Peter Case

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  [audio m4a="http://petercase.com/wp-content/uploads/03-Hanging-On-the-Telephone.m4a"][/audio] 'Don't leave me hangin' on the telephone...' I was living in San Francisco's North Beach, and on my spot in front of the Swiss American Hotel one night in 1973, playing the 13th Floor Elevators song 'You're Gonna Miss Me, ' when I noticed this skinny white guy, about my age, leaning against the no parking sign, smoking a cigarette, watching me. He had short curly hair, wore old blue jeans, white deck sneakers, and a blue/green wooly sweater. At first look, he didn't really fit in with the scruffy Broadway outlaw scene. I watched as he
[audio m4a="http://petercase.com/wp-content/uploads/13-No-Sleep-Blues.m4a"][/audio]  "Oh, will your magic Christmas tree be shining gently all around?"                                                        -Chinese White   (Mike Heron) The String Band weren't the inspiration, nor the Beatles. I lay the juggernaut straight to Madison Avenue's Time Magazine. It was late Spring, 1969, the year I turned 15, and got out of the ninth grade. Time made the psychedelic world sound so beautiful, and a lot of us had become filled with anticipation and
[audio mp3="http://petercase.com/wp-content/uploads/02-Lets-Turn-This-Thing-Around.mp3"][/audio]
  [audio m4a="http://petercase.com/wp-content/uploads/11-Hear-My-Train-Comin.m4a"][/audio] to David Ensminger, for Joe Carter: In response to your question: “What do I believe are the poetic qualities of Hendrix’s lyrics?” First of all, he created memorable, and dynamic original phrases of speech, blazing lines that stick in your head forever. I think he had more of these in three or four albums than the Beatles, for example, made in their whole run: “‘ ’scuse me while I kiss the sky!” (from purple haze) ” I know what I want but I just don’t know/ how to go about gettin’ it” (from manic depression) “will it
[audio mp3="http://petercase.com/wp-content/uploads/01-Give-Me-One-More-Mile.mp3"][/audio]   Produced by Andrew Williams, at Mike Meltzer's TMOP Studio in Van Nuys, CA, sometime in the mid-90's. With Sandy Chila on Drums, David Jackson on Fender Bass, and  Peter Case on 12 string, harmonica, and vocals.  This is the opening track on the Case Files compilation, on Alive/Naturalsound Records, available from their site: http://www.bompstore.com/case-peter-the-case-files-plimsouls-nerves-breakaways-cd/ [caption id="attachment_134" align="alignleft" width="1280"] The Case Files (2011)[/caption]
[audio mp3="http://petercase.com/wp-content/uploads/01-Playing-With-Jack.mp3"][/audio] [caption id="attachment_755" align="alignleft" width="600"] Kool Trash (1998)[/caption] Davido, Eddie and I, with Clem Burke going crazy on drums. The Williams Brothers, Andrew and David, sing backups, the way they did on the original A Million Miles Away. Ethan Johns, (son of Glyn) engineered this,  and Andrew Williams produced it. Ethan brought in a Gretsch that was once David Crosby's, and I played it throughout, one of the greatest guitars I've ever had my hands on, it just had a river of electric musical power running through it, amazing.  The lyrics spin a cautionary tale, but its all with
I met and collaborated with the absolutely great Willie Dixon--a thrill!--when his songs were administered by Bug Music—he listened to one of my piano demos over at the Bug office, and had me over to work at his house in Glendale, a little cottage really, a very small place for such a definitive musical giant;  his publishing suit against Led Zeppelin for “Whole Lotta Love” hadn’t been decided yet; word on that Bug hoped would be coming soon. He reclined in a large leather upholstered chair in his office,leaning back and peering through bifocals, scratching away at lyrics in pencil
  [audio mp3="http://petercase.com/wp-content/uploads/01-Echo-Wars.mp3"][/audio]   “If this record doesn’t sell a million copies I quit the business.” T-Bone Burnett was addressing the visitors to the control room of studio B at Sunset Sound in Los Angeles, on a distorted radio shack bullhorn. It was early Spring 1986, and we were listening to a playback of my first, self-titled solo album, a collection of songs and music that was considered a big departure. The material had begun the journey to vinyl two years before and run into a gauntlet of trouble and interference. Though I’d spent the previous ten years playing in
Let's see, it was October 1983 and I was still in the Plimsouls, but we had come in from the road, and had wound down, and I was just knocking about, living alone in a tiny pad up in Laurel Canyon (in the same cottage the Melvins eventually moved into, after I split). I  was writing songs for what was gonna be my first solo LP, and felt like I was on the moon, 'cause I was living at night, isolated, kinda living in my dreams & musical ideas, and I didn't have to show up anywhere or for anything,
[audio mp3="http://petercase.com/wp-content/uploads/06-Whos-Gonna-Break-the-Ice_.mp3"][/audio] This is from a live album, Beachtown Confidential, recorded at the Golden Bear, in Huntington Beach, one of our favorite clubs, in 1983, and released on Alive/Naturalsound Records. This and the other two Plimsouls Live recordings I believe are the best recordings we did, and surpass the studio versions for sound and excitement. We were a live band!   Below is a link to the record at the Alive store. There's another one available there, Live! Beg, Borrow and Steal, from The Whiskey a Go Go Halloween 1982. There was talk at the time that this tune would