{"id":1004,"date":"2012-08-02T17:30:53","date_gmt":"2012-08-02T17:30:53","guid":{"rendered":"http:\/\/www.totallyguitars.com\/thelisteningpost\/?p=1004"},"modified":"2022-06-22T04:43:05","modified_gmt":"2022-06-22T04:43:05","slug":"john-sebastian","status":"publish","type":"post","link":"https:\/\/totallyguitars.com\/blog\/tg-classic-blogs\/band-trivia\/john-sebastian\/","title":{"rendered":"John Sebastian"},"content":{"rendered":"<p><iframe loading=\"lazy\" title=\"John Sebastian Part 1 by Steve Rose\" width=\"1140\" height=\"641\" src=\"https:\/\/www.youtube.com\/embed\/_m0rxy7kyPY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><br \/>\n<iframe loading=\"lazy\" title=\"John Sebastian Part 2 by Steve Rose\" width=\"1140\" height=\"641\" src=\"https:\/\/www.youtube.com\/embed\/Bb7QDxoE2-k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><br \/>\nBy: Stephen Rose<br \/>\n<a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/John_Sebastian_Woodstock.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1015\" style=\"border-image: initial; margin-left: 6px; margin-right: 6px; border-width: 2px; border-color: black; border-style: solid;\" title=\"Woodstock\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/John_Sebastian_Woodstock.jpg\" alt=\"\" width=\"250\" height=\"369\" \/><\/a>John Sebastian is another example of a performer who had everything in place for a successful solo career, but was never able to recapture the commercial heights he attained with his first group, the Lovin\u2019 Spoonful, or take full advantage of the fame he received from his unexpected show-stopping performance in the film Woodstock.<br \/>\nJohn Sebastian was poised to lead the vanguard of singer-songwriters emerging in the early seventies \u2013 which included Joni Mitchell, James Taylor, and Neil Young \u2013 however, due to legal hassles the release of his first solo album was delayed for a year and a half while the suits and lawyers representing competing record labels fought in court over who owned the rights to his music.<br \/>\nThere is a certain romantic idealism associated with a career in music that is out of touch with the reality of the music industry &#8211; corporations in the businesses of pumping out recordings for profit. The chance of a musician becoming the next Eric Clapton or Jimi Hendrix is no better than the chance of the next computer engineer becoming the next Steve Jobs or Bill Gates \u2013 and being a working musician is a much tougher gig! It is said that making a career of the arts is not something one does simply because they would like to, but something one only does because they must.<br \/>\nJohn Sebastian was born in 1944 in New York City and grew up in the company of artists and musicians. His father was a much-recorded and technically accomplished classical harmonica player.\u00a0 His mother wrote scripts for radio programs.<br \/>\nSebastian grew up in the Greenwich Village section of lower Manhattan, where he applied the knowledge of harmonica learned from his father to the music of the folk revival that was blossoming in his neighborhood in the late \u201850s and early \u201860s.<br \/>\nBy the age of 16, John Sebastian was performing in local coffeehouses and folk clubs. When he was 18, he started working as a sideman in the Even Dozen Jug Band, a group heavily influenced by Jim Kweskin. In 1964, the Even Dozen Jug Band made a self-titled album for Elektra Records before splitting up. [The Even Dozen Jug Band also included David Grisman, and a young singer named Maria d\u2019Amato who would later change her name to Maria Muldaur after joining Kweskin\u2019s group and marrying its lead singer, Geoff Muldaur.]<br \/>\nBefore forming the Lovin\u2019 Spoonful, Sebastian worked as a sideman on several recordings \u2013 playing harmonica on sessions by folkies like Tom Rush, Fred Neil and Tim Hardin.\u00a0 He also played bass on Bob Dylan&#8217;s first electric album, Bringing It All Back Home.<br \/>\n[As an instrumentalist &#8211; primarily playing harmonica &#8211; John Sebastian has accompanied a wide range of artists including Judy Collins, Crosby, Stills &amp; Nash, The Doors, The Everly Brothers, Art Garfunkel, Gordon Lightfoot, Laura Nyro, Graham Parker, Dolly Parton, Peter, Paul &amp; Mary, John Prine, and Bonnie Raitt.]