American rock band the Seeds died in early August, according to a report in The Ada News and a subsequent Facebook posting that announced his passing.

Formed in 1965 in Los Angeles, the Seeds, guitarist Savage, keyboardist Daryl Hooper, drummer Rick Andridge and singer Sky Saxon were an influential pioneering psychedelic and garage rock outfit who offered a whole lot more for pop culture than their hit single “Pushin’ Too Hard.”

The well-received Seeds long form 110+ minute movie documentary THE SEEDS Pushin’ Too Hard, directed and produced by Neil Norman for GNP Crescendo was initially released in 2015. Norman conducted extensive new interviews about the Seeds. Subjects lensed by Norman include Iggy Pop, Mark Weitz of the Strawberry Alarm Clock, Johnny Echols from Love, Kim Fowley, photographer Ed Caraeff, deejay Rodney Bingenheimer, Richard France, a roadie from their heyday, the Bangles, concert promoter Jim Salzer, Bruce Johnson of the Beach Boys, and myself. Humble Harve (Miller), the onetime KHJ and KBLA DJ who supported and introduced the Seeds at Los Angeles area shows in their heyday is also featured in a voice over capacity.

A handful of years ago Ace Records in the UK reissued the domestic GNP Seeds’ expanded edition Future and Raw & Alive albums were re-released in 2014 as double disc sets on the 60 year old independent GNP Crescendo label, following 2013 reissues The Seeds and Web of Sound. Earlier this decade Ace distributed a new vintage Seeds’ collection, Singles A-sides and B-sides 1965-1970. The original single versions of the Seeds’ celebrated run of 45s. Includes the garage classics “Can’t Seem To Make You Mine” and “Pushin’ Too Hard” along with many non-LP items, including the bands swansong 45s on MGM.

“Of all the Nuggetarian bands that came to psychedelic light in the Gar Age, the Seeds brought rock back to its most hypnotic elementals,” proclaimed writer, musician, Patti Smith group member, and Nuggets box compiler/producer, Lenny Kaye who emailed me in March 2015. “This docu-drama provides a heartfelt insight into the band’s inner universe, their time and place, a behind-the-scenarios look at a group whose impact would resonate throughout the coming of punk and beyond. We are truly up in their room, and it feels so good…”

In the June 15, 2009 LA Record website, Nels Cline, current Wilco guitarist, posted a comment when having learned about the death of Saxon. In My First Rock Idol, Cline wrote, “I am truly saddened to learn of the death of Sky Saxon. As a boy growing up in Los Angeles, Sky Saxon was my first rock idol. The Seeds’ music was important to me, sure, but Sky’s amazing charisma—as he appeared rather ubiquitously on TV shows like Boss City and The Groovy Show and American Bandstand in 1966—67 was galvanizing. I would stare in disbelief as he—clad in shiny satin Nehru shirts bedazzled with some gaudy brooch—would gyrate around lasciviously, holding the microphone in every cool way imaginable. He seemed from another planet. I thought he was amazing. I feel lucky to have ever even seen him on TV, yet alone to have played some wild, extemporaneous psychedelia with him. They say Mick Jagger copped tons of his moves and style, and I believe it. But there was so much more to this man that remains to be revealed.”

Future Star Wars director/producer, George Lucas, in his 1967 student film at the University of Southern California, The Emperor, profiling KRLA DJ, Bob ‘Emperor’ Hudson, used the Seeds’ “Rollin’ Machine” in the soundtrack at the top of his movie.

I interviewed Jan Savage and Daryl Hooper in 2014. Portions of our conversation were published in my book Turn Up The Radio Rock, Pop and Roll in Los Angeles 1956-1972.

“When we recorded with a bass player on our recordings, Harvey Sharpe, he brought a new perspective to the low end and that freed up Daryl from playing piano bass to be more creative,” explained Savage, who was always proud of his Native American Indian heritage.

