Jerry Garcia – Garcia (1972)

LPFrontCover1Garcia is Grateful Dead guitarist Jerry Garcia’s first solo album, released in 1972.

Warner Bros. Records offered the Grateful Dead the opportunity to cut their own solo records, and Garcia was released around the same time as Bob Weir’s Ace and Mickey Hart’s Rolling Thunder. Unlike Ace, which was practically a Grateful Dead album, Garcia was more of a solo effort, as Garcia played almost all the instrumental parts. Six tracks (specifically those coauthored by lyricist Robert Hunter) eventually became standards in the Grateful Dead concert repertoire.

Some reprints of the album are self-released. “Loser” was covered by Cracker on their 1993 album Kerosene Hat. (by wikipedia)

This disc was a happy byproduct of the Grateful Dead re-signing with Warner Bros. It was mutually beneficial for Bob Weir (guitar/vocals) as well as Mickey Hart (percussion) and his criminally overlooked debut long-player, Rolling Thunder (1972). Jerry Garcia’s (acoustic guitar, electric guitar, pedal steel guitar, bass, piano, organ, samples, vocals) simply titled Garcia (1972) is arguably the most solo of all these projects, as only he and the Grateful Dead’s Billy Kreutzmann (percussion) contribute instrumentally. That said, Robert Hunter’s lyrics should not be underestimated as all six of his co-compositions became staples in the Dead’s live songbook for the remainder of their concert career.

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The infusion of new material can be attributed to the lack of any Dead-related releases since Workingman’s Dead (1970) over 14 months earlier. Although Garcia is the primary musician on the ten tracks, he has given each arrangement a wholly unique persona. These range from straight-ahead blues-based rock & roll (“Sugaree”) to the avant-garde (“Late for Supper”). Within those extremes are discerning renditions and solid performances of stone gems such as the noir folkie “Loser” as well as the lilting balladry of “Bird Song” and the cyclical psychedelia of “The Wheel,” the latter of which features some of the finest pedal steel guitar work to have come from Garcia’s brief infatuation with the twangy instrument. He brings an intimacy to the affective love song “To Lay Me Down” that was rarely equalled by the Grateful Dead. His prowess as an emotive pianist can be heard throughout not only that cut, but also on the trippy medley consisting of the previously mentioned “Late for Supper,” “Spidergawd,” and “Eep Hour.” Ever the self-effacing artist, at the time of release the guitarist overtly downplayed the album as “overindulgent.” Time has rendered that assessment utterly false, as Garcia is nothing short of a full-bodied artistic expression from one of rock & roll’s most multi-faceted musicians. Both initiated Deadheads as well as enthusiasts of the burgeoning early-’70s singer/songwriter movement will find much to cherish on this recording as Garcia redefines his immense talents and seemingly undiluted musical potential. (by Lindsay Planer)

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Personnel:
Jerry Garcia (guitar, pedal steel guitar, bass, keyboards, samples, vocals)
Bill Kreutzmann (drums)

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Tracklist:
01. Deal 3.14
02. Bird Song 4.27
03. Sugaree 5.55
04. Loser 4.10
05. Late For Supper 1.38
06. Spidergawd 3.26
07. Eep Hour 5.08
08. To Lay Me Down 6.18
09. An Odd Little Place 1.39
10. The Wheel 4.12

Music Jerry Garcia + Billy Kreutzman
Lyrics: Robert Hunter

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Jerry Garcia

Jerry Garcia (August 1, 1942 – August 9, 1995)

Jerry Garcia & Merl Saunders – Live from The Record Plant, Sausalito (1973)

FrontCover1.jpgJerry Garcia was once asked what he liked to do when he wasn’t playing music. “Play music!” was his response. For about five years, the Grateful Dead guitarist spent many nights collaborating with organist Merl Saunders both in concert and in the studio. The five-year association of Saunders, who’d worked primarily as a jazz organist, and Garcia took root in early1970 with a weekly jam session featuring Saunders, Garcia, bassist John Kahn, and drummer Bill Vitt, at San Francisco’s Matrix.

From February 1971 to July 1975, Merl Saunders and Jerry Garcia often played live shows together when the Grateful Dead were not on tour. For many of those concerts, their band had the lineup featured on this album — Saunders on keyboards, Garcia on guitar and vocals, John Kahn on bass, and Bill Vitt on drums.

And here´s a pretty jam album from that period … here the relaxed sound of the Westcoat !

Live at The Record Plant, Sausalito, CA; July 8, 1973.
Very good KSAN FM broadcast.

