It's probably a cliché to
say Jim Ladd was a pioneer in free form radio. Nevertheless
it's also an indisputable fact that can't be denied.
In the 1970s, at a time when
homogenized, preprogrammed playlists were to become the bane of
future rock radio, Jim left a lucrative gig at a prosperous L.A.
rock mainstay KLOS to join a maverick rival, the late and legendary
KMET. After many years of fun and music that station's demise
brought Jim's dream job to an end; shortly thereafter Jim got the
call from Roger Waters to play a major role in Roger's project
RADIO KAOS. Jim, who appeared on the CD and the
supporting tour, was a natural portraying a DJ who connects with a
the main character Billy, a remarkable individual who can hear radio
Jim, as it were, continued to
create his own radio waves, including hosting events for both the
biggest and the brightest in rock history. Eventually Jim returned
to KLOS in L.A. and created HEADSETS (described
below) which caught the attention of a fellow Angeleno: longtime Yes
alumnus and musical dynamo Billy Sherwood. The two joined forces to
create their own Headset, and this first release--or, more
accurately, chapter--demonstrates how well the two meshed. Their
mutual affection and admiration were apparent as they discussed
their inaugural project.
Jim, for the uninitiated in our audience, tell us
about your weekly radio show HEADSETS, which you have
described as the "theater of the mind".
JIM LADD: Right, I think
that was an Orson Welles line that I copped, but it does describe
HEADSETS very well. I'm on Monday through Friday from 8 PM til 1
AM, but HEADSETS is Wednesday nights at midnight, and I've
been doing it for maybe 25 years at different stations. It has
always garnered the most loyal audience, and it's an interesting
thing, because it's a very eclectic show for radio but it does work
very well on radio, because it is literally the theater of the mind,
and as you know from listening to the album it's
combination of spoken word and music. What we've done here is we've
taken that to the next level, which is writing original music and
original speeches and original poetry, where on the air I'd be
using, obviously, the Beatles and Pink Floyd and the Moody Blues and
Chemical Brothers and Radiohead and people like that, which would
lend itself to the HEADSETS experience. And then I would use
movie clips and poetry and so forth. All of the stuff we're doing we
wrote, save for "2000 Light Years from Home".
And a few of the Yes remakes, and there is a World Trade remake. So
there's a few extras in there, but it's all original stuff, and
very, very eclectic as he said, and very unique. The cool thing is
the show that he does on the radio is formed around a theme and as
he pulls in all those elements, the theme is created and kind of
kept rolling along, and that was the trick to figure out how to make
a record like that where you have to have that kind of spontaneity;
he does that all on the fly, so working on a record you have to keep
going over stuff to make sure it's right, because it's going to go
out there forever. So it was an interesting thing to take that off
of that format and turn it into a record--a concept record, which,
that, in itself, is kind of unique in 2000-whatever we're in
anymore-7-I think it is [laughs].
MOT: I'd like to get clarification here--are you saying that Jim's
show is largely improvised?
JL: It's all improvised.
BS: Yeah, he's the last standing DJ to
JL: Yeah, the show is referred to as
free-form radio, meaning that any station you listen to, of any
format, is programmed.
MOT: Just be clear, I'm referring specifically to HEADSETS.
JL: That's completely spontaneous
when I do it.
BS: Yeah, like a live performance thing.
MOT: I would think though you may have some ideas scratched down
MOT: Really. Wow
BS: He just goes for it. That's what
made it so bizarre to work together making a record, "Well Jim, we
have to listen to this about a hundred and fifty-five times [both
Billy and Jim laugh]. So try to keep that spontaneity going here
JL: That's exactly right.
MOT: Do the concepts spring from something done on the show or was
it totally original and separate from that?
