John Sebastian - Life and Early Career

Life and Early Career

Sebastian's father, John Sebastian, was a noted classical harmonica player and his mother was a radio script writer. He is the godson of Vivian Vance (Ethel Mertz of I Love Lucy). He grew up surrounded by music and musicians, including Burl Ives and Woody Guthrie and hearing such players as Leadbelly and Mississippi John Hurt in his own neighborhood.

One of his first recording gigs was playing guitar and harmonica for Billy Faier's 1964 album The Beast of Billy Faier. He also recorded with Fred Neil on the Bleecker & MacDougal album and Tom Rush's self-titled album in 1965. He came up through the Even Dozen Jug Band and The Mugwumps, which split to form the Lovin' Spoonful and The Mamas & the Papas. Sebastian was joined by Zal Yanovsky, Steve Boone and Joe Butler in the Spoonful, which was named after "The Coffee Blues," a Mississippi John Hurt song. Sebastian also played autoharp on occasion.

The Lovin' Spoonful became part of the American response to the British Invasion and was noted for such folk-flavored hits as "Jug Band Music," "Do You Believe in Magic," "Summer in the City," "Daydream," "Nashville Cats," "Did You Ever Have to Make Up Your Mind?," "Six O'Clock," "You Didn't Have to Be So Nice" and "Younger Girl." The band, however, began to implode after a 1967 marijuana bust in San Francisco involving Yanovsky, a Canadian citizen. Facing deportation, he gave up the name of his dealer, which caused a fan backlash and internal strife. Neither John Sebastian nor Joe Butler was involved in the matter; neither was even in San Francisco at the time. Yanovsky subsequently left the band and was replaced by Jerry Yester.

Read more about this topic:  John Sebastian

Famous quotes containing the words life and, life, early and/or career:

    Our role is to support anything positive in black life and destroy anything negative that touches it. You have no other reason for being. I don’t understand art for art’s sake. Art is the guts of the people.
    Elma Lewis (b. 1921)

    Boswell, when he speaks of his Life of Johnson, calls it my magnum opus, but it may more properly be called his opera, for it is truly a composition founded on a true story, in which there is a hero with a number of subordinate characters, and an alternate succession of recitative and airs of various tone and effect, all however in delightful animation.
    James Boswell (1740–1795)

    Even today . . . experts, usually male, tell women how to be mothers and warn them that they should not have children if they have any intention of leaving their side in their early years. . . . Children don’t need parents’ full-time attendance or attention at any stage of their development. Many people will help take care of their needs, depending on who their parents are and how they chose to fulfill their roles.
    Stella Chess (20th century)

    The problem, thus, is not whether or not women are to combine marriage and motherhood with work or career but how they are to do so—concomitantly in a two-role continuous pattern or sequentially in a pattern involving job or career discontinuities.
    Jessie Bernard (20th century)