Manual Aint No Telling

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Report this product Report this product to Microsoft Thanks for reporting your concern. Our team will review it and, if necessary, take action. Sign in to report this product to Microsoft. Report this product to Microsoft. Report this product to Microsoft Potential violation Offensive content Child exploitation Malware or virus Privacy concerns Misleading app Poor performance. His place, I think it was called Bob Summerise House of Records on 23rd and Jackson, and everybody bought records there. People want to think that African Americans only like African-American music, or that Caucasians only like Caucasian music.

Dean Martin was one of his very favorites as a kid. But Summerise, who catered to a 99 percent African-American audience, mostly carried the blues, which was the popular black music of the day. He also carried Frank Sinatra and Perry Como, but he kept those records behind the counter, which is hilarious. They kept the black records behind the counter. The Sonics are my single most favorite Seattle band of all time. I wrote a cover story for The Rocket , which is still legendary because we had an insane art director at the time, Art Chantry, who I was feuding with at the time.

I wrote the first story, arguably, that anyone had ever done in appreciation of the Sonics. I tracked all of them down and wrote about their legendary tours and recordings. It was a massive, 5,word story, the biggest story that [ The Rocket ] had ever run. Art decided to get me back—he would run the entire story, but he would run it in 8-point type. I mean, literally, you need a magnifying glass to read the story.

Ain't No Telling by The Temperance Movement

Never talked to anybody. I felt happy to get everybody else. Gerry Roslie wrote me a letter saying he liked the story, a handwritten letter, and in my years at The Rocket , I kept four or five things on my wall, and that was one of them. Two weeks after Woodstock, Jimi played a free concert at rd and Lenox in Harlem. He was with a Puerto Rican girlfriend—people thought she was white and yelled at her. And Hendrix was at the forefront of that. No matter what he did, it was a controversy.

He was always too white for the black audience and too black for the white audience. He really wanted to be played on black radio. Not until George Clinton remade them as Parliament, with horns and fewer loud guitars. You had to have horns.

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Which is funny—Jimi wanted horns. When he first went to England and formed the Experience, he made phone calls back to Seattle to horn players. He always wanted horns, and he never really got them.

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The Woodstock band was the closest thing he got to [a soul] ensemble. Was there ever a point where he was sort of adding more guitar to sort of make up for that? Well, the Woodstock band has got Larry Lee on secondary guitar. What actually got played at Woodstock, Larry Lee sings four or five songs. Who wants to hear Larry Lee or his guitar solos? I mean, this did not make a lot of sense.

The communitarian aspect was a big part of what made P-Funk—everybody chipping in at once with one mastermind. It seems like that was something Jimi aspired to. His studio jams, which became legendary, created some of his greatest music. The stuff on Electric Ladyland , I mean, he was inviting people in. No one knows who the cab driver is, he is uncredited, but there is some conga that the cab driver contributed. It was Casady and Stevie Winwood and a couple of other people. And Casady said he was in the studio for half an hour and had to leave. In fact, I was so happy when the Cobain book came out, it never got mentioned.

Can I bribe you not to include this? There were a handful of artists that I listened to in my teenage bedroom—Bruce Springsteen was one, Bob Dylan was one, and Jimi Hendrix. This was one of my absolute favorite songs. What I loved about this record was the romanticism that it suggested. I grew up in the small town of Pullman, and this suggested such a wonderful kind of West Side Story— ish world, sort of a romanticism, so beautiful.

Maybe they are right about David Sancious, too. I mean, that guy was just brilliant. Well, you know, I loved Bruce Springsteen and started a fanzine partially because I felt that the mainstream media was not covering him enough.

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I was a teenager, essentially. And it was kind of a crazy idea to start a fanzine. It still is going. The strangest thing about Backstreets is that it is very successful and Bruce cooperates with it in ways he never did when it was a fanzine—I was at times very critical of him. Whatever this is, I have never heard it. Ann started her writing career at The Rocket.

So this is an obscure way to go there.

Ain't No Telling

The Heats were the first color cover of The Rocket ever. Basically, as long as I was editor or publisher or whatever, I heard nothing but grief from our staff. Even I took it for granted. We published some great people early on and paid them very poorly, but gave them a place where you could really write what you wanted about music. They were growing up reading the magazine that I was an adult doing. But it also made me realize with that paper that we did do something that was unique, I think, in America.

The Rocket was a collective that sprang out of an entertainment section of The Seattle Sun , which was a Capitol Hill weekly paper. It was very hippie and very liberal, and I had a brief stint as an art director. This is probably admitting to a felony in the state of Washington, but early on, basically everybody at The Rocket was living on absolute peanuts.

We were barely surviving, and if you worked for six months, you could collect unemployment. So we had a rotating thing where person A would work for six months, then get laid off, collect unemployment. You made more money on unemployment than you did working at The Rocket. God bless Danny Mitchell— he supported us when no one else did.

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It was open [until 4 a. And so you would wait until 2 a. That was one of the only benefits of working at The Rocket. One night when I was there at 2 a. I talked to him about Patti Smith and a variety of other things, [so] there were benefits to such late nights. That was how you survived. You literally were hoping for a trade to get free spaghetti.

The other reason I chose this song was that, although Tori Amos never went on the record and said so, it was allegedly written about Courtney Love. I actually wrote this story in The Rocket once.