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Personnel:
Jerry Garcia (guitar, vocals)
John Kahn (bass)
Merl Saunders (organ)
Bill Vitt (drums)

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Tracklist:
01. Introduction (Tom Donahue) 0.38
02. Someday Baby (Estes) 6.34
03. My Funny Valentine (Hart/Rodgers) 1108
04. That’s Alright Mama (Crudup) 8.24
05. It’s Too Late (She´s Gone) (Willis)12.14
06. Finders Keepers (Saunders/Kahn) 6.34
07. Announcements (Tom Donahue) 1.20
08. Second That Emotion (Robinson) 11.44
09. Georgia On My Mind (Carmichael/Gorrell) 12.02
10. Positively 4th Street (Dylan) 8.38
11. How Sweet It Is( Holland/Dozier/Holland) 8.05

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Jefferson Airplane – Takes Off (1966)

LPFrontCover1.jpgJefferson Airplane Takes Off is the debut album of American rock band Jefferson Airplane, released in August 1966 as RCA Victor LSP-3584 (stereo) and LPM-3584 (mono). The personnel differs from the later “classic” lineup: Signe Toly Anderson was the female vocalist and Skip Spence played drums. Both left the group shortly after the album’s release and were replaced by Grace Slick and Spencer Dryden, respectively

RCA executives found some of the lyrics too sexually suggestive. They had the band change the lyrics in “Let Me In” from “I gotta get in, you know where” to “You shut your door, now it ain’t fair”, and “Don’t tell me you want money” to “Don’t tell me it’s so funny”. In “Run Around” they had the line “Blinded by colors come flashing from flowers that sway as you lay under me” altered to “that sway as you stay here by me”. With “Runnin’ ‘Round This World” the executives insisted that “trips” in the line “The nights I’ve spent with you have been fantastic trips” referred to taking LSD, though the band insisted it was merely common slang. Even replacing the word “trips” with a guitar apreggio did not placate RCA’s concerns with the line’s sexual connotations and refused its inclusion on the album, and the recording remained unreleased for the next eight years.

The album’s release drew little press attention at a time when mainstream newspapers did not normally cover rock releases and the rock press was yet in its infancy. Crawdaddy! highlighted the album on the cover of its January 1967 issue, which included a three-page review by the magazine’s assistant editor Tim Jurgens, who called the album “faulted” yet “the most important album of American rock” of 1966. (by wikipedia)

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The debut Jefferson Airplane album was dominated by singer Marty Balin, who wrote or co-wrote all the original material and sang most of the lead vocals in his heartbreaking tenor with Paul Kantner and Signe Anderson providing harmonies and backup. (Anderson’s lead vocal on “Chauffeur Blues” indicated she was at least the equal of her successor, Grace Slick, as a belter.) The music consisted mostly of folk-rock love songs, the most memorable of which were “It’s No Secret” and “Come up the Years.” (There was also a striking version of Dino Valente’s “Get Together” recorded years before the Youngbloods’ hit version.) Jorma Kaukonen already displayed a talent for mixing country, folk, and blues riffs in a rock context, and Jack Casady already had a distinctive bass sound. But the Airplane of Balin-Kantner-Kaukonen-Anderson-Casady-Spence is to be distinguished from the Balin-Kantner-Kaukonen-Casady-Slick-Dryden version of the band that would emerge on record five months later chiefly by Balin’s dominance. Later, Grace Slick would become the group’s vocal and visual focal point. On Jefferson Airplane Takes Off, the Airplane was still Balin’s group. (by William Ruhlmann)

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Personnel:
Signe Toly Anderson (vocals, percussion)
Marty Balin (vocals, guitar)
Jack Casady (bass)
Paul Kantner (guitar, vocals)

Jorma Kaukonen (guitar)
Skip Spence – drums)
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Spencer Dryden (drums on 15., 18. + 19.)

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Tracklist:
01. Blues From An Airplane (Balin/Spence) 2.13
02. Let Me In (Balin/Kantner) 2.59
03. Bringing Me Down (Balin/Kantner) 2.24
04. It’s No Secret (Balin) 2.39
05. Tobacco Road (Warnick[n) (*) 3.30
06. Come Up The Years (Balin/Kantner) 2.32
07. Run Around (Balin/Kantner) 2.40
08. Let’s Get Together (Kantner/Anderson/Balin/Powers) 3.35
09. Don’t Slip Away (Balin/Spence) 2.34
10. Chauffeur Blues (Melrose) 2.28
11. And I Like It (Balin/Kaukonen) 3.20
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12. Runnin’ Round This World (from Early Flight) (Balin/Kantner) 2.25
13. High Flying Bird (from Early Flight) (Wheeler) 2.17
14. It’s Alright (from Early Flight) (Balin/Spence) 2:17
15. Go To Her” (from Jefferson Airplane Loves You) Kantner, Irving Estes 4:09
16. “Let Me In (from Jefferson Airplane Loves You) (Balin/Kantner) 3.31
17. Run Around (uncensored version) (Balin/Kantner) 2.35
18. Chauffeur Blues (alternate version) (Melrose) 2.49
19.1. And I Like It (alternate version) (Balin/Kaukonen) 8.16
19.2.. Blues From An Airplane (instrumental; hidden track) (Balin/Spence) 2.10

