You gotta help me, baby.

I can't make it all by myself.

I don't.

Help me, bab I can't make it all by myself.

You got to help me, little girl I gotta use somebody else You might have to cook.

Oh, you might have to sew.

You gotta help me, baby.

I can't make it all by myself.

If you don't help me, little gir I gotta find somebody else now.

To sure is a lot of nostalgia fo the days of, peace and love.

It was, you know, like, or like You know how much it symbolizes And yet when you sit down and de and analyze what actually happened is a horr Mostly.

Were you there the night that t opened on their grand opening ni And again, it was, Conqueroo and that played that night.

I was there, I can I was there from sure, late afternoon until they opened the doors, helping them bang together the last few benches for seating How many people showed up that n Two or 300 anyway.

Was it full?

Yeah, it was pretty full.

You know, all the longhairs in town were there for sure.

But the the authorities were ve over the whole thing occurring.

They didn't believe that there were that many, people that were that would show up in the first, first weekend we did was kind of a run through just to test everything.

And the second weeken we had the elevators and about 3 tried to get in that little spac thats now Patagonia.

And sli Iinside this house as you pass b We had to open the door and there were a thousand peopl on the street in front on Congre listening to the Elevator on the second week that we were the police were just completely footed, totally unexpected to th And then that's when the intense scrutiny and heat came down on t Introduced the characters to me.

Okay.

Well, In the beginning, The Electric Grandmother was the production company that Gary Scanlon and myself, had started to do shows.

We were approached by Don Hyde who wanted to put up money and get a permanent location.

It's it's a bit of a story.

It's it's, Id been to.

I've been to Califo I had seen I went to the Trips F I'd seen a couple of the dances that Chet Helms had done at the early Avalon period, and decide I wanted to go back to Texas and and do what I'd seen going on in San Francisco in my hometown.

Everybody was trying to do th the same thing, provide venues for our burgeoning you know, musicians and the art So I started talking to to Gary, I said the whole reason I wanted to do this because beca that he'd been involved in doing shows with the Electric G and they'd been using Doris Mill Houston and and Gar were friends from high school.

They go way back together.

So Gary wasn't going to do anyt without Houston being involved.

We also had with us, initially Sandy Lockett, who had been the sound man and m of the 13th Floor Elevators, and that was how we met him.

He was, I believe, somewhat acquainted with Gilbert Shelton.

Gilbert Shelto was someone that had been a very in the Ranger magazine, a great cartoonist, and, in his own right, a larger than character.

I don't remember how it began.

I remember taking that group photo in front That would be right before right before it opened.

And I painted the the big sign up on the balcony.

That took me weeks.

That was 12ft by eight feet.

So he agreed to be the, art directo and did several of the very firs And he should have probably been the fifth member of the, founding group but he left, shortly after.

If it it just been me by myself I would never have been able to open the doors.

I mean, I might have been abl to open the doors, but no, nobod have would have taken it seriou because, you know, there's like young, young, ambitious promoters are a dime a And especially in Austin.

But definitely Don Hyde was instrumental in getting the building and getting the power on.

The building that we had was had been empty for a year or more probably, which was one of the reason that he was a ready to rent it.

That end of Congres was kind of like Desolation Row there were really cheap little f kinds of rooms in the same block I'll tell you one about the Vulc When Don Lupo was playing with u he had a big flatbed truck, he somehow kept his, amp on it, and he had two doberm you know, that chained to the to the back of the flatbed.

We were in there about an hour and went back out to the truck for something, and both the dogs were gone.

Someone had stolen his gaurd dog It's been repeated that the Vulcan didn' have a liquor license because, Bill Simonsons club, the Fred had been busted for underage drinking.

That had nothing to do with the that we didn't have the beer lic I didn't want one, and I was onl I couldn't have gotten one if I'd wanted one.

2 or 3 doors over was, old timey bar, mostly old, retired railroad guy I guess.

And the people that own the place really loved us because our customers would go d and get maybe half a dozen, quart size cups of beer to bring bac in, which was completely legal.

I never had any idea that the thing would ever make money.

That wasn't the point.