“In 1965, before I met Rick, Daryl and Sky and before we first did any recording, I lived in South Hollywood, near the Melrose and Vine area. Many of the starving musicians lived in that neighborhood. The Byrds, Sonny & Cher, when they were Caesar & Cleo… Everybody within one year had a hit. In 1966 the Doors were our opening act at college concerts up and down the California coast. We had the same booking agency.”

The Hooper and Savage team also commented on a few recordings by the Seeds, including their urgent care plea, “Can’t Seem to Make You Mine” selection. Jan Savage sheds some light on their infectious and enduring recording.

“Compared to the other things we were doing in clubs at that time, like ‘Pushin’ Too Hard’ and ‘No Escape,’ that song was a change of pace. And we needed something like that to show development and a little bit of originality.”

“In the early material,” reinforced Hooper, “Sky would have different relationships with ladies, some good some bad and a lot of the music of that era it was a good time. Love was portrayed or perhaps a not-so-good love happening story that occurred. ‘Can’t Seem to Make You Mine’ was about a girl again. Longing for and trying to make things right, and couldn’t quite do it. They were simple stories. But they were good stories.”

“As far as ‘Pushin’ Too Hard,’ Sky wrote the lyrics to the song and we kind of came up with the beat and the rhythm to it,” remembered Hooper.

“It was written about a girlfriend, who literally was raggin’ on Sky all the time. It was sort of that intense driving song we would perform in clubs. We found that everyone got up and danced. We were on tour with Buffalo Springfield, the Shadows of Knight and our record was just starting to be played. And we would hear it riding on a bus. ‘Listen. There’s our song. This is cool.’ And by the time we got back to Los Angeles we had a huge record. Behold, the next gig in LA there were hundreds of screaming fans. We were a little bit in awe of the situation. Any recording artist has that dream but you can’t predict it or know when it might happen.

“’Mr Farmer,’ Hooper recalled, “I can tell you I literally wrote the music to that song. I woke up at three in the morning with the tune going through my head. I got up, I put it on a little recorder and in a few days I presented it to Sky. ‘What do you think? Wanna write some lyrics?’ And he immediately did and it produced that song.”

Daryl Hooper and Jan Savage both provided fond memories of their drummer Rick Andridge.

“Rick was the basic foundation,” stressed Savage. “He was on the beat all the time. We could depend on Rick whether we were on stage or in the studio. He counted it off and was on the beat. He didn’t have to worry about speeding up in the middle of the song, or slowing down somewhere else. You knew he was right on it.”

“I think the Seeds as a whole played off of one another,” Hooper underscored. “It took four people to make the Seeds. Sky couldn’t have done it without us and we couldn’t have done it without Sky. He was the lyricist and the front man and we were the foundation behind him that came up with the melodies, chord patterns and rhythms. We all had out own little job. We worked together. Put it in here or there. It was a team. Basically, in a nutshell, you had four people that clicked together as musicians.

“The audience could not tell that we hadn’t been playing together for years. “Sky started writing some lyrics,” mused Hooper, “and would come to us. I’d play a few chords. Jan would play a little lick on the guitar. All of a sudden, sometimes within ten minutes a song would materialize.

“We started at Bido Lido’s. In two months we were adding originals into our set and we found that the audience was responding more to our songs than the cover songs. One night we looked at each other and said, ‘The audience is responding to our songs. No more cover versions.’ From that day on we did no more covers.

“On the television shows we did they were mostly lip sync. You got used to it. That was the technology of the time. You had no choice whatsoever. Most shows did not have the technology to have you come out sounding decent live. That was the way it was. Some of the times Sky’s vocals were live. We got used to it OK. They were playing your music in the background. Your instrument may not have been plugged in but you’re still playing right along with it, and singing along with it.”

“The best songs come from personal emotion,” concluded Savage. “There were a lot of complimentary things we did together.”

