Jefferson Airplane – Live At The Monterey Festival 1967 (1990)

frontcover1Live at the Monterey Festival is a live album by the San Francisco rock band Jefferson Airplane, which was released in the United Kingdom and Europe by Thunderbolt Records in 1990. The album was authorized by the band and features the entire set from the group’s June 17, 1967 performance at the Monterey Pop Festival. The album marked the first time that Jefferson Airplane’s entire Monterey Pop Festival performance had been given a release by a legitimate record company. (by wikipedia)

Jefferson Airplane was unique among San Francisco psychedelic groups for actually charting a pair of hit singles (“White Rabbit” and “Somebody to Love”), but apart from those two radio staples, it was their albums and their live performances that made their reputations. Yet it wasn’t until 1969 that they issued an official live album, by which time their repertory and sound had become much heavier than the way it started out. Live at the Monterey Festival captures them earlier in their history, on June 17, 1967, dead-center in the middle of the Summer of Love that their two hit singles helped usher in. They were still a somewhat folk-based group with an interest in blues as well, riding the initial tide of their success four months after the release of Surrealistic Pillow (whose songs make up the bulk of the eight-song set that they played) and with the two hits still fresh; it was also less than a year after Grace Slick joined, when Marty Balin was still playing a prominent (if not dominant) role in shaping the group’s sound.

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The group’s sound is very lean and muscular, especially Jorma Kaukonen’s razor-sharp lead playing and Spencer Dryden’s pounding beat, over Jack Casady’s surprisingly melodic bass work — Slick and Balin’s voices meld perfectly on “High Flying Bird” and soar on the individual featured numbers. “Today” gets almost a definitive performance, and “Somebody to Love” isn’t far behind. “The Ballad of You and Me and Pooneil” as performed here is possibly the best single live track ever issued by the band. Additionally, the audio version of this set works better than elements of the film of it do — for much of “Today,” director D.A. Pennebaker ended up focusing on Grace Slick, who was only playing the keyboard, rather than Marty Balin, who was singing. (by Bruce Eder )

And I guess, Patti Smith was very impressed by, very influenced by Grace Slick !

Enjoy the early magic of Jefferson Airplane !!!

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Personnel:
Marty Balin (vocals)
Jack Casady (bass)
Spencer Dryden (drums, percussion)
Paul Kantner (guitar, vocals)
Jorma Kaukonen (guitar)
Grace Slick (vocals, piano)

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Tracklist:
01. Somebody to Love” (D.Slick/G.Slick) 3.16
02. The Other Side Of This Life (Neil) 6.53
03. White Rabbit (G,Slick) 2.41
04. High Flying Bird (Wheeler) 4.02
05. Today (Balin/Kantner) 3.07
06. She Has Funny Cars (Kaukonen/Balin) 3.20
07. Young Girl Sunday Blues (Balin) 3.26
08. The Ballad Of You & Me & Pooneil (Kantner) 11.13

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The Grateful Dead – Same (1967)

frontcover1The Grateful Dead is the debut album of the Grateful Dead. It was recorded by Warner Bros. Records, and was released in March 1967. According to bassist Phil Lesh in his autobiography Searching for the Sound: My Life with the Grateful Dead, the album was released as San Francisco’s Grateful Dead.

The album was recorded primarily at Studio A in Los Angeles in only four days. The band had wanted to record the album in their hometown of San Francisco, but no good recording studios existed in the area at the time. The group picked David Hassinger to produce because he had worked as an engineer on the Rolling Stones’ “(I Can’t Get No) Satisfaction” and Jefferson Airplane’s Surrealistic Pillow album (on the latter of which Jerry Garcia had guested as well as having suggested the album’s title). Demands by Warner Bros. resulted in four of the tracks, originally longer, being cut short. Phil Lesh comments in his autobiography that “to my ear, the only track that sounds at all like we did at the time is Viola Lee Blues. … None of us had any experience with performing for recording … although the whole process felt a bit rushed.”

The album was seen as “a big deal in San Francisco.” Even though this was true, it did not see much air play on AM radio stations outside San Francisco. It would be a couple of months before free-form FM radio stations began to take shape. Warner Bros. threw the band a release party at the Fugazi Hall in North Beach. Joe Smith is noted for saying he is “proud that Warner Bros. is introducing the Grateful Dead to the world.”

The song “Alice D. Millionaire” was inspired by an autumn 1966 newspaper headline “LSD Millionaire”, about the Dead’s benefactor and sound engineer Owsley Stanley.