<br \/>\n<a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Spoonful.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-1020\" style=\"border-image: initial; margin-left: 6px; margin-right: 6px; border-width: 2px; border-color: black; border-style: solid;\" title=\"Lovin' Spoonful\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Spoonful.jpg\" alt=\"\" width=\"250\" height=\"344\" \/><\/a>In early 1965, while the &#8220;British Invasion&#8221; dominated the American music scene, John Sebastian and Zal Yanovsky, two folkies based in the Greenwich Village, teamed up with two rockers from Long Island, Steve Boone (bass) and Joe Butler (drums), to form the Lovin&#8217; Spoonful. Sebastian and Yanovsky\u00a0had briefly worked together in a\u00a0bohemian\u00a0folk\u00a0group called\u00a0The Mugwumps, playing local coffee houses and small clubs. [The Mugwumps included Cass Elliot\u00a0and\u00a0Denny Doherty, would later join with John and Michelle Phillips to form The Mamas &amp; The Papas.]<br \/>\nSebastian recalls, \u201cThe Spoonful brought together two different mentalities, and both were essential to what the band became. Zally and I came out of the hipster Village sensibility, but Steve and Joe knew the reality of playing danceband rock &amp; roll in the bars of Long Island. So they\u2019d say, \u2018Guys, we gotta play this faster or people won\u2019t dance\u2019 or \u2018Look, you can\u2019t play blues all night or nobody\u2019ll care.\u2019 Those were basic, common sense rock &amp; roll band things that we needed to hear. Without what the rhythm section brought, the Spoonful might have been just another bad white blues band that never got out of Greenwich Village.\u201d<br \/>\nThe name Lovin\u2019 Spoonful was inspired by one of John Sebastian\u2019s primary mentors, Mississippi John Hurt, from a\u00a0song called the &#8220;Coffee Blues&#8221; &#8211; a tribute to\u00a0Maxwell House\u00a0Coffee (\u201cgood to the last drop\u201d). In the song\u2019s introduction Hurt says \u201ca spoonful of Maxwell House is just as good as two or three cups of other coffee.\u201d During the chorus he repeats the line, \u201cjust got to have my lovin\u2019 spoonful.\u201d<br \/>\n<a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Spoonful-02.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1039\" style=\"border-image: initial; margin-left: 6px; margin-right: 6px; border-width: 2px; border-color: black; border-style: solid;\" title=\"Lovin' Spoonful\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Spoonful-02.jpg\" alt=\"\" width=\"275\" height=\"206\" \/><\/a>The Lovin\u2019 Spoonful wrote most of their own songs and played all the instruments on their albums (a rarity during an era when session musicians were routinely called in to provide backing instrumental tracks during \u00a0recording sessions).<br \/>\nTheir sound &#8211; probably best characterized as good-time electric jug band music, \u00a0rather than folk rock &#8211; resulted in a string of hits that would dominate the charts and establish them among the great acts of the mid-sixties era.<br \/>\nThe group\u2019s first recordings were made for Elektra Records in exchange for the company giving them amplifiers. They recorded four tracks in early 1965 that were later released in 1966 on the Elektra compilation\u00a0What&#8217;s Shakin&#8217;. Two of the tracks are John Sebastian originals: \u201cGood Time Music,\u201d and \u201cDon\u2019t Bank On It Baby.\u201d They also cover Chuck Berry\u2019s \u201cAlmost Grown,\u201d and \u201cSearchin\u201d by the Coasters. [The compilation also includes tracks from The Butterfield Blues Band, Tom Rush, Al Kooper, and pre-Cream Eric Clapton.]<br \/>\nDuring a residency at the Night Owl Caf\u00e9 in the Village, the Lovin\u2019 Spoonful decided to sign a contract with\u00a0Kama Sutra Records (a subsidiary of MGM). Working with producer\u00a0Erik Jacobsen, the band released a series of folk-flavored pop hits, that beginning with their first single, the Sebastian-penned &#8220;Do You Believe in Magic,\u201d began a string of seven straight singles that went to the top ten. [The independently-produced master of \u201cMagic\u201d sat in Erik Jacobsen\u2019s satchel for months, eventually accumulating rejection slips from every major label in New York. Only after Phil Spector caught their show at the Night Owl and considered producing them did things begin to change. Kama Sutra finally released the single in August 1965.]