“We did an album A Full Spoon Of Seedy Blues,” emphasized Hooper. “Muddy Waters wrote one of the songs and played harmonica on the session. It was at RCA. It was a very fun time. Sky had met Muddy and they clicked. Sky played some of his songs, sang them. He talked Muddy into coming to the session with his guitar player, Luther Johnson.”

“That was the first time we met him. And talk about a down to earth guy,” beamed Savage. “He was fantastic. He really liked us. It was an amazing experience. One of the most memorable sessions. The greatest compliment he ever gave us,” marveled Savage, “was, ‘You have a lot of soul for white boys.’”

© Harvey Kubernik 2020

Music historian Harvey Kubernik saw the Seeds at the 18,000 seat Hollywood Bowl in 1967, and venues all around Southern California 1966-1968.

Kubernik is the author of 19 books, including Canyon Of Dreams: The Magic And The Music Of Laurel Canyon and Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972. Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. For 2021 they are writing a multi-narrative book on Jimi Hendrix for the same publisher.

Otherworld Cottage Industries in July 2020 has just published Harvey’s 508-page book, Docs That Rock, Music That Matters, featuring Kubernik interviews with D.A. Pennebaker, Albert Maysles, Murray Lerner, Morgan Neville, Michael Lindsay-Hogg, Andrew Loog Oldham, John Ridley, Curtis Hanson, Dick Clark, Travis Pike, Allan Arkush, and David Leaf, among others. In 2020 Harvey served as Consultant on Laurel Canyon: A Place In Time documentary directed by Alison Ellwood which debuted on May 2020 on the EPIX/MGM television channel. It just received three Emmy nominations.

Kubernik’s writings are in several book anthologies, most notably The Rolling Stone Book Of The Beats and Drinking With Bukowski. He was the project coordinator of the recording set The Jack Kerouac Collection. He has just penned a back cover book jacket endorsement for author Michael Posner’s book on Leonard Cohen that Simon & Schuster, Canada, will be publishing this fall 2020, Leonard Cohen, Untold Stories: The Early Years).

Paul Krassner 1932-2019

By Harvey Kubernik

Paul Krassner, the writer, investigative satirist and free speech advocate, who published the groundbreaking counterculture periodical, The Realist, died at his home after a brief illness in Desert Hot Springs California on Sunday, July 21, 2019.

People magazine cited Krassner as “the father of the underground press.” The activist and author replied, “I immediately demanded a paternity test.”

Krassner was hailed by in the pages of Playboy: “Krassner lives in a world where Truth and Satire are swingers, changing partners so often you never know who belongs with whom.”

George Carlin and Lenny Bruce admired Krassner’s work and were inspired by him. Krassner interviewed Bruce for Playboy in 1959 and became a confident of Bruce and edited his autobiography, How To Talk Dirty and Influence People.

Krassner was born April 9, 1932 in Queens, New York. In the 1950s he studied at Baruch College in New York, before embarking on a stand-up comedy career booked as Paul Maul.  He started his self-published journal The Realist, in 1958. His literary career actually began at Mad magazine and writing for The Steve Allen Show. The Realist developed a forum for a satirical view of America, and Krassner provided an outlet for his group of friends that included Lenny Bruce, Groucho Marx, Norman Mailer, Phil Ochs, Timothy Leary, Terry Southern, Dick Gregory and Mae Brussel, Abbie Hoffman and Jerry Rubin with whom he founded the Yippies, (Youth International Party) in 1968. The Yippies protested America’s involvement in the Vietnam War at the 1968 Democratic National Convention.

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Mr. Bass Man: Larry Taylor 1942-2019

By Harvey Kubernik

Larry “The Mole” Taylor, known primarily for his bass playing in Canned Heat passed way from cancer on August 19, 2019 in the Lake Balboa area of California’s San Fernando Valley after a decade-long battle with cancer. A graduate of Fairfax High School in West Hollywood, Larry’s older brother was Mel Taylor, the longtime drummer of the Ventures.

