A Quote by Judd Apatow
My grandfather was Bob Shad, one of those legendary jazz and blues producers - he worked with Charlie Parker and Dinah Washington, and he produced Janis Joplin's album [1967's Big Brother & the Holding Company]. He always owned small labels as well - he had a label called Mainstream Records in the 70s.
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I remember thinking that Janis Joplin sang like Mae West talked. When I
first heard the primal scream in 'Piece Of My Heart,' I was hooked. 'Cheap
Thrills,' Janis 'Live' with Big Brother And The Holding Company, was one of
my all time faves. During the 'whoa, whoa, whoa, whoa's' in 'Combination Of
Two,' I couldn't help but go to the mirror and pretend I was a wild woman
like Janis, in a rock band.
The "Highway 61" album [of Bob Dylan] was produced by Bob Johnston if I'm not incorrect. And Bob Johnston was an entirely different producer than Tom Wilson. Tom Wilson had produced jazz records and was a Harvard educated.
That's why I loved Dinah Washington. She sung jazz, but they called her the Queen of the Blues. She had the control and sophistication of jazz in her note selection and how to attack a song or certain lines, but then attacked it with a painful force of blues behind it. That's why I admired her so much, because of that versatility.
When I was little, I was listening to the Beatles, Bob Marley, Janis Joplin, and stuff. I had a big soul music culture, and not so much a French one.
I once worked at a record label called London Records. The company was owned by Roger Ames, one of the most successful figures in the British music industry. Roger always placed a value on loafing, on holidays, on not being in the office all the time.
Charlie Parker was the greatest individual musician that ever lived. Every instrument in the band tried to copy Charlie Parker, and in the history of jazz there had never been one man who influenced all the instruments.
Bob Dylan wasn't a big star early on; it was the release of his Greatest Hits album in 1967, and the mainstream success of the stoner anthem "Rainy Day Women #12 & 35" ("Everybody must get stoned!"), that really put him on the mainstream map.
Whenever I'm in Kansas City, I think back to all the jazz-blues greats who played the blues here - like Count Basie, Charlie Parker and Jay McShann. I watched those guys jam in different places and heard a lot of things - but I couldn't do what they did. They were too good.
I've always loved the blues, John Lee Hooker, Janis Joplin, Hendrix.
Ive always loved the blues, John Lee Hooker, Janis Joplin, Hendrix.
My brother had a big band in high school; after that we continued to play together, eventually forming a group called the Jazz Brothers, that recorded for Riverside Records.
Janis Joplin sings the blues as hard as any black person.
I remember the first time somebody played me Janis Joplin. My friend Donna put on Janis Joplin, and she said, 'You're like her.' At the time, I wasn't even a singer; I was a drummer. I just wanted to play the drums.
I've done two albums for Concord Records; one was with Al Jarreau and it did very well for us. The second album was called 'Songs And Stories,' and it had good songs and good performances, but I promised them I would do an album that was more jazz-oriented.
I produced the Buckcherry album and I just finished a band called American Pearl on Wind-Up Records. That's Creed's label. They're pretty rocking. Now I'm looking for another band to produce.
By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.
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