<br \/>\nPropelled by John Sebastian\u2019s autoharp, \u201cDo You Believe In Magic\u201d reached #9 on the\u00a0Billboard Hot 100, The Spoonful followed \u201cMagic\u201d with &#8220;You Didn&#8217;t Have to Be So Nice&#8221;, which reached #10; and &#8220;Daydream,&#8221; which went to #2. Other hits included &#8220;Did You Ever Have to Make Up Your Mind&#8221; (another #2 hit); and the hard driving \u201cSummer in the City,\u201d which reached #1 and went gold (August 1966). Later that year, the #10 hit &#8220;Rain On The Roof,&#8221; and the #8 hit &#8220;Nashville Cats&#8221; completed their first seven consecutive top ten hits, all produced by Erik Jacobsen.<br \/>\nThey toured almost constantly during this period and were one of the first rock bands to perform on college campuses almost as much as for teenage concert goers.<br \/>\n[The Spoonful were so successful they even had an influence on The Beatles, as Paul McCartney wrote \u201cGood Day Sunshine\u201d in direct response to their song \u201cDaydream.\u201d]<br \/>\nIn 1966, The Lovin&#8217; Spoonful&#8217;s song &#8220;Pow!&#8221; was used as the opening theme of\u00a0Woody Allen&#8217;s first feature film,\u00a0What&#8217;s Up, Tiger Lily. (They also have a brief cameo in the film.) Also that year, John Sebastian composed the music for\u00a0Francis Ford Coppola&#8217;s second film, You&#8217;re a Big Boy Now. The Lovin&#8217; Spoonful played the music for the soundtrack, resulting in several of the band\u2019s classic songs including the movie\u2019s title track, the instrumental \u201cLonely (Amy\u2019s Theme),\u201d and one of John Sebastian\u2019s most heartfelt ballads, the hit single \u201cDarlin\u2019 Be Home Soon,\u201d which reached #15 on the charts.<br \/>\n[In 1966, in response to the massive popularity of The Beatles first two movies, \u00a0filmmakers Bob Rafelson and Bert Schneider decided to do an American version of A Hard Day\u2019s Night, as a weekly television program. At first, the producers determined the easiest path forward was to get an already established band and build the series around them. They zeroed in on the Lovin\u2019 Spoonful, as the band definitely had a certain zany, lighthearted spirit about them. However, after an audition process, the producers decided using a real band would be more trouble than they expected. For one thing, the Spoonful were writing their own music at this point, and the show was not interested in giving up the publishing rights to the songs written for the show, so it really did not make sense for either parties. The producers instead turned to open auditions for the show, using the now famous ad in Variety, and the program went on to become the smash hit, The Monkees.]<br \/>\nZal Yanovsky left the band in May 1967, primarily due to a drug bust in San Francisco. He and Steve Boone were arrested for possession of marijuana, and pressured by the police to name their supplier. \u00a0Yanovsky, fearing deportation to his native Canada, fingered his source, which lead to the band falling out of favor with the hip community. \u00a0[The drug bust fueled a simmering controversy in mainstream circles regarding the band&#8217;s name, which some believed was a reference to heroin abuse.]<br \/>\nYanovsky&#8217;s replacement in the group was\u00a0Jerry Yester, formerly of the\u00a0Modern Folk Quartet, and the producer for The Association. [In 1969, Yanovsky released a solo album, Alive and Well in Argentina, produced by Jerry Yester. He then retired from music and moved back to Canada, operating a restaurant in Kingston, Ontario until his death in 2002.]<br \/>\nIn September 1967, the group released their fourth album, the ambitious Everything Playing. It was the first attempt for a rock band to record an album on the new Ampex 16 track tape recorder, resulting in several progressive new singles such as &#8220;Six O-Clock,&#8221; \u201cMoney,\u201d &#8220;She&#8217;s Still A Mystery To Me,\u201d and \u201cYounger Generation.