BS: When we first started talking
about doing one of these, the space theme just seemed like a really
cool thing to work with, and you could also take it into a deeper
thing about the inner journey into your own soul and man's creation
and all that stuff that's very heady and deep. Jim's really good
with these poems that come out that are really deep and meaningful
and colorful and interesting to work with behind cool music, and in
a way it's kind of Floyd-y; it just takes you on that journey, but
it's its own thing. It ends up being its own thing, so the space
theme is Chapter 1, we're calling it, and we intend to do many
chapters, because we dig working together, and we found this unique
way to work together.
MOT: Maybe you should talk a little bit about the way you work
together. I guess I was under the impression that--and this may be a
correct assumption--this was all scripted out and mapped out and you
planned in advance, but from your comments here it sounds like maybe
that's not the case and maybe the script was improvised.
JL: This one, for the record now, is
a different animal and we knew the theme, and we're trying to tell a
specific story, and it's a very different experience for me than
being on the air, because on the air you get into a mode. I know
what I got to work with, and it's a matter of kind of getting your
mind set into the place, and then the music pulls you along; in
other words, if I'm playing one particular song, that song will give
me an idea of the next song to play, and that song gives me an idea
for the next song. In this case, we wrote the songs and wrote the
speeches, other than the two ladies you hear on there, they wrote
both of those poems--I want to make that really clear, by the way.
They wrote those two things, but everything else we wrote, and then
decided on what music goes with this; what song are we going to
write with this particular piece of dialog if you will, so the
spoken word and the lyrics should all tell the story. It's all like
dialog in a film, so the lyrics are just as important as what I'm
doing if not more so to carry the storyline. And so to do that in a
record, that's where it was completely opposite of the way I work.
What was fascinating to me,
working with Billy, is I never once had to explain to this guy what
a segue was, which is something I take a lot of pride in. He just
naturally understood how to go from one song to the next; that's not
an easy thing to do. And then of course we could talk about the fact
that I'm sitting here with one of the great musicians on the planet,
giving him my words, and watching him take that, just the lyric, and
turning it into these extraordinary songs. It was amazing for me,
because after all these years, I never worked with somebody of this
caliber and written a song and watch them make that song come alive,
so to me that was just heaven.
MOT: You're saying for the new tunes on the album, rather than just
provide the narrative, I mean as far as your contribution to the
spoken portion of the album...
BS: Yeah, it ended up crossing over
from narrative into co-writing stuff and then really getting into
creating this whole thing, and it's very much kind of a partnership
on that level to really make the whole concept come to life.
JL: When you listen to the songs that
Billy and I wrote together, basically I wrote the words, some of
them he wrote lyrics as well, but he would take that and then turn
it into "the song" and literally play the song and the instruments
and sing it, craft it, and all of that. That's an extraordinary
thing to be able to be a part of, because I don't play anything. I
can't help him; I can't sit here and play the drums or the guitar.
It's all him. And then when we would produce the thing, then I can
kind of add my ear at that moment, but there's nothing I can do
about how the guitar sounds or any of that.
BS: Except turn it up in Jim's head;
make it louder (all laugh).
MOT: There were no moments where Jim would say "More cowbell, more
BS: [Laughs] Just more guitar, more
MOT: Do you know how many chapters there will be?
BS: Well, we plan on doing as many
as we like, and you know when the inspiration comes to start working
on things, and we put so much time and effort into Chapter 1 at this
point that we plan on putting it out in a month's time or so, and
doing it ourselves, so in the same way that, for me CIRCA: is doing
its thing, and naturally taken on a life of its own, that's what's
going kind of happen in this case as well with HEADSETS, so
there will be multiple records as years roll by I'm sure.
MOT: Is the entire storyline mapped out beyond Chapter 1?
BS: No, because we're thinking just in
terms of themes, branching out in different areas with different
projects so that you can explore music in a different way, because
it's all about that theme.
MOT: But it'll be much like CIRCA:, kind of casual, just when it
BS: Yeah, well having your own
studio makes it easy to make that happen, and Jim lives in LA, and
when we talked about getting together to make music, it happens
quickly. At this point we're focusing on really this first one, and
Jim's going to be speaking about it at KLOS, and we have plans to
make a live production out of it and include perhaps special guests
and friends who, between Jim and I and the people we know, put
together a unique kind of show, and just make an event out of the
whole thing, and maybe there's your model to come around and do that
a few times with different chapters and different themes.