In the original design for the album cover, the cryptic writing at the top read, “In the land of the dark, the ship of the sun is driven by the Grateful Dead”, with the phrase “Grateful Dead” in large letters. At the band’s request, the writing, except for “Grateful Dead”, was changed by artist Stanley Mouse to be unreadable. According to fan legend, the saying is from Egyptian Book of the Dead.

The band used the collective pseudonym McGannahan Skjellyfetti for their group-written originals and arrangements. The name derived from a corruption of a character name in the Kenneth Patchen work The Memoirs of a Shy Pornographer. (by wikipedia)

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 Greatful Dead live at the Golden Gate Park, April 1967

 

The Grateful Dead’s eponymously titled debut long-player was issued in mid-March of 1967. This gave rise to one immediate impediment — the difficulty in attempting to encapsulate/recreate the Dead’s often improvised musical magic onto a single LP. Unfortunately, the sterile environs of the recording studio disregards the subtle and often not-so-subtle ebbs and zeniths that are so evident within a live experience. So, while this studio recording ultimately fails in accurately exhibiting the Grateful Dead’s tremendous range, it’s a valiant attempt to corral the group’s hydra-headed psychedelic jug-band music on vinyl. Under the technical direction of Dave Hassinger — who had produced the Rolling Stones as well as the Jefferson Airplane — the Dead recorded the album in Los Angeles during a Ritalin-fuelled “long weekend” in early 1967. Rather than prepare all new material for the recording sessions, a vast majority of the disc is comprised of titles that the band had worked into their concurrent performance repertoire. This accounts for the unusually high ratio (seven:two) of folk and blues standards to original compositions. The entire group took credit for the slightly saccharine “Golden Road (To Unlimited Devotion),” while Jerry Garcia (guitar/vocals) is credited for the noir garage-flavored raver “Cream Puff War.” Interestingly, both tracks were featured as the respective A- and B-sides of the only 45 rpm single derived from this album. The curious aggregate of cover tunes featured on the Dead’s initial outing also demonstrates the band’s wide-ranging musical roots and influences. These include Pigpen’s greasy harp-fuelled take on Sonny Boy Williamson’s “Good Morning Little School Girl” and the minstrel one-man-band folk of Jessie “the Lone Cat” Fuller’s “Beat It On Down the Line.” The apocalyptic Cold War folk anthem “Morning Dew” (aka “[Walk Me Out in The] Morning Dew”) is likewise given a full-bodied electric workout as is the obscure jug-band stomper “Viola Lee Blues.” Fittingly, the Dead would continue to play well over half of these tracks in concert for the next 27 years. [Due to the time limitations inherent within the medium, the original release included severely edited performances of “Good Morning Little School Girl,” “Sitting on Top of the World,” “Cream Puff War,” “Morning Dew,” and “New, New Minglewood Blues.” (by Lindsay Planer)

And this was the start of a real brilliant career !

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Greatful Dead live at the City Park, Denver, September 1967

Personnel:
Jerry Garcia (guitar, vocals)
Bill Kreutzmann (drums, percussion)
Phil Lesh (bass, vocals)
Ron “Pigpen” McKernan (organ, harmonica, vocals)
Bob Weir (guitar, vocals)

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Tracklist:
01. The Golden Road (To Unlimited Devotion) (Garcia/Kreutzmann/Lesh/McKernan/Weir) 2.07
02. Beat It On Down The Line (Fuller) 2.27
03. Good Morning, Little School Girl (Williamson) 5.47
04. Cold Rain And Snow (Ramsey) 2.25
05. Sitting On Top Of The World (Chatmon/Vinson) 2.01
06. Cream Puff War (Garcia) 2.25
07. Morning Dew (Dobson/Rose) 5.00
08. New, New Minglewood Blues (Lewis) 2.31
09. Viola Lee Blues (Lewis) 10.12

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Various Artists – Montery Pop Festival 67 (Part 1): Jefferson Airplane (1989)

FrontCover1Monterey Pop Festival ’67 – The Summer Of Love All Began From Here” is an Italien bootleg from 1989 and includes 7 LPs in a box (and the cover art is pretty great, too). And this set (the sound is very good throughout!) is documenting the legendary California rock festival:

The Monterey International Pop Music Festival was a three-day concert event held June 16 to June 18, 1967 at the Monterey County Fairgrounds in Monterey, California. Crowd estimates for the festival have ranged from 25,000-90,000 people, who congregated in and around the festival grounds. The fairgrounds’ enclosed performance arena, where the music took place, had an approved festival capacity of 7,000, but it was estimated that 8,500 jammed into it for Saturday night’s show. Festival-goers who wanted to see the musical performances were required to have either an ‘all-festival’ ticket or a separate ticket for each of the five scheduled concert events they wanted to attend in the arena: Friday night, Saturday afternoon and night, and Sunday afternoon and night. Ticket prices varied by seating area, and ranged from $3 to $6.50 ($21–46, adjusted for inflation.

