Yeah. He did a song that Phil was going to record with the Ronettes called "Please Don't Hurt My Little Sister." Brian wrote the song and came to the session, and I thought it was a real good session, but Phil never released that one because he didn't...share in the writing. During that date Leon Russell was playing piano and he go so drunk he coudln't play any more...he was drinking gin and Pepsi Cola, and he stood up on the piano and started preaching for real, and Phil had to ask him to stop playing piano, so Brian played it.
[Apparently some remnants of the track were salvaged to make the Blossoms' Equal Opportunity record.]

The Dog Remembers-P.J. Proby and the Walker Brothers

5-65     Walker Bros.-Love Her/The Seventh Dawn (Smash 1976) (Arr.)
6-63     P.J. Proby-So Do I/I Can't Take It Like You Can (Liberty 55588) (Arr.)
10-66     P.J. Proby-I Can't Make It Alone/If I Ruled the World (Liberty 55915) (Prod.)
2-67     P.J. Proby-You Make Me Feel Like Someone (on Enigma LP, Liberty LST 7497) (Arr.)

    I like that one [Walkers]. It's a good song. Was it done in L.A.? Yeah.
([Nitzsche and Nik Venet cut the record, a 1963 Everly Bros. single, with the Walkers while they were still in Hollywood, appearing in beach movies and as residents on the Hollywood A-Go-Go TV show, just before they emigrated to England and became stars. Although their catalog is full of brilliant productions, you'd be hard-pressed to find a better Walkers record than this majestic, heartbreaking disk.]
    That ["I Can't Make It" by P.J.] was when he came back here from England. That was a good song too.
[Had he worked with Proby earlier, before he emigrated to England and became a star?]
    Yeah, demos. When he thought he was Johnny Cash. "(The Dog Remembers and) So Do I..." He was always drunk, but he was... I've always liked him a lot. He deserved to be a lot more than he was; ver talented. He could sing like anybody. Gene Pitney and Johnny Cash...
[Or, in the case of "I Can't Make It Alone", like the Righteous Bros.-it's a masterful production ballad, great song, great performance, too...]

Fear and Trembling: On Following James Brown (The Tami Show)

    I put the band together for The TAMI Show [the justly legendary 1964 film which captured most of the reigning rock royalty of the time in memorable live performances], did all the arrangements, tried to make it sound like the records. I don't know if it did or not. The Four Seasons were supposed to be on that show. They asked for more money than anybody on the show (including the Beach Boys and Rolling Stones), so they were cancelled. I think they asked for $45,000-that's for being there two days, and then they wanted limos... so Bill Sargent [produceer] showed them...
Denny Bruce: The Stones insisted on closing the show, which makes a good story...

    They didn't. I really thought they should. They had been on tour before, and they'd played a rodeo in San Antonio and no one liked them; Hollywood Palace, with Dean Martin, it was horrible. So they didn't feel like coming back to America, at least very soon. When I went to England, I told Bill Sargent I thought they were going to be big... it was pretty easy to see, don't you think? When I asked them to do The TAMI Show, Mick said, "What, and play for a bunch of fuckin' cows?" Anyway, I said they should close the show. Bill Sargent said, "I can't, James Bron's going to close the show." Of course, the Stones wanted to close the show, but they'd never seen James Brown before. it was one of the only times I've ever seen Jagger crack. We all stood at the side of the stage watching James Brown do his act, and after it was over Mick said, "We'll go on first. Any place on the show-we can't follow that." But they did well. Everyone standing on their chairs screaming for James Brown, and the Stones come out and all the girls are crying-it was a new reaction, I thought.
Denny Bruce: It was a landmark show... the Billy J. Kramers, though...

Neil Young Meets The Cascades

6-67     Cascades-Flying on the Ground (Wr: Neil Young)/Main Street (Smash 2101)(Arr.)
    Oh yeah, I never heard that record! Andy Di Martino [noted San Diego area entrepreneur, later Captain Beefheart's manager/collaborator] was making the engineer crazy by grabbing the dials. Is the other side "Out of My Mind"? That was on the same date. I think Neil even played guitar on this record.

The First Supergroup-The Mercurial Career Of The Philistines

    There was going to be a group once, that Phil was gonna play guitar in, I was going to play piano, Sonny Bono-I don't know what he was gonna play, but we were all gonna make a group and it was going to be called The Philistines.

