Fact #165004
When:
Short story:
Folk supergroup The Pentangle release their eponymous debut album on TransAtlantic Records in the UK.Full article:
Shel Talmy (producer) : It was very interesting recording [the Pentangle] because their various musical tastes were so diverse that we did a little bit of everything. [Drummer Terry Cox] in particular and [guitarist John Renbourn] were very into medieval music, and consequently we did a fair amount of medieval music. [Guitarist Bert Jansch] was particularly interested in 18th and 19th century English ballads, which were fun to do. I knew all that stuff from my folk days. So it was great. I really enjoyed them. The Pentangle were an interesting bunch of people. Talk about diverse people getting together.
I like folk-rock, of course. In some ways the Pentangle were folk-rock, with jazz orientation also. I did a bunch of folk-type rock music in the early '60s; I didn't really have the right people to do it. But yes, I like the music. I grew up with it.
My problems have never been with the bands, they've been with the managements. Their manager, he was number one of my most unfavorite people in the whole world, Jo Lustig. I know a lot of other producers, it's a sort of loosish fraternity, and they've all said the same thing to me: for the most part, the producers never or very seldom have problems with the bands, but usually with the support troops. If you have to nail a reason down, if you think about it, what is a manager? It's some untalented asshole who has got a piece of talented property to do things that he--normally it's he--has no ability to do himself. Basically, managers are warts on the backside of society (laughs). They really don't do a lot. I suppose a disclaimer here is of course there are some very good managers. I have been unfortunate to run into the ones that weren't.
Bands - especially back then, when that whole rock revolution started - were really young and extremely impressionable. And all the managers that I knew were guys at least in their thirties, and they were sort of father figures in many ways. They had access to the band on a full-time basis. And you got these young kids who were thrust into the limelight, most of them from working class backgrounds, most of them with very little money, and they were incredibly impressionable. It's understandable, from a sociological point of view. It doesn't mean I loved it. These guys were making five quid a week or something, and all of a sudden they're getting a thousand pounds a night for playing an instrument that they really liked to play in the first place. Of course they went crazy.
(Source : not known)
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I like folk-rock, of course. In some ways the Pentangle were folk-rock, with jazz orientation also. I did a bunch of folk-type rock music in the early '60s; I didn't really have the right people to do it. But yes, I like the music. I grew up with it.
My problems have never been with the bands, they've been with the managements. Their manager, he was number one of my most unfavorite people in the whole world, Jo Lustig. I know a lot of other producers, it's a sort of loosish fraternity, and they've all said the same thing to me: for the most part, the producers never or very seldom have problems with the bands, but usually with the support troops. If you have to nail a reason down, if you think about it, what is a manager? It's some untalented asshole who has got a piece of talented property to do things that he--normally it's he--has no ability to do himself. Basically, managers are warts on the backside of society (laughs). They really don't do a lot. I suppose a disclaimer here is of course there are some very good managers. I have been unfortunate to run into the ones that weren't.
Bands - especially back then, when that whole rock revolution started - were really young and extremely impressionable. And all the managers that I knew were guys at least in their thirties, and they were sort of father figures in many ways. They had access to the band on a full-time basis. And you got these young kids who were thrust into the limelight, most of them from working class backgrounds, most of them with very little money, and they were incredibly impressionable. It's understandable, from a sociological point of view. It doesn't mean I loved it. These guys were making five quid a week or something, and all of a sudden they're getting a thousand pounds a night for playing an instrument that they really liked to play in the first place. Of course they went crazy.
(Source : not known)