TicketThe festival is remembered for the first major American appearances by The Jimi Hendrix Experience, The Who and Ravi Shankar, the first large-scale public performance of Janis Joplin and the introduction of Otis Redding to a large, predominantly white audience.

The Monterey Pop Festival embodied the theme of California as a focal point for the counterculture and is generally regarded as one of the beginnings of the “Summer of Love” in 1967; the first rock festival had been held just one week earlier at Mount Tamalpais in Marin County, the KFRC Fantasy Fair and Magic Mountain Music Festival. Because Monterey was widely promoted and heavily attended, featured historic performances, and was the subject of a popular theatrical documentary film, it became an inspiration and a template for future music festivals, including the Woodstock Festival two years later.

FestivalPosterThe festival was planned in seven weeks by promoter Lou Adler, John Phillips of The Mamas & the Papas, producer Alan Pariser and publicist Derek Taylor. The Monterey location had been known as the site for the long-running Monterey Jazz Festival and Monterey Folk Festival; the promoters saw the Monterey Pop festival as a way to validate rock music as an art form in the way in which jazz and folk were regarded. The organizers succeeded beyond all expectations.

The artists performed for free with all revenue donated to charity, except for Ravi Shankar, who was paid $3,000 for his afternoon-long performance on the sitar. Country Joe and the Fish were paid $5,000 not by the festival itself, but from revenue generated from the D.A. Pennebaker documentary.

Lou Adler later reflected:

…[O]ur idea for Monterey was to provide the best of everything — sound equipment, sleeping and eating accommodations, transportation — services that had never been provided for the artist before Monterey…

We set up an on-site first aid clinic, because we knew there would be a need for medical supervision and that we would encounter drug-related problems. We didn’t want people who got themselves into trouble and needed medical attention to go untreated. Nor did we want their problems to ruin or in any way disturb other people or disrupt the music…

Our security worked with the Monterey police. The local law enforcement authorities never expected to like the people they came in contact with as much as they did. They never expected the spirit of ‘Music, Love and Flowers’ to take over to the point where they’d allow themselves to be festooned with flowers.

Monterey’s bill boasted a lineup that put established stars like The Mamas and the Papas, Simon & Garfunkel and The Byrds alongside groundbreaking new acts from the UK and the USA. (by wikipedia)

I will present the complete box in the next weeks … and I start with LP number one with the complete Jefferson Airplane  (no introduction nessesary) performance. With two huge singles behind them, the Airplane was one of the major attractions of the festival.

JeffersonAirplaneJefferson Airplane at the Monterey Pop Festival

Personnel:
Marty Balin (vocals, guitar)
Jack Casady (bass)
Spencer Dryden (drums)
Paul Kantner (guitar, vocals)
Jorma Kaukonen (guitar, vocals)
Grace Slick (vocals)

BackCover1Tracklist:
01. Introduction/Somebody To Love (Slick) 3.50
02. Other Side Of This Life (Neil) 6.51
03. White Rabbit (Slick) 2.45
04. High Flyin’ Bird (Balin/Slick) 4.01
05. Today (Balin/Kantner) 3.04
06. She Has Funny Cars (Kaukonen/Balin)     3:14
07. Young Girl Sunday Blues (Balin/Kantner) 3.30
08. Ballad Of You And Me And Pooneil (Kantner)    11:02

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Much more will come:
The Who (4 tracks), The Steve Miller Band (1 track), Scott McKenzie (1 track), Simon & Garfunkel (7 tracks), The Electric Flag (3 tracks), Canned Heat (2 tracks), Hugh Masakela (1 track), Buffalo Springfield (3 tracks), The Mar-Keys (1 track), Country Joe & The Fish (3 tracks), Booker T & The MGs (2 tracks), Big Brother & The Holding Company (5 tracks), The Mamas & The Papas (9 tracks), The Jimi Hendrix Experience (3 tracks), The Grateful Dead (2 tracks), The Byrds (3 tracks), The Butterfield Blues Band (6 tracks), The Animals (4 tracks), Lou Rawls (2 tracks), Johnny Rivers (1 track)