\u201d<\/p>\n<p style=\"text-align: center;\">\u00a0<a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Spoonful-06B1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1042\" style=\"border-image: initial; margin-top: 6px; margin-bottom: 6px; border-width: 2px; border-color: black; border-style: solid;\" title=\"Lovin' Spoonful\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Spoonful-06B1.jpg\" alt=\"\" width=\"450\" height=\"201\" \/><\/a><\/p>\n<p>John Sebastian left The Lovin\u2019 Spoonful in June 1968 to go solo (after considering, but ultimately rejecting, an offer to join a trio of his friends who went on to become Crosby, Stills &amp; Nash). Warner Bros. Records seemed like a logical home for Sebastian\u2019s solo recordings, as the label was at the forefront of signing artists who were part of the emerging singer-songwriter boom. [Other Warner Bros. artists during this era included Joni Mitchell, James Taylor, Van Morrison, Neil Young, Emmylou Harris, Frank Zappa, Rod Stewart, Gordon Lightfoot, Bonnie Raitt, Randy Newman, Ry Cooder, and Van Dykes Parks.]<br \/>\nJohn Sebastian was eager to do an album with some of the musician friends he&#8217;d long admired. With the Spoonful, he explains, &#8220;Although it had been a tremendously popular thing, what we were finding at the point at which we were sort of on our last record was it felt like we were at the upper limits of our own musical abilities. I wanted this opportunity to play with the same guys I&#8217;d been playing with when we were all broke.\u201d<br \/>\n<a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/John-B-Sebastian.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1023\" style=\"border-image: initial; margin-left: 6px; margin-right: 6px; border-width: 2px; border-color: black; border-style: solid;\" title=\"John B. Sebastian\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/John-B-Sebastian.jpg\" alt=\"\" width=\"250\" height=\"250\" \/><\/a>His first album was produced by Paul Rothchild, who met John Sebastian back when he was a sideman in the Even Dozen Jug Band, and produced some early Elektra folk recordings which Sebastian participated in. [Rothchild also produced the Doors\u2019 Morrison Hotel album in November 1969, recruiting John Sebastian to play harmonica on the song \u201cRoadhouse Blues.\u201d Sebastian is credited on the Doors album as G. Puglese, an old family name.]<br \/>\nSebastian\u2019s solo debut, titled John B. Sebastian (released on the Warner Bros. subsidiary Reprise) featured Dallas Taylor (drums), Harvey Brooks (bass), and Paul Harris (keyboards).\u00a0 It also had notable guest appearances from Stephen Stills (guitar on &#8220;Baby, Don&#8217;t Ya Get Crazy&#8221;), David Crosby, Graham Nash (high harmony on &#8220;What She Thinks About&#8221;), pedal steel player Buddy Emmons (featured on country-ish &#8220;Rainbows All Over Your Blues\u201d), and Buzzy Linhart (vibes on the jazzy \u201cMagical Connection).\u201d Danny Weiss, the guitarist from Rhinocerous (who had a hit with \u201cApricot Brandy\u201d) also played on \u201cBaby Don\u2019t Ya Crazy,\u201d which featured The Ikettes on harmony. Other highlights include the upbeat opener \u201cRed Eye Express;\u201d a solo acoustic remake of the Spoonful\u2019s \u201cYou\u2019re A Big Boy Now;\u201d the experimental \u201cHow Have You Been;\u201d and a trippy instrumental \u201cFa-Fana-Fa.\u201d The album closes with the heavily orchestrated waltz, \u201cI Had A Dream.\u201d<br \/>\nWhile in Los Angeles waiting for the album\u2019s release, John Sebastian got an unexpected kick-start to his solo career when his producer, Paul Rothchild, called and suggested that he attend the Woodstock Music &amp; Art Fair in upstate New York. Sebastian was not scheduled to perform at the festival, but after the delay caused by the rainstorm, he was asked by Chip Monck (the MC), to play an acoustic set while the rain was swept off the stage. He borrowed a guitar from Tim Hardin and delivered a memorable set of songs which seemed to capture the atmosphere of the moment perfectly.