JL: But to answer your question, no, we
do not know what the subject of Chapter 2 will be yet. We have some
ideas about where to take it, but no. Once this is up and out and
the record is released, then Billy and I are going to start focusing
on Chapter 2 and see where that goes. Maybe we'll take this
character and continue with his journey, or maybe we'll take a whole
different subject and go from there.
MOT: One observation I had about the album from listening to it is
that there's a lot of Bowie's "Space Oddity" in it.
BS: Yeah, well, that vibe kind of
permeates that theme and it puts your head in that kind of spacey
mode. It's also one of those records for HEADSETS, obviously,
there's an implication for listening to it in headphones, that's not
the secret message in the whole thing, but to hear it in headphones
it just takes you to another place for an hour that's almost like
somewhere between watching a film and kind of riding a ride at the
thrill park or something.
MOT: The title of the [radio] show itself, and subsequently the
album, has a double meaning; isn't
that correct, Jim? HEADSETS probably has a meaning as far as
an improvisational method of putting a narrative
and music together, but it's also for listening to headphones,
JL: Yeah, it's a definite double
HEADSETS as in literally headphones, and then sets of songs
for heads, you could look at it that way, so it's for people who get
the idea that they're going to be taken on a journey, and they're
going to be told a story, and that story has a beginning, a middle,
and an end, so it is, in fact, a set of songs that, like I do on the
radio, one set might be about politics, the next set might be about
the environment, the next set might be about sex, so a set of songs,
which this is--it's a set with narrative in it, so it does have a
lot of different meanings; you're absolutely right.
MOT: Billy, tell us about some of the musicians on
BS: Well, other than myself playing
several instruments along the way, there is Jay Schellen playing
some drums for us on "Alone Out Here" and "The Melancholy Diety".
John Densmore from the Doors is playing the drums solo on "Finding
Our Way", which is really cool. Billy Bob Thornton is a guest on
here doing "2000 Light Years from Home", and his bunch of guys
played on that record as well, and who am I leaving out here?
JL: The ladies that are on there; the
first one from "Finding Our Way" was Helene Hodge, and the second
poem is called "Message From Home" and that is a lady by the name of
Victoria Cyr. Each of those ladies wrote and performed those pieces.
The first one, "Finding Our Way", that John Densmore from the Doors
is on, is the first time since the Doors' American Prayer album, the
first time since then that he wrote something for a poet is this
album, so the last time he did that was with Jim Morrison. He was so
knocked out by this particular piece that he agreed to do it.
MOT: I thought the poem from the wife was fairly touching... it could
have been the main character who could have been saying those exact
BS: Yeah. Ethan Sherwood makes his
debut in show business at three years old which he was at the
time--my little son.
JL: When Billy's son comes up, that's about the point when
people start reaching for the Kleenex.
BS: [Laughs] I couldn't work on it too
many times; it was killing me. "Alright, we're done with this part;
let's move on."
MOT: At the same time having the character of the son is
fairly prescient, because I think just prior to that the narrator
talks about how he came from a whole line of explorers and the such, and you can only think he
[the son] will go on to do
JL: That's a very good point, Mike.
MOT: In fact it just occurred to me, maybe there's this whole "Star
Wars" things where time bends and Dad meets son and son's a
BS: Just a little Jedi. Somehow I'm
stuck on the ship with Jim though (Jim and Billy laugh).
JL: And he's had it, let me tell you.
"That's enough of Jim."
BS: I think I'm in the cryo-freeze at
narrator saying [dramatically], "I'm all alone out here", [and Billy
out of nowhere saying] "No you're not, man! What about me!"
BS: For people to get into it and
read things into it, and also just get into it as a musical
experience--you can't really break it down into individual songs;
you have to give it the time and listen to it as a whole piece,
which is cool.