Papa John Creach & Midnight Sun – I´m The Fiddle Man (1975)

FrontCover1Papa John Creach (born John Henry Creach; May 28, 1917 – February 22, 1994) was an American blues violinist who played for Jefferson Airplane (1970–1975), Hot Tuna, Jefferson Starship, Jefferson Starship – The Next Generation, the San Francisco All-Stars (1979–1984), The Dinosaurs (1982–1989), and Steve Taylor. Creach recorded a number of solo albums and was a frequent guest at Grateful Dead and Charlie Daniels Band concerts. He was a regular guest at the, early annual Volunteer Jams, hosted by Charlie Daniels, which exposed him to a new audience receptive to “fiddle” players.

Creach was born at Beaver Falls, Pennsylvania. He began playing violin in Chicago bars when his family moved there in 1935, and later joined a local cabaret band, the Chocolate Music Bars, and toured the Midwest with them. Moving to Los Angeles in 1945, he played in the Chi Chi Club, spent time working on an ocean liner, appeared in several films,[3] and performed as a duo with Nina Russell.

PapaJohnCreach01AIn 1967, Creach met and befriended drummer Joey Covington. When Covington joined the Jefferson Airplane in 1970, he introduced them to Creach, who was invited to join Hot Tuna. Although regarded as a session musician, he would remain with the band for the next four years, before leaving in 1974 to join Jefferson Starship and record on their first album, Dragonfly. Creach toured with Jefferson Starship and played on the band’s hit album Red Octopus in 1975. Around 1976 Creach left to pursue a solo career. Despite this, he was a guest musician on the spring 1978 Jefferson Starship tour.

A year later, Creach renewed his working relationship with Covington as a member of the San Francisco All-Stars, as well as with Covington’s Airplane predecessor, Spencer Dryden, as a member of The Dinosaurs. He also continued with occasional guest appearances with Hot Tuna, and was on stage at the Fillmore Auditorium in 1988 when Jack Casady and Jorma Kaukonen of Hot Tuna were reunited with Paul Kantner and Grace Slick for the first time since Jefferson Airplane disbanded.

In 1992, he became one of the original members of Jefferson Starship – The Next Generation and performed with them until he succumbed to congestive heart failure on February 22, 1994. He had a heart condition that caused bouts of pneumonia from continual fluid build-up in his lungs. He was 76.

Jefferson Starship performed a benefit concert to raise money for his family after his death and released tracks from their performances as the album Deep Space/Virgin Sky.

I’m the Fiddle Man is Papa John’s fourth solo album and the first with Buddah Records. The album was recorded after Papa John Creach left Jefferson Starship following the successful album, Red Octopus. The supporting band on this album is known as Midnight Sun, and had a similar lineup to Zulu on Playing My Fiddle for You. This album featured fewer original compositions than the previous album. (by wikipedia)

And it´s a real good one ! Enjoy the sound of the westcoast !

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Papa John Creachwith Hot Tuna, Fillmore West, 1972

 

As young as this morning
As old as the hills.
Rising, falling, running, crawling. A shout and a whisper,
the black, the white and the blues, the colors of his rainbow,
torrents and mist, corn whisky and champagne, catfish and
caviar, Blue Monday, Black Friday, Sunday School and poolrooms,
Barbeques and banquets.
Pull the bow across the strings — my hat is in my hand.

Charlie Daniels

Personnel:
Papa John Creach (violin, vocals)
Mark Leon (drums, vocals)
Kevin Moore (guitar, vocals)
John Lewis Parker (keyboards, vocals)
Holden Raphael (percussion, vocals)
Bryan Tilford (bass, vocals)
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Ginger Blake, Maxine Willard, Julia Tillman (background vocals)

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Tracklist:
01. I’m The Fiddle Man (Moore/Parker/Creach) 4.02
02. Stardust (Parish/Carmichael) 5.13
03. Enjoy (Freeman/Talmage/Robbins) 2.35
04. The Rocker (Parker/Creach) 2.37
05. Jim Dandy (St. Clair) 4.08
06. Joyce (Freeman/Martinez) 4.50
07. I Know Where I’m Goin’ (Gibbs) 2.35
08. Solitude (Delange/Mills/Ellington) 3.33
09. You Left Your Happiness (Williams/Triune) 3.05
10. Fiddlin’ Around (Freeman/Martinez) 3.40

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