\u00a0\u00a0His inclusion on the Woodstock soundtrack (released May 1970), and in the documentary film (released August 1970), catapulted John Sebastian into one of the most recognized singer-songwriters of the year.<\/p>\n<p style=\"text-align: center;\"><a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/John_Sebastian_Woodstock_01.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1036\" style=\"border-image: initial; margin-top: 6px; margin-bottom: 6px; border-width: 2px; border-color: black; border-style: solid;\" title=\"John Sebastian Performing at Woodstock\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/John_Sebastian_Woodstock_01.jpg\" alt=\"\" width=\"475\" height=\"317\" \/><\/a><\/p>\n<p>Unfortunately, his album\u2019s release by Reprise was tied up in court a year and a half by MGM who wanted to release it as a Lovin\u2019 Spoonful album. MGM contended that the Lovin&#8217; Spoonful, though now defunct, owed it another album, and that it had the right to release Sebastian&#8217;s LP. While the case was being decided in court, MGM released a sonically inferior bootleg version of the album, taken from a second-generation master.<br \/>\nEventually, the courts decided in Sebastian&#8217;s favor, and the album came out in January 1970. However, the unauthorized release of the MGM version, combined with the delay in issuing the release, diluted the album\u2019s impact and hurt Sebastian commercially.<br \/>\n&#8220;It hurt everything,&#8221; emphasized John. &#8220;It made for confusion that didn&#8217;t need to be there. Who knows, it might have done a little better [if MGM hadn&#8217;t put out its LP]. But the important thing was losing that year and a half. Because music, especially our popular music, changes so fast that the shelf life on a style can be six months, and I was very aware of that. It was one of the first [albums] of the sort of singer-songwriter guys out of the box, but you couldn&#8217;t realize it by the time the album came out, &#8217;cause so many other guys with the same approach by then had gotten out there.&#8221;<br \/>\nFortunately, Sebastian&#8217;s music remained unaffected, and John B. Sebastian became his most commercially successful solo LP, reaching #20 upon its release.<br \/>\nHe also continued working as a sideman, playing harmonica on the song &#8220;D\u00e9j\u00e0 Vu,&#8221;\u00a0with Crosby Stills Nash &amp; Young (released March 1970).<br \/>\nUnfortunately, MGM wasn\u2019t finished harassing him. In July 1970, while performing at a festival in New Orleans, John Sebastian was asked to fly to New York and do a show for a crowd near the city of Woodstock whom were in need of entertainment. Primitive equipment was used to record the concert and MGM released it without his consent under the title John Sebastian Live.<br \/>\n\u201cAgain, here was this odd situation where I was faced with the release of an album that comes out, and nobody knew that it was a bootleg because it\u2019s got MGM\u2019s name on it,\u201d recalled Sebastian. \u201cThey put it out and they again hoped to sell a few more before the final curtain on their tenure as my record company ended.\u201d<br \/>\n\u201cWhen I saw this album was out, I already had a few things in the can for my next album. Paul Rothchild and I were looking at this album together, because we were kind of the two creative heads at what had been my solo career up to that point, and we said \u2018Oh my God, this is bad enough that we have to make another album. We have to make something so people can see what I can do live.\u201d<br \/>\n<a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/cheapo.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-1032\" style=\"border-image: initial; margin-left: 6px; margin-right: 6px; border-width: 2px; border-color: black; border-style: solid;\" title=\"Real Live\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/cheapo.jpg\" alt=\"\" width=\"250\" height=\"250\" \/><\/a>Cheapo Cheapo Productions Presents Real Live John Sebastian was released in April 1971 as an alternative to the MGM bootleg. Paul Harris, who also played piano on Sebastian\u2019s debut, provides his only accompaniment.