MOT: Are you concerned about the challenge that such a concept album
will face? I'm referring to the fact that this is best appreciated
as a whole as opposed to be broken up into individual songs,
downloaded from [the likes of] iTunes.
BS: No, I don't fear it, because I
think there's a certain contingent of people out there, and there's
a lot of them I believe, who are still of that same mindset that
it's like, "Give me the whole thing, let me hear this thing, as
opposed to the three minute song or four minute song rolling by". I
think there's people out there, and obviously as Jim told you he
does this show every week, and this is the same format, so there's
enough people hungry for it at this point live, so we kind of
figured let's find them out there now and get them the whole record.
JL: I played this for John Densmore
a week before last, I had him over to the house, and he sat down,
listened from beginning to end, because I wanted him to hear how his
part worked and if he was happy with it and so forth, and he brought
up that very point; he said, "Jim, you have got to tell people they
have to take the trip." That were his exact words; they have to take
the trip, and then if they go back and you know, bounce around and
listen to their favorite song on the album, that's one thing, but we
are hoping that they will, first time, sit down and listen to it
from beginning to end.
And there are precedents here. I thought of Rick Wakeman's JOURNEY TO THE CENTER OF THE EARTH Parts I and II, which was another
BS: Yeah, the Moody's did it as well
at some point.
JL: Pink Floyd.
BS: Obviously Meat Loaf records, you
know, and I mean there's Floyd... there's even Genesis, obviously
LAMB LIES DOWN [ON BROADWAY] is kind of meant to listened
to from head to tail. But I think there's enough of us out there,
and I say "us" because I'm one of them.
personally not into the world of needing to chop music into these
short segments and reshuffle them. I like putting on an album; I
want to hear it. I want to hear the album. I still say album; that
tells you where I'm at.
MOT: It's funny, the concept of theater of the mind... I'm not sure you're going to be able to relate to this
particular comment, but when I was listening to it, I was reminded
of the Firesign Theatre and the flow of the music as the narrative,
I THINK WE'RE ALL BOZOS ON THIS BUS.
[Laughs] Yeah, I know what you mean.
MOT: Are you both familiar with the Firesign Theatre? I would think
Jim would be.
BS: Yeah, I remember that.
BS: This is going to take people on that
journey, and that's what it's all about. That's the main point of
the whole thing. So it has to be taken as a whole, and you wouldn't
understand it if you listened to track 17 on its own, because it
might be 35 seconds long and a very brief moment about the record.
MOT: But at the same time, you use exiting songs from Yes, Conspiracy,
and World Trade, even though their themes are in context here.
BS: Yeah, I suppose if you wanted to
hear those songs, you could listen to them on their own and get off
on it. I'm sure there are fans of those songs that'll dig it. There
are new arrangements on those songs, so there's a different twist
and style on how they're presented, which makes them kind of cool
but I still play into the theme, and they roll the whole album along
and out on the journey.
JL: It's amazing to me how well
those songs advance the storyline, and if you are a person who is
acquainted with that song, you love that particular tune, now you're
going to hear that song in a whole different way. It's like hearing
the song from the first, because it is rearranged; it's re-recorded.
It's a different take, and in the context of the story, now it'll be
like listening to the song for the first time again.
BS: From a different angle.
MOT: They're definitely appropriate. I was curious if
there was some thought as to writing new songs to express some of
those same concepts, as opposed to using these.
BS: Well, at one point I was looking
around, thinking we could spend more time writing more material, but
we do kind of want to get with it, because we have this concept of
getting it on to the stage, and getting this whole train moving. So
in an effort to kind of move the train along, I had presented a few
tunes to Jim and said, "What do you think about these?" First, I
just typed out the lyrics, and I sent him the lyrics and said, "What
do you think of this as part of storyline?" and he said "I love
these words, they're perfect. What's the music like?" So he hadn't
really been that familiar with that material. I had different
arrangements kind of kicked up and I showed him the tunes, and we
were digging it; so at that point, there we are in the same mode
where we're working with new material, yet it's a remake of stuff
we've touched on before; it just moved the project along faster. I'm
sure on the next one we might not be looking to do that kind of
thing, because we'll have time and not feel like we're wanting to
get this train rolling as quick because the train will be in motion.
