JOHN SEBASTIAN

My father was invited to play on a television show when I was 17 or 18 that was an early equivalent of educational television, a Sunday afternoon kind of variety art show.

First of all, I think that is true, if you are a musician, particularly on the come, that you do have to end up in one of these musical centers, some way, to be viable, saleable and so on.

I certainly hear the Trombones Unlimited version of "Daydream" in a lot of elevators.

My father was a classical musician and my mother was a writer.

I think that my past stands me in good stead in that it does have a certain strength for musicians.

You have to remember now, I was not being terribly successful at going solo.

Now, I was the Summer Concert guy. I played every Summer concert there was.

To the extent that '60s guys own things, yes... but I don't have the publishing, just like most '60s guys, and that was an error, you know... part ownership in publishing was the kind of era that started a little bit later, when real businessmen started to manage artists.

But, what did happen is I went to Woodstock as a member of the audience. I did not show up there with a road manager and a couple of guitars. I showed up with a change of clothes and a toothbrush.

Sometimes you really dig a girl, the moment you kiss her, And then you get distracted by her older sister.

When I left the band I said Look, I am ready to move on. I was interested in playing with some of the other people that I had bee a studio musician with.

It might be thematic work. It might be theatrical. I enjoy that kind of work.

I was wildly out of style when that television theme song suddenly pushed its way onto the Top Ten. It was certainly not the record company trying to make that happen.

To the extent that '60s guys own things, yes... but I don't have the publishing, just like most '60s guys, and that was an error, you know... part ownership in publishing was the kind of era that started a little bit later, when real businessmen started to manage artists.

Sometimes you really dig a girl, the moment you kiss her, And then you get distracted by her older sister.

In other words, musicians know that going back to the Spoonful, what we were doing was not copying.

First of all, I think that is true, if you are a musician, particularly on the come, that you do have to end up in one of these musical centers, some way, to be viable, saleable and so on.

I think that my past stands me in good stead in that it does have a certain strength for musicians.

My father was invited to play on a television show when I was 17 or 18 that was an early equivalent of educational television, a Sunday afternoon kind of variety art show.

Now, I was the Summer Concert guy. I played every Summer concert there was.

You have to remember now, I was not being terribly successful at going solo.

The Jug Band was exactly what I wanted to do, and it wasn't my idea.

I'm seeing and hearing lots of B to B instruments, and everybody isn't, you know, using them... a lot of these guys are trying to do it on conventional guitars, although that has its own sound, and maybe its okay.

Well, I did a harmonica instruction tape for Homespun tapes.

Geez, I wish I could tell you I had a whole bunch of '80s hair bands, you know something you really wouldn't expect, but I don't know that the music police would be that surprised, because most of the stuff that I am influenced by is in evidence in the music.

But, what did happen is I went to Woodstock as a member of the audience. I did not show up there with a road manager and a couple of guitars. I showed up with a change of clothes and a toothbrush.

My father was a classical musician and my mother was a writer.

I certainly hear the Trombones Unlimited version of "Daydream" in a lot of elevators.