<br \/>\n\u201cI didn\u2019t feel like I wanted to go out and get some big symphonic background or anything, and so the \u2018Cheapo Cheapo\u2019 part of it was sort of flying in the face of what was going on in rock at that point, which was very inflated. And so, I just said, \u2018Look, let\u2019s just go out, real cheapo, one guitar with Paul Harris, and we\u2019ll record it. So, out of that experience, that live album was made. I was very much playing things that worked well on a single guitar with a simple piano accompaniment, and having fun with the audience.\u201d<br \/>\nThe album included several Lovin\u2019 Spoonful classics, including \u201cLovin\u2019 You,\u201d \u201cYounger Girl,\u201d \u201cDid You Ever Have To Make Up Your Mind,\u201d \u201cNashville Cats,\u201d \u201cYounger Generation,\u201d and \u201cDarlin\u2019 Be Home Soon.\u201d Other highlights include \u201cMy Gal,\u201d and \u201cWaiting For A Train.\u201d<br \/>\n<a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/The_Four_Of_Us.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1033\" style=\"border-image: initial; margin-left: 6px; margin-right: 6px; border-width: 2px; border-color: black; border-style: solid;\" title=\"The Four Of Us\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/The_Four_Of_Us.jpg\" alt=\"\" width=\"250\" height=\"245\" \/><\/a>On his next studio effort, \u201cThe Four of Use,\u201d released August 1971, John Sebastian was at the top of his game throughout the album. It was his most polished and consistent effort to date, loaded with tracks that should have received favorable reviews and radio airplay.<br \/>\n\u201cBy this time, my wife and I had really become a couple. We were probably, at that point, beginning her pregnancy, or were inches away from it. It was a very, very happy time in my life and so I was writing quite a lot about my happiness for these songs,\u201d recalls Sebastian.<br \/>\n\u201cI enjoyed making that album tremendously. In some ways it was kind of a selfish album. I was just permitting myself to go wherever I wanted to, including letting this seventeen-minute side of a record by kind of a continuing continuum, or a kind of adventure. But, it certainly was not a very big seller.\u201d<br \/>\n\u201cOver the years, I have been thrilled by the number of people who have come up to me and said that they were a couple when \u2018The Four Of Us\u2019 came out and they very much enjoyed it when it came out. I have received a number of very warm compliments about the album, but at the time I was taking a lot of flack for that album.\u201d<br \/>\nThere are no weak tracks on The Four Of Us, although the title track \u2013 an experimental four-part suite which occupies all of side two \u2013 is an interesting departure from John Sebastian\u2019s more typical radio-friendly fare. Satisfying individual tracks are \u201cApple Hill,\u201d \u201cWe\u2019ll See,\u201d \u201cI Don\u2019t Want Nobody Else,\u201d and \u201cSweet Muse.\u201d Other highlights include the opener, \u201cWell, Well, Well,\u201d \u201cBlack Snake Blues,\u201d and \u201cBlack Satin Kid.\u201d<br \/>\nThe Rhino boxed set, Faithful Virtue: The Reprise Recordings, includes the single \u201cGive Us A Break,\u201d released in February 1972. The flip side is an instrumental called \u201cMusic For People Who Don\u2019t Speak English.\u201d It was a song John Sebastian wrote for his son because he didn\u2019t speak English yet.<br \/>\n\u201cHe was little,\u201d John said. \u201cAlso, the song is sort of a second cousin to \u2018The Umbrellas of Cherbourg\u2019 soundtrack. We felt it was kind of French.\u201d<br \/>\n[The Rhino box also includes John Sebastian\u2019s complete set at Woodstock, plus several tracks recorded October 4, 1969 at Bill Graham\u2019s Winterland Arena in San Francisco, CA.]<br \/>\n<a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Tarzana_Kid.