02/06/02 - 16:14:44
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... does indeed commence with the incestuous Wally Heider studio jams/sessions that took place in late 1970 early 1971. The Dead, Crosby & Paul all booked studio time on top of one another ... such that the sessions were a moveable feast of collaboration. Tapes, unearthed by Graham Nash's archivist Miguel Poos in 1991 (for the CSN box set), were labeled "Paul Kantner/PERRO." Graham called me & wanted to know if Paul wanted these tapes, & that is how they found their way home. Stephen barncard who engineered them (along with "Workingman's Dead," "American Beauty," et al) sees the tapes as belonging to David Crosby, because of the plethora of Cros-songs contained therein. But eminent domain is aplicable here - Paul booked the studio ... what transpired there was under his aegis. Ironically, Paul never much fancied these PERRO tapes because he musical contribution is rather limited to banjo on "Mountain Song" - sung by Garcia & Slick, with David Frieberg on viola.|
PERRO begat Crosby's "IICORMN," but NOT "BATE" as many have come to think. JEFFERSON AIRPLANE was already playing "BATE" material in 1970 before PERRO took place. The Fundamentalist's conjecture that regarding "Rolling Thunder" & "Seastones" are accurate, but a more direct line can be drawn through subsequent Kantner-Slick releases, "Sunfighter," "BVT&TCN" (my all-time personal favorite!), & "Manhole." Sidebar to society members: When you receive your PERROs, check out the piano melody Grace is playing throughout "The Dope Rap." Yup - it's he "Come Again Toucan" that would eventually opwn side one of "Manhole", three years later.
THE AIRPLANE/DEAD/CSN ego-less collaboartion of that magic time is remarkable for the volume & quality of the creative fruit it bore ... for it's relative shortlivedness ... & for the likelihood if not certainty, we shall never see its like again. Note: This is NOT an invitation to your Golden Palominos fans to rebutt.
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