I mean, I wa I was so naive at the point that when when I got the building and We finally got to a point where we would sell soda pop or apple juice, maybe a few sand just to try to cover the, a little bit of the expense.

I, I had the idea that by 1970 there wouldn't even be money, yo you know, it was totally a utopi a Buckminster Fuller utopian.

Not any other utopian but I really I read all of Fulle and was very affected by it and that there that there was enough for everyo It's just a matter of distributi I just happened to be driving do back over here, near here is now the MoPac.

And they were fixing to build, a building, and they had a nic big stack of that treated plywoo You know I said, man, that's it right the We don't have to buy plywood.

We borrowed a pick out and we f level up to the bed with the ply We didn't take all the plywood.

We just got it full.

And that was what we used for th Fuller had a great line, he said I really think people ought to s worrying about whatever it is they were worrying about befor they started to worry about mone And that was like, that was my b kind of philosophy thing.

You know, in a way, it all grew out of that.

Peyote and folk sing world and, you know the bohemian, crowd at the ghett And somehow or another, Don Hyde we know the story of how Don Hyde came up with the to to start the Vulcan.

Have you ever heard of Hudson's Cactus Farm?

He had a whole section of his, cactus farm that was devote to bringing in South Texas peyot which he woul laughingly refer to as that dope A lot of UT students they would take home, a bushel o peyote buds, and they would cook them down an and, you know, have visions.

It wasn't illegal in any way.

But what Don Hyde did he, got hi a couple of pickup loads, 40,000 And, got enough out of it.

So that I I was able to take it to San Fra traded traded mescaline for, 1000 or 1200 doses of of this Wh Lightning and, brought it back to Austin.

And it was like dropping an an a bomb on Austin.

And he brought it back and sold in Austin.

As I say it was not illegal at the time a pocketed about $50,000.

But the the Vulcan actually came all of that.

That's, that's where th that I was able to raise enough on, on the, on the White Lightni to do that club.

I guess you could do the hand bi This was the, grand opening hand bill, many people contributed tonthe e getting the building ready.

We had to build a stage.

We had to hang a, big platform f ceilin to put all the light show equipm Then we also had to run all of the electricity to handle, a dozen projectors or thereabouts.

When they'd set up the light sh the city wouldn't allow a new ki electrical circuit to be installed up in the ceilin where all those projectors were.

And so Sandy came up with the id that you could plug everything into one giant cor and then put a, socket on the wa and call the light show booth and appliance.

He had, very goo knowledge, of electric wiring, and was able to help us get a lot of that done.

Mainly, the sound system and the recording were his exper He was the top afic, you know the top leader on sound technolo And it was almost unquestioned that he would, if he were had any hand in it, he would, do what was really interesting and Fortunately we had the equipment that Sandy and Monroe Ross had built which were two large six foot ho They used, 375 JBL drivers on the back end and the port themselves were made out of plyw specifically figured out to wor best in the range of the human v It was great for the Johnny Wint It's great for a trio.

I didn't get to see them build the speakers, but, they were incredible.

An amazing array of, found equip I guess you could say found or otherwise.

I love the, the, picture of the Beatles at Shea S You know, in the middle of this or 60,000 person football stadium chock a block.

And there they are with little, you know, Vox amps and, some kind of little PA and God what people could hear, you know But if they'd had those horns that Lockett made, they'd been able to be heard for because they were they were lou and we were loud as a consequenc So now when you guys first play Vulcan, you you were there openi Right.

So the Vulcan was opening.

Did you know Don Hyde or Housto how did it come about that they Well, I knew Don for probably a before that, you know, just around the campus.

Honestly, it was exciting.

There were a lot of people we played.

Shivas played.

That's all I remember, man.

It was a gig.

I see you.

Only if you need me to.

I'll find you.

Only If you want me too.

I want everybody on my side Depends on how you want to ride.

Everybody on their knees.

I need love you please.

One of many at the Gas Company.

The Conqueror and Shivas were were the bedrock.

We thought originally that the Elevators would be the but it wasn't the case.

Yeah.

There is this sense that the the Vulcan Gas Company was created with the 13th Floo Elevators in mind as a house ban Right.