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-1034\" style=\"border-image: initial; margin-left: 6px; margin-right: 6px; border-width: 2px; border-color: black; border-style: solid;\" title=\"Tarzana Kid\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Tarzana_Kid.jpg\" alt=\"\" width=\"250\" height=\"250\" \/><\/a>Sebastian\u2019s next album, Tarzana Kid, was released in September 1974. It was a reunion with Erik Jacobsen, producer for the first three Lovin\u2019 Spoonful albums. Guests on the sessions include Lowell George, Emmylou Harris, Ry Cooder, and David Lindley. Sebastian\u2019s old friend David Grisman plays mandolin on the instrumental \u201cWild Wood Flower.\u201d<br \/>\nTarazana Kid is an easy album to appreciate with a relaxed back-porch acoustic vibe. Sebastian performs a nice remake of the Spoonful\u2019s \u201cWild About My Lovin\u2019,\u201d and performs several covers, including Jimmy Cliff\u2019s \u201cSitting In Limbo;\u201d and Little Feat\u2019s \u201cDixie Chicken.\u201d Other highlights include the jugband piece \u201cFriends Again;\u201d the acoustic blues of \u201cSportin\u2019 Life;\u201d a country number \u201cStories We Could Tell;\u201d the funky instrumental \u201cHarpoon;\u201d and \u201cSinging The Blues.\u201d<br \/>\n<a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Welcome-Back.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1035\" style=\"border-image: initial; margin-left: 6px; margin-right: 6px; border-width: 2px; border-color: black; border-style: solid;\" title=\"Welcome Back\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Welcome-Back.jpg\" alt=\"\" width=\"250\" height=\"259\" \/><\/a>John Sebastian\u2019s last album with Reprise was a surprise hit in the spring of 1976 that came about as a result of an offer to write the theme song for the television program \u201cWelcome Back Kotter.\u201d The program premiered in September 1975 and became a huge success, prompting Warner Bros. to release the theme song as a single the following year. The song became the biggest hit of Sebastian\u2019s career, reaching number 1 on the charts in May 1976 and going gold.<br \/>\nThe accompanying album is a pleasant affair with an adult contemporary feel about it containing many songs of comparable quality to the title track. Sebastian recaptures some of his old Spoonful magic on \u201cShe\u2019s Funny;\u201d swings the blues on \u201cWarm Baby;\u201d drops in some country twang on \u201cA Song A Day In Nashville (featuring Jeff Baxter on pedal steel);\u201d remakes an old Spoonful hit into a late-night chillout on \u201cDidn\u2019t Want To Have To Do It;\u201d and laments \u201cI Needed Her Most When I Told Her To Go.\u201d The album &#8211; and his brief career with Warner Bros. &#8211; concluded on an appropriate note with an instrumental that allows him to stretch out on harmonica one last time with \u201cLet This Be Our Time To Get Along.\u201d<br \/>\nFor the next 17 years, Sebastian performed concerts, made guest appearances on other artists&#8217; records, and did occasional soundtrack work.<br \/>\nIn 1993, the independent Shanachie Records label finally put out his fifth studio album, Tar Beach. He then teamed up with a group of old friends and returned to playing the jug band music he had started with back in Greenwich Village more than 30 years before, forming a group he called John Sebastian and the J-Band and issuing I Want My Roots (1996) and Chasin&#8217; Gus&#8217; Ghost (1999).<br \/>\nAs part of the Lovin&#8217; Spoonful, John Sebastian was inducted into the Rock and Roll Hall of Fame in 2000.<br \/>\nIn 2007, Sebastian teamed up with old friend David Grisman\u00a0and released Satisfied. (The two met 41 years earlier as members of The Even Dozen Jug Band\u00a0in 1964.)<br \/>\nSteve Boone, Joe Butler and Jerry Yester released 1999&#8217;s Live at the Hotel Seville (produced by Jerry Yester), the first new Lovin&#8217; Spoonful album in three decades.<\/p>\n<p style=\"text-align: center;\"><a href=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Sebastian_01.