Fact #117022
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Mark Andes (bassist, Jo Jo Gunne) : When (Andes’ previous band) Spirit wasn’t playing and we’d be looking for a drummer for this new band, there’d be periods of months when we wouldn’t play. After my brother quit art school he was living with me so jamming was just kind of a natural thing. While we’d be jamming, things just started sounding better and better. We never really did look for a guitar player because Matt was playing just what we wanted to hear. (Source : interview by Peter Philbin, Phonograph magazine, August 1972)
Curley Smith (drummer, Jo Jo Gunne) : I was playing in a group from Austin, Texas, named Pumpkin. The group was getting’ ready to break up and I was lookin’ for another band. I knew this chick named Maggie, who happened to know Mark, and she said that they were lookin’ for a drummer because they were getting’ ready to split Spirit and start another group. So she called up Mark and I talked to him about it. That was over a year ago, in November. We talked over the phone for a couple of months, and then Pumpkin broke up in January and I flew out with all my drums and played with them for a while. And it worked out. (Source : interview by Peter Philbin, Phonograph magazine, August 1972)
Mark Andes : Curley had his fill of being in a band that had troubles in Texas, USA. Matt was ready to do it, and Jay and I just came out of a scene where we learned a lot. We were all tired of fucking around. I don’t think that anyone came into this band withoyt really wanting to do it right, which means being patient and finding the right people. (Source : interview by Peter Philbin, Phonograph magazine, August 1972)
Art Linson (manager, Jo Jo Gunne) : At the time, David Geffen needed a rock’n’roll act. He had a variety of folk acts. He had Judee Sill and David Blue and Jackson Browne. He was contemplating bringing on Joni Mitchell. And David, more than any other person in the record business neededn electric rock’n’roll band that was good. This, plus a lot of money, was the real incentive for signing to Asylum.
After signing with David, we realized how good he is. He is willing to do those kinds of things that managers always want done for their acts and usually have to fight and bleed for. David does them because he realizes that they have to be done. He supports his acts to the hilt. I think he’s incredible at what he does.
(Source : interview by Peter Philbin, Phonograph magazine, August 1972)
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Curley Smith (drummer, Jo Jo Gunne) : I was playing in a group from Austin, Texas, named Pumpkin. The group was getting’ ready to break up and I was lookin’ for another band. I knew this chick named Maggie, who happened to know Mark, and she said that they were lookin’ for a drummer because they were getting’ ready to split Spirit and start another group. So she called up Mark and I talked to him about it. That was over a year ago, in November. We talked over the phone for a couple of months, and then Pumpkin broke up in January and I flew out with all my drums and played with them for a while. And it worked out. (Source : interview by Peter Philbin, Phonograph magazine, August 1972)
Mark Andes : Curley had his fill of being in a band that had troubles in Texas, USA. Matt was ready to do it, and Jay and I just came out of a scene where we learned a lot. We were all tired of fucking around. I don’t think that anyone came into this band withoyt really wanting to do it right, which means being patient and finding the right people. (Source : interview by Peter Philbin, Phonograph magazine, August 1972)
Art Linson (manager, Jo Jo Gunne) : At the time, David Geffen needed a rock’n’roll act. He had a variety of folk acts. He had Judee Sill and David Blue and Jackson Browne. He was contemplating bringing on Joni Mitchell. And David, more than any other person in the record business neededn electric rock’n’roll band that was good. This, plus a lot of money, was the real incentive for signing to Asylum.
After signing with David, we realized how good he is. He is willing to do those kinds of things that managers always want done for their acts and usually have to fight and bleed for. David does them because he realizes that they have to be done. He supports his acts to the hilt. I think he’s incredible at what he does.
(Source : interview by Peter Philbin, Phonograph magazine, August 1972)