They had been the group that ha all this attention to the Austin music scene as a seedbed of wha was coming to be known as psyche So the idea is that, like there is this energy developing and if you can have a stage whe the 13th Floor Elevators are on weekend after weekend, that be a great thing.

And of course, it doesn't pan ou quite that way.

The Elevators story does not, of converge as much with the Vul the principals might have expect But that's how it went.

So much of the whole story of those times was it was the blend of music and politics and drugs.

Yeah, that that was what was goi Well, it was considered a bad in by the establishment, which contributed to its popular of course.

Is eithe Ken Kesey or Alan Watts that sai if they ever put a name on this, it'll kill it.

And then they did.

As a matter of fact, I read the that, I think the first time that the word was used in print was Herb Caen in, in San Francisco.

It used the word hippies referre which was kind of a neat little clever thing.

But as soon as they had a word it, it was like it was no longer open minded, freethinker people.

It was a little box that everybo could put the world in.

It was it was a place to be cult If you couldn't be in San Franci you know, smoking weed or something, then then yo you would hang out at the Vulcan Shiva played at, New Year's Eve, and it was, one of the most magical public I've ever been to, because prett everybody that was there knew at or 5 other people in there.

So I remember looking out into t and seeing, all these smiling faces.

Everybody was just smiling like.

It was one of the few times wher to where everybody danced.

There were relatively few watche everybody were doers.

And I know they they weren't all on a you know, they weren't all stone You know they were just having a great ti But, the SDSers that is the coll protesters or lefties were there The, the, the pot people, the psychedelic people, who else, who else?

You know, and the musicians and the artist Oh, and then the the old, the non-binary people, as you would call them, now and we all were there and had a really good time.

There are very few place where all those elements would h Together, you know, certain people would b watching somebod and certain people would be watc And the attention was shifting back and forth, and it was kind of like the band was part of the audience.

You were moving.

They were moving.

It was all one big collective en And it and i and it wasn't about technique.

It was about a shared consciousn And I'm not saying that because we were all stoned and everybod in, like, in everybody's head an one like that it was just like collective joy.

Yes.

Yeah.

And you jus I mean, I don't know how to expl You just go there and you jus lose yourself, and you're in the You're in that heartbeat moment with the band, the rhythm, the l You know, you're just and it's, you know, have any cares.

And it is an animal joy to go and just be inside your body and be you know, be part of that pulsin And and the light show was very Always.

And it was a perfect room for the light show because it covered a long wall and the wall behind the, the stage.

The light show to me wa I had never seen anything like t And some of those image are still a part of my memory.

I can still see them.

It was about art.

It was about music and the light Spectacular light show.

It was a happening that those are big deals.

Back then they had happenings.

Well, this was like constant hap And, right there in the heart of Austin, Texas.

College town.

Hook em Horns.

You got to realize this building was built in 1882 or something like that maybe.

It was probably a dr goods store or something of that And it also had a cister which was underneath the floor.

It was like, a large bottle about ten feet in and maybe 14ft from the, from the floor to the bottom of it.

You know, the cistern was legend It was, It still had a little bit of wat The water would seep i and we'd go down and mop it up.

Sounds would echo and bounce off the walls.

So it had unique audio character You could be right next to someo was making the ton and you didn't hear it coming fr You heard it coming off the wall Well, 100 people were going to t about the cistern, but, all of us loved that space.

It was it was something that al the musicians, they loved the so It was just beautiful down there Did you ever go down in the cist Yes.

Many times.

I don't know who discovered the or became conscious of it, but, City Movers, we used it for two One, we would go down there and smoke, surreptitiously.

And the other was that Jerr and I set up an echo chamber in Put a speaker and a microphone i Yeah.

Made it into a, you know, you play to the speaker and you recorded back then the m you got you an echo chamber.

You know, we were always experim with recording the Hub City Movers at the Vulcan.

You know, the live recordings we did weren't very good, but we did some demo recordings that were okay.

And for some of those demo reco we used the echo, from the ciste Song for All People is a good example of the cistern echo Oh deep within my prayer she comes flying with the sun, Her cloud they touch my sails in whispered words of dawn.