JL: But make no mistake, have the songs
sucked they wouldn't have been there [Jim and Billy laugh].
BS: Jim's got the bar for that.
JL: But they're there, because they're
great songs and they move the storyline forward. When you listen to
those songs in context, it's almost like he wrote those now. They
fit in there that well, I think.
BS: I'm still a proud now ex-member of
Yes, and I'm into keeping that torch burning in some positive form,
and there was a little part of that in there as well.
MOT: What were some of the challenges of weaving the music into the
BS: A lot of that was just vibe on
how Jim was going read it. Like for the track "Perspective", he came
in with that read, and it has its dark overtones and it's kind of
ominous, and as soon as I heard that I went to the synth and did
this slow-paced thing, and built off of that emotion so you bounce
off each other on that level. But in this relationship mostly I'm
taking how it's delivered and taking the emotional attachment to
that. "Reflections" is the same kind of thing where I took those
words and thought let me just make this a real trippy kind of
exotic, proggy, Floyd-y kind of experience, because these words are
really bizarre and trippy.
The real magic--and I don't want to nail it down too much, because I
don't want to ruin it-is that I never had to explain that to him. In
other words, what I do on the radio is a very, very individual
thing, and you either get it or you don't, and to try to explain the
creative process to anybody is almost impossible for me. It's hard
to explain it, and I never once had to explain it to Billy. He just
got it; he just understood it, and suddenly we're speaking the same
language, and that was an extraordinary moment for me, because I
thought how am I going to explain this to this guy, and how is he
going to explain what he does to me, and suddenly we're just doing
it. It was amazing.
MOT: Before I forget, Billy, is it you who plays that blistering
solo on "Alone Out There"?
MOT: That was really an awesome solo.
BS: Yeah, with Jim right next to me,
I think he had pom-poms in both hands...
BS: ... and a #12 shirt on, jumping up and
down, telling me to play faster [Laughs], so I was just trying to
play as fast as I could.
MOT: That one sounds like a real AOR track.
BS: Yeah, that's the stand-out song,
and it's up there on the MySpace page, which we plan on launching
here as soon as we release the record.
JL: He shreds that solo. He shreds
BS: [Laughs] There's also a couple of
guys who we forgot to mention who we shouldn't forget doing the
voices of a few of the characters in the front of the record at the
launch. One of the guys is Pat "Paraquat" Kelly, who was a famous LA
DJ here when I was growing up here, I remember listening to him
forever. He's a great guy; he's on there. Who else we got on there...
JL: Joe Reiling is the captain of the
ship; he's the first voice, and then John Densmore is the first
mate. And Damian Bragdon...
BS: Yeah, Damian Bragdon's on there... .
JL: And Paraquat is the NASA voice, and
then Billy Sherwood also does some acting.
BS: That's right.
MOT: Oh, you can pick out Billy a mile away.
BS: [Laughs] Yeah.
MOT: You do the countdown, right?
BS: Yeah, I did that [Mike and Billy
MOT: I knew that was you.
BS: That's funny; that's funny.
MOT: What was it like recruiting your buddies for this, Jim?
JL: I heard these specific voices in
my head; I knew they could do it. Densmore, oddly enough, has done
some acting, so when he came over to do the drums, which took two
different sessions to do the drums, I didn't even ask him, I just
shoved the script in his hand and said here, say this, and he did it
MOT: "2000 Light Years from Home" was really a kind of a shock; I
didn't have the track list in front of me at all until today, so
when I first listened to the album, it was a pleasant surprise. I
didn't realize until Billy told me, though, that it was Billy Bob
Thornton. How did he become involved in this?