As a teenager at Fairfax High School I first saw Larry in 1967 when Bob “Deacon” Kushner and I caught Canned Heat recording their live album at the Kaleidoscope club in Hollywood. I later ran into Larry and Canned Heat drummer Fito de la Parra in 1968 when Albert King headlined the Ash Grove.

(Photo: Larry Taylor onstage at Woodstock with Canned Heat. August 16, 2019. Photo by Henry Diltz/Courtesy Henry Diltz Archives)

I always felt there was a secret blues society 1966-1975 around Hollywood. The roots-based musicians and cool record producers like Denny Bruce and Chris Darrow would all be at the Muddy Waters, James Cotton, John Lee Hooker, Magic Sam, Paul Butterfield Blues Band and Albert Collins shows and sometimes share a table with you. I was a high school student and record geek. We would on occasion congregate after midnight at the Hollywood Ranch Market on Vine Street, just down the block from the Local 47 Musicians Union. Ever eat hot fried greasy chicken gizzards at 2:00 am and then have to go to high school for Home Room the next morning?

It was at the start of 1969 when I witnessed the epic New Year’s Eve bill at the Shrine Exposition Hall in downtown Los Angeles where Lee Michaels and Sweetwater opened the show, followed by Canned H

Just before midnight Canned Heat lead singer Bob “The Bear” Hite, clad in a white diaper, rode an elephant across the floor of the venue and was deposited on stage. He then uttered the command, “Let’s Boogie,” and the band soared for nearly three hours. Guitarist Henry Vestine didn’t show up at the gig and Jerry McGee sat in with them. Like Taylor, Jerry was on sessions on the debut Monkees LP. He was working with Delaney, Bonnie & Friends at the time.

After the crowd recovered from the event, at 3:00 am I was hitchhiking home with my friend Steve on Figueroa Street, it wasn’t illegal then, when a blue VW stops, and the driver said, “Come on in.” It was Larry Taylor with a very pretty blonde girl in the front seat.

Larry schlepped us back to the Fairfax area and touted blues music and specific LPs all the way down Olympic Blvd. “The Mole’ insisted I devour Robert Johnson’s King of the Delta Blues. He also touted a 1959 Wesley Reynolds’ record “Shut Down” on the local Dollar label I learned was a subsidiary of 4 Star Records, and he cited guitarist Michael Bloomfield, who told him that he picked up a guitar because of Wesley Reynolds.

“Bloomfield had heard his records playing in Chicago in 1962, ’63, and that’s when he bought a guitar. Canned Heat played a gig with Paul Butterfield Blues Band at the Troubadour and I saw Michael there, maybe 1966. I knew him when he and the Butterfield Band were staying in Los Feliz. I went over there with Elliot Ingber one time. We both went to Fairfax High and were in the Gamblers.”

During the ride, Larry was impressed when I informed him I had a copy of the 1959 instrumental surf music “Moon Dog” b/w “LSD-25” record by the Gamblers produced by Nik Venet on World Pacific Records he was on. Taylor laughed and enthused, “It got a lot of airplay and I actually made a royalty, my first royalty off a record.”

What did he mean by this word royalty? I didn’t know what he was talking about.

Larry deposited me at my parents’ house by 4:00 am and we exchanged phone numbers. Welcome to Hollywood…

In 1999 we chatted again when he was on tour with Tom Waits playing upright bass.

Myself and Monkees’ scholar Gary Strobl are truly saddened by Larry Taylor’s death. Larry was enthusiastic when people like Gary and I would quiz him about the Monkees. Larry is all over their first LP, including “Last Train to Clarksville” and “I’m Not Your Steppin’ Stone.”

At Raybert Productions at the Columbia Studios my mother Hilda helped type the scripts of The Monkees TV series. Unlike so many session cats, Larry wasn’t embarrassed of his hired hand pop music work around his blues mission. Canned Heat helped put blues on the AM radio dial with “Rollin’ and Tumblin’,” “Going Up the Country” and “Let’s Work Together.”