Her promises are graces of a song within a so I remember when Johnny Johnny Wi his trio came to Austin.

Where were they?

Were they were they all heard ab the cistern at the Vulcan and they wanted to experience it so, we were in the standing in the back room on the floor waiting in the the ladder went down and, and, Johnny and, Tommy and they were all going down the and I'm just me and this other gu we're waiting for to go down las And the other gu just happened to be Billy Gibbon Well, we knew the cistern alread and, Jim Franklin had the idea of all of us going down in there.

So what the hell?

We were on acid you know.

Went down there and, toook weird instruments.

You know, I think they were Jim I don't remember but There was a collection of really really weird instruments, you know, I don't even know what they're c And, everybody was trying to pla at the same time, and nobody could play the instru And being on acid, you can kind of imagine how that So as soon as we get down there, there's just enough of us to lin and completely absorb the resona we killed the effect that we wer And it was a good example of how popularity will destroy the magic that you're seeking.

The magic that comes out o something can be snuffed by popu And they hire us, you know, because they hired bands and all kinds of bands, psychedelic bands.

Houston invited.

Johnny to play and and Johnny sa let's wait six months.

I'm not good enough yet.

And that was astonishing.

Because he really was already go better than anybody else, that These are pictures of Johnny Win when he first came, in his Mod outfits had a fairly short hair.

What it boils down to was we were hicks from Texas.

You know, we tried to dress good, you know, bellbottoms and all that because that was a big thing bac Way we found hi was the Conqueroo who had gone t play in Denver at the Family Dog on their way to California and on the same at the same tim Johnny Winter was playing there.

So Charlie Pritchard called and you've got to hear this guy, you've got to get him.

And so I booked him without eve hearing him, just on Charlie's w We'd never seen Johnny Winter, he'd never played in Austin at t And they met up there, and he w ready to take his trio to San Fr But they'd only been together fo Never heard of Johnny Winter.

But Houston said, well you know, it's going to be good.

So, I went and was blown away.

When John, when you saw Johnny the first time, do you remember anything about his guitar styl that you thought was unique or Well I remember it, a dual Sonic or that what they call them?

The little Fender?

Guitar and he was of cours quiet as a sheep with all those And, it was just out there.

He could really play, but it wa you couldn't even keep up with i You know.

He was something else.

We got a regular gig there at th you know.

And one thing I want to mention one night we opened for Muddy Wa Muddy had played with a lot of like, young white blues guitaris and, you know kind of didn't give him any mind And played for a lot of these kind of hippie audiences.

And, what often kind of I don't want to say phoned it in because Muddy Waters would never in, but he kind of though he knew what these spaces were l Came on and were very skeptical and did a 45 minute set.

And, it was okay, but they were the same clothes that they'd dri in, they had just got in.

You could tell that he wasn't ta seriously.

They didn't dress up for the sho And Johnny was opening for him.

He'd never heard Johnny Winter.

They did 40 minutes or something And we're supposed to be open ti And I think it was like 10:30 or something.

And Johnny Winter had been the and nobody knew who he was at th And I had 10:30 to 2:00 that I was suppose So asked Johnny, if you wouldn't mind playing, an extra long second set, he sai So he went up and started playi Muddy was still in the in the bu And then Muddy, Muddy and his band heard Johnny's second set and man, they woke up, in fact, Muddy's on the payphone And he called King Curtis and h said, King, you gotta listen to And he held the phone out, and Johnny Winte was playing, and he held the pho For a minute.

Came back, said you won't, you wouldn't believe this.

This guy's white and he's really Listen to this.

That guy is white.

He's albino white.

Listen, you know, it was like they couldn' believe what they were hearing.

Second night, they show up Muddy Waters band and they're just dressed to the Cufflinks, ties, shined shoes.

And they did, like, a two hour t and 15 minute set.

It was just absolutely phenomena And it was because of Johnny.

And after the club closed you know, at the end of the nigh all the people left locked the d And, we had a jam session with Muddy Waters.

So I got to play with Muddy Wate I mean, that's, that's saying so Muddy Waters.

There's a strong and enduring relationship between the blues a and its key artists, and the white counterculture of the period.