JL: He's a friend of mine, and when
we decided to do the record, I wanted that song on there, and this
is kind of an interesting story. I called him up one day, and I
said, "Listen Billy [Bob],
doing HEADSETS," and fortunately he's a fan of the show and
he listens, he lives out here, and he listens to the show, and he
said, [talks like Billy Bob], "Well, what song do you want me to
do?"--because he's from Arkansas where my dad is from--and I said,
"Well, I was thinking about the Stones' "2000 Light Years from Home"
and he said, "Well, you ain't gonna believe this." I said, "What?"
And he said, "Well, yesterday I was looking for my copy of
THEIR SATANIC MAJESTIES REQUEST, and I didn't have it, so I
went down to Tower Records," which we still had then, "and I bought
the copy and for the last three days I've been listening to '2000
Light Years from Home,'" and I thought he was kidding me. I mean,
imagine of all of the albums in the world--all of the Stones songs
in the world--he's been listening to that song three days before I
call him, and he decided they wanted to do that in concert, when he
went out on the road it was the only one they were going to cover.
So that blew my mind, and he said, "Yes, I will do it." And that's
all him and his guys, I'd have to get the names of the guys that are
on that with him, but he's playing drums and singing.
MOT: Wow, divine providence, eh?
JL: Isn't that an amazing story? I
mean, really! That's an amazing story, and that's absolutely true,
word for word that's true, and when he said that, I kind of looked
at the phone and I thought, "Am I hearing this right?" [Laughs] But
that's a true story.
MOT: That is such a mind-blower.
JL: Of all the gin-joints, of all
the towns, in all the world, you're listening to "2000 Light Years
from Home". That particular song.
MOT: It's not exactly one of the best-known songs in the Stones
JL: No, it's not like we said we
want you to cover "Satisfaction", you know, or "Start Me Up". It's
MOT: Jim, I know you were involved with Roger Waters' project RADIO KAOS; in
fact I saw that show at the Forum in Inglewood. What was it like
working with Billy in comparison to working with Roger?
JL: Well, Billy's just... [Joking] it's
really tough. He's got a huge ego; he's always complaining.
MOT: Yeah I know. [Laughs]
JL: No, it's amazing to me... Billy's
problem is, because he has no ego, he thinks that everybody can do
what he does, and I
telling him, "Billy, not everybody can play guitar, keyboard, bass,
sing, drums, write, then mix it. Not everybody can do this, Billy."
It's nice, because I'm not working through some kind of guy who's
always reminding me he's a rock star; that's not the vibe over here
at all, and he makes me somehow feel like I belong in the studio,
which is really nice. Roger was very good about that too, because
when I worked with Roger, obviously I'm working with
Roger-fucking-Waters, and Andy-fucking-Fairweather Low, and these
are the best of the best, and yet they were very cool to me and made
me feel very welcome when I did that. Albeit, I was the only
American on the tour, so a lot of the humor was done at my expense,
but as far as not being a musician, they were very cool about it.
MOT: Are there any aspirations to go beyond this album, beyond the
CD/audio medium, like film or TV or even performance?
BS: Well, for the moment, the idea
is to get the album out, get it in people's ears and get them
listening to it, and hopefully early in the first quarter perhaps of
next year somewhere we actually bring this to a live setting and
film it and record it and create a live DVD of the experience, in
the same way I'm doing with CIRCA: right now, just finishing the
editing for the live DVD of our show, and that way we have a vehicle
to get it out there and show it around now in a different format to
people all over the world who might not have gotten a chance to see
it, obviously. At least for right now that's a huge goal to reach,
and it's doable, and that's what our sights are set on.