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1018\" style=\"border-image: initial; border-width: 2px; border-color: black; border-style: solid;\" title=\"John Sebastian\" src=\"http:\/\/www.totallyguitars.com\/thelisteningpost\/wp-content\/uploads\/Sebastian_01.jpg\" alt=\"\" width=\"500\" height=\"378\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<h2><strong>Video<\/strong><\/h2>\n<p>Do You Believe in Magic (TAMI Show, 1965)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=-hh-U7sScQg&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=-hh-U7sScQg&amp;feature=related<\/a><br \/>\nYou Didn&#8217;t Have To Be So Nice (Hullabaloo, 1965)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=YpZI8biFsn8\">httpv:\/\/www.youtube.com\/watch?v=YpZI8biFsn8<\/a><br \/>\nDaydream (1966)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=pP7RZDaF-VI&amp;feature=player_embedded\">httpv:\/\/www.youtube.com\/watch?v=pP7RZDaF-VI&amp;feature=player_embedded<\/a><br \/>\nSummer in the City (1966)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=NbQK-w2ARsw&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=NbQK-w2ARsw&amp;feature=related<\/a><br \/>\nRain on the Roof (1966)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=LVffH93biI4&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=LVffH93biI4&amp;feature=related<\/a><br \/>\nDarlin&#8217; Be Home Soon (1967)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=8qCezXycdkE&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=8qCezXycdkE&amp;feature=related<\/a><br \/>\nShe Is Still A Mystery To Me (1967)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=ITG-P7_MCY0&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=ITG-P7_MCY0&amp;feature=related<\/a><br \/>\nDarlin&#8217;Be Home Soon (Woodstock, August 16, 1969)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=rBXL7FaPod4&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=rBXL7FaPod4&amp;feature=related<\/a><br \/>\nDarlin&#8217; Be Home Soon (Winterland, San Francisco, July 21, 1970)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=EBXPoPJXwCY&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=EBXPoPJXwCY&amp;feature=related<\/a><br \/>\nDaydream (BBC, October 16, 1970)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=BU8COHUrGi0&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=BU8COHUrGi0&amp;feature=related<\/a><br \/>\nTravelin&#8217; Light (Soundstage, Chicago, December 30, 1974)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=fxS1HIUPlv4&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=fxS1HIUPlv4&amp;feature=related<\/a><br \/>\nNashville Cats (1986)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=vRFLEJjW0Ss&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=vRFLEJjW0Ss&amp;feature=related<\/a><br \/>\nYou and Me Go Way Back (1986)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=TwzphA0Wpko&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=TwzphA0Wpko&amp;feature=related<\/a><br \/>\nLate Night With Conan O&#8217;Brien (1995)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=ckGZZ40ifeQ&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=ckGZZ40ifeQ&amp;feature=related<\/a><br \/>\nJug Band Music (Canadian Music Hall of Fame, March 1996)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=3f-0L20Bvkc&amp;feature=related\">httpv:\/\/www.youtube.com\/watch?v=3f-0L20Bvkc&amp;feature=related<\/a><br \/>\nDid You Ever Have To Make Up Your Mind (Canadian Music Hall of Fame, March 1996)<br \/>\n<a href=\"httpv:\/\/www.youtube.com\/watch?v=aqyWDoMbuDk\">httpv:\/\/www.youtube.com\/watch?v=aqyWDoMbuDk<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>By: Stephen Rose John Sebastian is another example of a performer who had everything in place for a successful solo career, but was never able to recapture the commercial heights he attained with his first group, the Lovin\u2019 Spoonful, or take full advantage of the fame he received from his unexpected show-stopping performance in the [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":3502,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2276],"tags":[2310,2311,2312,2283,1088,1640,1641,1340,2313,1000],"class_list":["post-1004","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-band-trivia","tag-tarzana-kid","tag-welcome-back","tag-zal-yanovsky","tag-60s","tag-greenwich-village","tag-john-sebastian","tag-lovin-spoonful","tag-monkees","tag-reprise","tag-woodstock"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>John Sebastian - On The Beat with Totally Guitars<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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