And this was not new to the 1960 This is something that is deep in the DNA of American music and really in American culture w And the Vulcan was was one of the only clubs in Texas that ev white and black bands on the sam We managed to get Fred McDowell to come all the way from Mississ and in fact, I still have a copy of the, handwritten letter that he wrot because he didn't even have a te And he wrote back and sai that he would be happy to come if I would send him a round trip ticket.

Plus he wanted maybe $150 a night or So oftentimes these artists, when they're booked, people like Jimmy Reed they don't come to town with the Right That they, they're contracted to And then the people who are bac as a band are typically the loca We played with Big Mama Thornto Joe Williams and and, who would Jimmy Reed And and there were some others.

But a Hound Dog Snoopin round the door You can wag your tail But I aint gonna feed you no mo And bow wow to you too.

Jim Mings was outstanding.

I mean, people like Jimmy Reed would come in and Jimmy Reed's hard to follow, and so, so was Hooker.

But Mings would play with those and he could.

They were impressed.

We were good players but we I think we were sensitive Yeah you do.

You're you're taking instructio You're the student and they're t And and you just do it.

You know what feels right and d get in the way because there you Underplay.

Don't get in the way because they're they're th they're the reason you're there.

He was such a good guitar player He could play anything.

You were able to hang with all these peop when they came.

And, every weekend was I remembe Big Joe Williams was eating rib picked up his guitar and started That was just a big part of my was playing these people's instr and it had all sorts of strings, maybe had barbed wire on it for all I know, but flatwound and roundwound.

Bronzewound.

And I said Mr.

Will How long you had the strings on this guitar?

He said, ate some ribs.

You know, a lot of time goes by Yeah he had an 8 string guitar with no case or anything and threw it in the trunk of hi with the spare tire and the jack And it's just bang around.

And hed call and say Man it sure is cold up here.

Can't you give me a little ole gig down there.

And he'd show up at the show up outside my office and, open the car door and start pla he'd play on the street for 3 or If there was two people, one person, three people.

Hed play.

I hear the whistle blowin cant see no train down in my he achin pain Baby how long?

See you tomorrow night I hope I meet everybody tomorrow He's he' a real prince.

Knight of the roa Great guy.

But they were all great guys.

Part of the interesting things about the blues story at the Vulcan Gas Company is yo a lot of the patterns that reall gets so much of the credit for starting in 1975, but those patterns are already s like the Armadillo World Headquarters have been sort of s in those currents.

You know, it's one of the places they call it, the House that Freddie Built, that Freddi was one of the first national pe to really pack the house, at the Armadillo.

But even then, if you go back f it's the Vulcan Gas Company wher these blues artists are first put on stage in this kind of lik countercultural music scene.

Everybody loves to play a play in Austin because, people were very enthusiastic about the Yeah.

So it's a it's a really ri history.

It's a complicated history.

But in its best moments, it is one where the white counte is trying to expand its horizons and give th due to these artists whom they r And it was a surprise to most of the people who were picking up on that stu in San Francisco, that that this minded cultur was coming from low minded Texas You know, I mean, Canned Heat w the first West Coast band that e The gis at the Vulcan that I rem with the big bands like, we opened for Canned Heat.

By that time we'd been playing s that we could we could play the music standing on our heads.

And as Canned Heat was coming up the ramp and we were going down, one of the guys said man, y'all are a hard act to fol I made the mistake of letting th use their microphone.

They wind up swinging it around yo yo.

They've got to go to the airpor and get on a plane and go somewh immediately.

I mean, righ straight from the Vulcan to the And one of them is saying, does anybody have any drugs?

Anybody have any drugs?

Some kind of like, the little ne goes, well, I've go and they said, well, what is it?

What is it?

He said, it's mescal And they said, well, is it an upper or a downer?

And he said, well, I'm not sure.

And so they said, well, give us To this very day, I wonder what that was like getting on an airplane, getting stoned on mescaline.

I wonder how much they took, be generally came in double ought c And, I would split them.

I booked Steve Miller and he, he played because he's from Dal and understood what was going on Steve Miller came on the first he wasnt too good and in the se I don't know what he did backsta but boy they just they just, they had the crowd eating out of their hand.