I interviewed Larry a few times this century. Once for my Canyon of Dreams: The Magic and the Music of Laurel Canyon, and then in 2012 for a book The Illustrated History of the Monterey International Pop Festival that I wrote with my brother Kenneth.

“You gotta realize that back then, even at Monterey, blues had been played before and was an influence on everybody,” he explained in one of our dialogues. “Canned Heat’s Al Wilson was more of the country then I was the city blues, the urban blues, like Henry, because Al was a record collector and would go down to the south and canvas for records. And drummer Frank Cook was sort of in between with jazz in the beginning. And then Bob (Hite) had the material and the ideas he brought into the band.

“Alan had a strong influence on the country blues part of it which it was in the beginning. In my case, I’m a jazz listener and jazz lover and a blues hard core style old rock & roller. That’s where I’m comin’ out of. And I’m still doing it today. I’m playing with all the best guys today. I played a lot of slide guitar and a lot of Alan’s type stuff. I was influenced from him on the guitar.“Canned Heat taught people roots music. One thing the band did was definitely get people hip to what American Country blues was all about. That was the music that the band loved.

“Canned Heat, Paul Butterfield Blues Band and Michael Bloomfield with Electric Flag played together at the 1967 Monterey International Pop Festival. Woodstock was the same but a lot more people. Same sort of vibe in a way. I did all the US music festivals with Canned Heat, Miami, and Atlanta. Monterey had more to do with FM radio.  “At Monterey I saw some new things and figured ‘That’s what it is. That’s what it’s gonna be.’ You didn’t think about things then. You just did it. (laughs). You showed up for the gig and you went on the road and you played all these festivals. We could translate well in the big places. Monterey and subsequently, Woodstock, had the big amps. Back then you never thought about the mix. You just got up there and played. None of this ‘this guy is in my monitor.’ You mixed it yourself playing, right then, like the old records.

“At Monterey I was on stage when Booker T was on backing Otis Redding and they sounded like the recordings. Hearing him was a special thing. It was music that I grew up listening too and wanted to play. Let’s put it this way: It was amazing that it was live. I had never seen anything live like that,” he emphasized. “I was at Monterey for two days. I saw Hendrix and was on stage. Laying right by Booker T’s organ watching him. There I was. I had heard of Jimi before the festival. ‘Foxy Lady’ was on the radio. At Monterey I saw Brian Jones walk by. I also saw Peter Tork and Mickey Dolenz of the Monkees. I had played bass in sessions on a lot of their early records. So playing with Canned Heat at Monterey was new, whereas playing on the Monkees’ records I had done other times. I had done stuff in the studio, played little clubs and now a festival.

“With Canned Heat we were stretching out. We were experimenting. In the studio even Canned Heat stretched out more than most. Live it even stretched out more and took solos. Expounding on a different level than you did in the studio. That was new.”

©Harvey Kubernik, 2019

Harvey Kubernik is the author of 15 books. His literary music anthology Inside Cave Hollywood: The Harvey Kubernik Music InnerViews and InterViews Collection Vol. 1, was published in December 2017, by Cave Hollywood. Kubernik’s The Doors Summer’s Gone was published by Other World Cottage Industries in February 2018.  It has been nominated for the 2019 Association for Recorded Sound Collections Awards for Excellence in Historical Recorded Sound Research. During November 2018, Sterling/Barnes and Noble published Kubernik’s The Story of The Band From Big Pink to the Last Waltz. Harvey’s 1995 interview, Berry Gordy: A Conversation With Mr Motown, that initially was published in 1995 in Goldmine and HITS magazines is included in The Pop, Rock & Soul Reader edited by David Brackett to be published in 2019 by Oxford University Press.  This century Harvey penned the liner note booklets to the CD re-releases of Carole King’s Tapestry, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special and The Ramones’ End of the Century. In November 2006, he was a featured speaker discussing audiotape preservation and archiving at special hearings called by rhe Library of Congress and held in Hollywood, California.