The Elusive Producer Credit-With Bob Lind

All by Bob Lind:
1-66     Elusive Butterfly/Cheryl's Goin' Home (World Pacific 77808)(Arr/Prod: undcred.)
4-66     Remember the Rain/Truly Julie's Blues (World Pacifici 77822) (Prod./Arr.)
7-66     I Just Let it Take Me/We've Never Spoken (World Pacific 77830) (Prod./Arr.)
10-66     San Francisco Woman/Oh Babe Take Me Home (World Pacific 77839) (Prod./Arr.)
4-66     Dont' Be Concerned (World Pacific WP 1841) (Prod./Arr.)

    "Elusive Butterfly" says 'Produced by Richard Bock' and he wasn't even on the date! They just had him [Lind] down at Liberty. He's got some new material. I think he could be a funky John Denver again. His new stuff-he's grown a bit. Looking for a deal. I want to make a record with him again, at least one...

Nitzsche Rates The Gas Company

10-65     Gas Company-Blow Your Mind/Your Time's Up (Mirwood 5501) (Prod)
[See ANOTHER REPRISE section above for later Nitzsche/Gas Co. collaborations]
    It's awful, please don't play that.
[Greg Dempsey, the songwriter here, later produced Kathi Dalton]
    Yeah, that's them together on this record.
Denny Bruce: He's co-writer of Leon Russell's "Roll Away The Stone," I think. He gets about one a year, and she gets deals...

Stones Unturned

    Nitzsche played on the following Rolling Stones albums, sometimes contributing arrangements:

12x5; Rolling Stones Now; Out of Our Heads; December's Children; Aftermath; Between the Buttons; Flowers; Let It Bleed; Sticky Fingers.
    Andrew [Oldham] called me and said we've met Phil Spector and we want to meet you...I said I was doing a seeion if you want to bring everybody down. They walked in looking so weird, putting everyone on, of course, Hal Blaine had to take pictures, he didn't know who they were but they looked so strange, and he put his light meter up, and Charlie Watts leans over it like it was a microphone and says, "I like it very much in America," and then he continued to tell me forever he thought it was a mike. Brian Jones was the only one dressed up in a three-piece suit and tie. He told me he wanted to leave the Stones 'cause he thought he could be a professional harmonica player. "If I came to LA, would you get me on a lot of dates?" They weren't making it too well...
I went into the studio with them and played piano. Oldham wanted to be a genius but I don't think he had that much to do with anything. I arranged "Can't Always Get What You Want", "Standing in the Shadows", there was another one. That was a funny time. That was when I decided I didn't want to do this shit anymore. It was a whole new way of approaching records. Instead of trying to get four records in a three-hour date, you'd book the studio for two weeks for 24 hours and do whatever you wanted to do, and if you didn't get anything in those two weeks, screw it. Or if a tune didn't work one way try it as a tango, try it as this, try it as that. I just took a lot of time after that!

Good Times Music

3-67     Don & Goodtimes-I Could Be So Good to You (Epic 10145) (Prod. co-wrote)
4-67     Don & Goodtimes-So Good (Epic LN/BN 24311/26311) (Prod. co arr.)
    Don "Goodtime" Galluci. That's the Don who was the leader of the group who was fired before they did this record. That was so awful, that thing. The record ["I Could Be So Good"] I liked all right, but they just hated me from the top, and didn't like anything I was doing till they heard it on the radio, I think on KHJ. [This was the same DonGallucci, incidentally, who later produced Crabby Appleton and the Stooges as an Elektra staffer.]
    I tried to make a follow-up to this which they really hated. You know a Neil Young song called "Whisky Boot Hill" [it turns out to be the first segment of Young's "Country Girl" suite on Deja Vu as well as the instrumental prelude to Young's first solo album]? I made a real good record on them with that and they thought it was too far out. How could they sing that when their album cover was... an ice cream truck? The Goodtimes. They had a good time on stage, they couldn't sing that stuff...
Denny Bruce: They were always fond of saying, "You know, up in the Northwest we blow Paul Rever & the Raiders off the stage!"
[The Goodtimes, who joined the Raiders as regulars on Where the Action Is in 1967, also served as a sort of farm team for Revere-whenever (as frequently happened) a backup Raider would get restless, Revere woudl grab a Goodtime to replace him.]

An Unexpected Bouquet For Garry Bonner-Koppelman-Rubin Days

10-67     Garry Bonner The Heart of Juliet Jones/Me About You (Columbia 44306) (Prod/Arr)
8-67     Gary Lewis & Playboys-Jill/ (Liberty 55985) (Arr.) (continued on p.58)