They were they were good.

I had he came in.

I handed him a tab of acid befo we went on stage, and he looked recognized what it was, and jus and got up on stage and played.

For 4.5 hours.

Yeah Ive blues with a feeling baby that's what I have today.

Gonna find my baby If it takes all night and day.

I did not book bands that were that were cover band that did covers of other music.

And consequently I didn't book, Jimmy Vaugha because he was in the cover band And we finally did book them.

I think Houston convinced m to let him play because he was s He was without his bass player, but they came anyway, and they drug Stevie down.

And Stevie was about 14 at that Jimmy gave him the Barney Kessel to play bass on.

So the Vaughan brothers I think everyone knows the Stevi and Jimmy story about how they c from Oak Cliff, to Austin.

You know, Stevie's still just a when he's following his brother Jimmy down when they're playing in bands li But it's also folks like Denny who is also on that same level as a guitarist.

It's also folks like peopl who are about to break out as hu So Steve Miller and Boz Scaggs both from the north side of Dall When I was living in Houston, I can't remembe when at what point in Houston it But anyway I went to a concert at The Famil and the Fugs were playing and I don't remember all the det but somebody said, hey these guys need a ride to Austin And I had a van, and I went, Il give them a ride.

I booked The Fugs from New York And they wer they were just completely mind b They thought maybe 20 people would be there.

And the place was completely sol for two nights.

And they they couldn't believe i But they wouldn't put their name in the paper.

They just said a famous New York So all these really straight pe up, a little blue haired ladies while they were singing you know, Johnny jack off and su they didn't know what they were so it didn't matter.

Poetry.

nothing music nothing painting and dancing not The world's great books, a great set of noth Audy and Foudy nothing nothing.

Sucking, nothing.

flesh and sex, nothing Church and Times Square all A lot of nothing.

Nothing, nothing, nothing.

Did the Vulcan ever have Velvet Underground?

They played there, too.

Didnt t Is that why, was Sterlin Morrison decide to live in Austi Yeah.

It's something of an unfolding myster Why some of the biggest experime of the era find themselves in Austin, Texas.

In the period between 1967 and 1 Austi wasn't really known as a music t You know, there was kind of this underground stuff happening.

But the fact that the Velvet Underground like at the peak of their powers this show at the Vulcan Gas Comp is, is one of the more prominent between the coast.

Right.

They aren't doing a lot o touring in the middle of the cou but the Vulcan Gas Company was just this little, outlet between the coast that f themselves with some of these bi Right.

So it's not all of the hug stars of the day, but the nation who are on that stage are ones who stand the test of t Right.

All those bands, That were famous from media did very well in Austin but the Austin bands never did w So a lot of things like that we happening, you know, when people they didn't get any they couldn't feel their own tra and they couldn't respect their own talent.

You know how good they were.

It was a different world.

In a lot of ways it was not not anything like it was later when Willie Nelson penetrated Austin and the rednec and the dopers got together.

The Willie Nelson thing was, was Eddie Wilson and and had nothing to do with anyth the Vulcan ever did.

Problem with being an artist in this state, you know, you you give the best, you're doing groundbreaking, but yo you can't break the ground under muddy feet.

You know what I mean?

I was like I mean, the only the only LSD that ever happened in that crowd in the Armadillo w Star Draft.

How do you wake people up to art How do you.

You know it's always been a problem for m It was the home of John Henry Fa You know, it was, it was super liberal looking at Texas as a whole.

But we didn't feel that when we were in school there.

We felt we felt repressed.

I would say the spirit of the Vu Company was just sort of progre and liberal and tolerant, you kn So that was a cultural thing tha the university frowned upon because it they they fear losing control of the younger generation.

We got no encouragement from them as far as, music or anything.

We were just a thorn in their si And, watched by the Austin polic vice squad illegally.

There was, you know the famous, Burt Gerding and Har Gann, the vice and drug detai of the Austin Police Department.

And there was their struggl to keep those college students f you know, going astray by you know, selecting a few colleg and making examples of them and putting them in jail.

Watching the the, the, the establishment, you know turn it into a criminal.

Evil enterprise.

