March 26, 1969. Howard Smith is speaking with Lou Reed upon the release of the Velvet Underground’s 3rd and self titled album. Although they are very influential in the New York scene, they haven’t yet gained a wider following.
Question about Collection 3. The Women's Lib & Sex track is dated as being from April 1969, but at the end of the show, Howard plays The Man In Me from Bob Dylan's New Morning, which was released in October of 1970. Recording for the album (according to Wikipedia) was done in the summer of 1970, so it would be impossible to play it before fall of 1970. True or false?
First off, thanks for listening to the whole thing!
Most of the reels (hundreds of them) were undated. We look for clues throughout each interview to pinpoint the date, or at least know the month, of the interview’s taping. Knowing concert dates, album releases and film premieres has helped us immensely, but for others we have to find other clues.
Looking back at my notes for this one, they mention the war in the Suez Canal (March 69-Aug 70) happening, the concert riot in it’s 3rd day (I thought this was the Legion Park riot, Los Angeles, April 20-23rd), and the Easter March violence (Derry N. Ireland, Easter was April 6, 1969, and then again March 29th, 1970).
So, how can Dylan’s Man in the Moon be played? Either my research brought me to the wrong conclusion, or Dylan recorded the track and got Howard copy prior to the album’s release (they were friendly).
If I had the time, I’d dig into the Dylan world and find out when he recorded that version of the song -
Thanks for chiming in- and I guess this means you’re enjoying the tapes?
When Dennis Hopper & Peter Fonda got back from their premiere at Cannes, a few weeks before “Easy Rider” was even released, they spoke with Howard about the film. Here’s what happened to their motorcycles after filming-
Jerry Rubin, (Revolutionary, co-founder of the Yippies, member of the Chicago Seven and outspoken Anti-Vietnam leader), on a Revolutionary’s responsibility and the upcoming 1972 Republican national Convention in San Diego, (that was later moved to Miami).
Howard interviewed Janis Joplin a few days before her death on October 4th, 1970. She was in California recording “Pearl”, and well into their conversation Howard asked her about the stir she was causing in the Women’s Lib Movement.
An excerpt from a Howard Smith interview with John & Yoko in their rented NYC apartment in 1972. Howard dropped by with his tape recorder to find them listening to a Beatles marathon that was on the radio. He pressed “Record,” and they spoke for over an hour.
From 1969–1973, Howard Smith, a Village Voice columnist, Oscar-winning filmmaker and radio personality, interviewed scores of rock musicians, artists and cultural figures for his radio show on New York station WPLJ. Smith sat down for revealing, personal conversations with Mick Jagger, Andy Warhol, Jim Morrison, Buckminster Fuller, Dustin Hoffman, Abbie Hoffman, Lou Reed and Hugh Hefner, to name a few. He interviewed John Lennon and Yoko Ono no less than four times, and broadcast live dispatches from Woodstock. Smith was at the center of culture during an era of extraordinary transformation.
The Smith Tapes, just unearthed and not heard since their original airing, are now available for the first time in 40 years. The Smith Tapes Collection will be a release of 100 of these interviews as downloadable tracks via iTunes and Amazon mp3s. Preceding their digital release, there will be a limited edition collector’s box-set featuring 12 CD’s of star-studded interviews.
Smith had a knack for meeting with artists at seminal moments in their careers. He talked with Jagger on tour a few weeks before Altamont, Dennis Hopper after Cannes in advance of the release of Easy Rider, Eric Clapton on the 2nd night of a Derek and the Dominoes gig at Fillmore East, Pete Townshend during the 2 night run of the Who’s Tommy at the Metropolitan Opera, Warhol after he was shot, Janis Joplin days before her death. He interviewed activists, radicals, politicians, writers, directors —a veritable who’s who of the American counterculture. Each of the downloadable interviews features Smith introducing and contextualizing the scene: the where, when, set-up and vibe in the room. The interviews play nearly uncut.
The Smith Tapes are like time capsules, portals which capture the interviewees in their prime, uncensored and before publicity became scripted. Listening to them feels as if you’re right there at the table, sitting in the room with Smith and his microphone. These tapes have an immediacy – an intimacy – that is astounding.