It looks like most likely CIRCA:
will be involved in that production in terms of being the backbone
band of the whole thing and then perhaps the HEADSETS set:
when CIRCA: is playing it, we will invite special guests up to come
and join us, and they shall be named later, but there's a lot of
people between Jim and I who we know who we've already spoken to
about this to come up and play with us and make it a special event,
so that right now is the goal. It's a big one; it's doable. That's
what we're going for. Beyond that, the idea is to make more records
and come and do the same thing, I mean this is a unique situation in
the sense that Jim isn't a musician who can go out and just tour; he
has a job at a radio station [laughs], so he can only get so many
days off for his holiday break, and I guess that's where we're going
to shoot these shows, the idea being just make records and shoot for
a great couple of weeks of live shows and make that happen a few
years in a row until we're old and gray.
JL: Unless of course he makes me so
rich, that I can just do this full-time.
BS: [Laughs] That would be good too.
MOT: That would be wonderful.
BS: You're the one with the
JL: Yeah, that's true; ok, fine.
MOT: One point of reference though, just so I'm clear: your show on
KLOS is not streamed.
JL: Oh, that's a great question, because
Monday through Thursday, no at this point, but oddly enough last
Friday we streamed the show for the first time. KLOS streams all day
long until I come on, and then it stops, and your next question is
probably going to be why is that, and it's because of the nature of
what I do, which is free-form radio with no format, no lists, no
playlist at all. I make these shows up as I go along, so imagine
trying to create 25 hours of entertainment a week when you're
starting with dead air. Because of the nature of the way I do it,
when you stream, there's a bunch more rules put on you, and I had to
look at that and decide do I want to, pardon the pun, water down the
show to stream or do I want to keep the show pure and do what I do,
so I decided I'm not going to water the show down, but I do
something called Theme of Consciousness, which is all requests and
it's all around a theme. For example Friday night was the word "world", and the listeners call in with the request that has to
contain that word in the lyric or the title. Then it's my job to
take only their requests, put them into thematic sets and make a
show out of it. Because of the nature of that, I'm able to stream
without breaking these stupid rules that have been put on the
BS: This is amazing when you think about
MOT: What are these rules? I'm not clear as to what the rules are.
BS: For instance, if you wanted to
play one artist and play four songs in a row, he can't; there's a
quota of three or something silly like that. That's just one of
these plethora of rules that are engaged that people don't think
about, but it is part of the reality of how these things are done
for the guy, and so the way he's doing his thing, obviously that's
intruding on his art form.
MOT: But that's KLOS' rule, right?
JL: That is not KLOS rule.
BS: No, it's governed by the FCC, I
JL: I think the RIAA did that one.
MOT: The RIAA?
JL: Yep. It's absolutely stupid,
because why would you not want me to play five Doors song in a row
if I wanted to do it? What would be the problem there? And it goes
deeper than that, it's like you can only play so many cuts from the
same album, and it's like suddenly now I'm having to think about
what I do rather than just do it, and that's where it stopped me
cold. With KLOS, let me just make this very clear, the show I do at
KLOS is as free-form, Mike, as KMET was. I have absolutely zero
restrictions on me at KLOS.
BS: That's why you hear
JL: Correct. And Johnny Cash, and
AC/DC, and Judy Collins, and Aerosmith, and...
BS: Muddy Waters.
JL: Muddy Waters.
MOT: Like radio used to be in the '70s actually.
BS: Yeah, just whatever the theme of
consciousness is; that's the whole concept, it's nice to have that.
I mean, I don't want to say that's how it should be for everybody
because obviously there's the other formats that work for people,
but this is certainly a needed thing for people who are still
listening to radio and there's tons of people out there listening.
MOT: It's exciting that you're doing this album and series, and the fact that you're planning something live
as it's unknown as to how you're going to pull that off. That's
very original in this day and age of homogenized
JL: Thank you.
I'll tell you, man, for me to put my toe in Billy's ocean of what he
does and be able to play in this arena, it's amazing, because I've
always been playing finished product, finished songs. On my show I
use a finished song as Billy would use a note, and then I would add
more songs as Billy would make a chord and so forth and so forth and
so forth, now to get in on the level of actually creating the songs,
it's just a dream for me.
MOT: A dream come true, I'm sure.
MySpace site, which features tracks from the album.