And watching them manipulat the public perception of the who was a weird thing to happen.

And I mean, there were there were we we had, more police than customers, lite We watched, you know, lots of sweet wonderful people end up in priso because it was because they were open minded.

They didn't like us.

What were we doing?

Trying to think or something that will won't be tolerated in We don't need critical thinkers, right?

Right.

Gov?

We had police coming in every almost every weeken and going through all the musici they no no permits or anything, just walk and go, go in and go through the case looking for any seeds, stem, any One of the guys that went to sch Don Hyde was the one who happene to be a member of the Austin pol And Jerry Spain was his name, I When I was told by Jerry Spai to leave town, he said the stree may not know who's doing this and making this but the police do.

He told Don that, the police were planning to plant a pound of pot and make sure he did about 25 ye at Huntsville if he didn't stop doing what he And, I mean, I was friends with I said I said, well, I apprecia giving me the heads up on this J And Don said thanks for the warn And he he packe up, sold his house and left town I mean, how many people are the by the time they're 22 on their You know, there's Don Hyde.

it went from, you know being really impressive February to, you know, being really music and esthetically impressive thro to fading out to nothing in 1970 It was a lot of fun t manifest was really, really grea It it wasn't so much fun to mai but it was a lot of fun to manif which is ofte the case of of things that peopl is more, more fun to create them maintain them.

By May, you know, Houston and Sa turn it over to, Bobb Hedderman and Marty McDermott.

And they were running at the end and they tried to sell beer, which had never happened before, and it brought in a much rougher crowd.

And, you know the last month of the club was j ugly, you know.

So what is it?

How long has it been at ‘65?

Say 66 to now, 55 years.

And everything is different and everything is the same 55 years later.

Like, if somebody didn't even kn what the Vulcan was.

There are young people now.

Toda Like if they said, you know, lik what was the Vulcan?

Could you give them A short answ No, couldn't its.

It's just a conglomerate of of of ha happening happenstance and peopl uniquely converge in a, in a a town that was set up to allow it and but I couldn't I couldn't say in a word what it It's, it's like, what is life?

You know what?

How do you know?

You say, what is Macbeth?

And one word.

I'm sure there's clubs out there, that are getting started, full of beautiful people dancing beautifully.

And feel feeling the full flow of spring, and so that was my spring.

In a lot of ways that it was a f And it it sparked a lot of stuff that happened aft And a lot of people, I think, got into the idea of playing music and, and performing in this area.

But because of it.

The Vulcan tied a threaded thread to Califo to the thread other places, you know, because we were bringing, because we were bringing in clas acts.

People like that.

You know, Bi Mama Thornton, you know, John Le I wa I was young and naive enough to to think that it was something that was going to make a big difference globally.

And, It's just stuff, you don't even You don't even say it's bad luck Im superstitious.

Perhap in the light of the Armadillo ha it actually makes the Vulcan more significant.

If it had just waned and died li so many clubs went away and nobody that went to college there knows about it after five that would have been a different But because it was a evolutionar it was significant.

And and it's naive and dumb, but I, I thought it would.

I thought it was, going to be part of somethin that that would happen everywher It was like the big bang you know, the first the first pa of the Big Bang, that the Armad was just the big expansion, you It, didn't it petered out.

It turned into, like I said, it turned into peo snorting cocaine and drinking be And if neither of those club had happened, you would have bee 40 other clubs, and dow there never would have happened.

And that wasn't what the Vulcan Gas Company was about You know, it was it's really, really more about, worrying about whatever you're worrying about before you worry started to worry about money, which I think is that's the it's probably as good an answer as I could give, and and its Buckminster Fuller.

Ive seen gold beyond the mornin and the other side of happiness and now I know I can't stand alo so I can't know tomorrow.

You say you'r wanting freedom like the wind.

And adventure on the road.

Well, I don't have.

patience like the sky and I can't know tomorrow.

When I leave, don't walk me to t You know I will not say goodbye And now I know that my time is w I can't know tomorrow.

Ive seen gold beyond the mornin And the other side of happiness.

And now I know I cant stand alo I cant know tomorrow.

No, I cant know tomorrow.