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Grateful Dead – Anthem Of The Sun (1968)

FrontCover1Anthem of the Sun is the second album by the rock band the Grateful Dead. Released in 1968, it is the first album to feature second drummer Mickey Hart, who joined the band in September 1967. In 2003, the album was ranked number 287 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

The mix of the album combines multiple studio and live recordings of each song. The result is an experimental amalgam that is neither a studio album nor a live album, but both at the same time (though it is usually classified as a studio album).

Drummer Bill Kreutzmann’s description of the production process describes the listening experience of the album as well: “…Jerry [Garcia] and Phil [Lesh] went into the studio with [Dan] Healy and, like mad scientists, they started splicing all the versions together, creating hybrids that contained the studio tracks and various live parts, stitched together from different shows, all in the same song — one rendition would dissolve into another and sometimes they were even stacked on top of each other… It was easily our most experimental record, it was groundbreaking in its time, and it remains a psychedelic listening experience to this day.” (by wikipedia)

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As the second long-player by the Grateful Dead, Anthem of the Sun (1968) pushed the limits of both the music as well as the medium. General dissatisfaction with their self-titled debut necessitated the search for a methodology to seamlessly juxtapose the more inspired segments of their live performances with the necessary conventions of a single LP. Since issuing their first album, the Dead welcomed lyricist Robert Hunter into the fold — freeing the performing members to focus on the execution and taking the music to the next level. Another addition was second percussionist Mickey Hart, whose methodical timekeeping would become a staple in the Dead’s ability to stop on the proverbial rhythmic dime. Likewise, Tom Constanten (keyboards) added an avant-garde twist to the proceedings with various sonic enhancements that were more akin to John Cage and Karlheinz Stockhausen than anything else coming from the burgeoning Bay Area music scene.

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Their extended family also began to incorporate folks like Dan Healy — whose non-musical contributions and innovations ranged from concert PA amplification to meeting the technical challenges that the band presented off the road as well. On this record Healy’s involvement cannot be overstated, as the band were essentially given carte blanche and simultaneous on-the-job training with regards to the ins and outs of the still unfamiliar recording process. The idea to create an aural pastiche from numerous sources — often running simultaneously — was a radical concept that allowed consumers worldwide to experience a simulated Dead performance firsthand. One significant pattern which began developing saw the band continuing to re

fine the same material that they were concurrently playing live night after night prior to entering the studio.

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The extended “That’s It for the Other One” suite is nothing short of a psychedelic roller coaster. The wild ride weaves what begins as a typical song into several divergent performances — taken from tapes of live shows — ultimately returning to the home base upon occasion, presumably as a built-in reality check. Lyrically, Bob Weir (guitar/vocals) includes references to their 1967 pot bust (“…the heat came ’round and busted me for smiling on a cloudy day”) as well as the band’s spiritual figurehead Neal Cassidy (“…there was Cowboy Neal at the wheel on a bus to never ever land”). Although this version smokes from tip to smouldering tail, the piece truly developed a persona all its own and became a rip-roaring monster in concert. The tracks “New Potato Caboose” and Weir’s admittedly autobiographically titled “Born Cross-Eyed” are fascinatingly intricate side trips that had developed organically during the extended work’s on-stage performance life. “Alligator” is a no-nonsense Ron “Pigpen” McKernan workout that motors the second extended sonic collage on Anthem of the Sun. His straight-ahead driving blues ethos careens headlong into the Dead’s innate improvisational psychedelia. The results are uniformly brilliant as the band thrash and churn behind his rock-solid lead vocals. Musically, the Dead’s instrumental excursions wind in and out of the primary theme, ultimately ending up in the equally frenetic “Caution (Do Not Stop on Tracks).” Although the uninitiated might find the album unnervingly difficult to follow, it obliterated the pretension of the post-Sgt. Pepper’s “concept album” while reinventing the musical parameters of the 12″ LP medium. (by Lindsay Planer)

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Personnel:
Tom Constanten (piano, electronic tape)
Jerry Garcia (guitar, kazoo, vibraslap, vocals)
Mickey Hart – drums, orchestra bells, gong, chimes, crotales, piano)
Bill Kreutzmann (drums, glockenspiel, percussion)
Phil Lesh (bass, trumpet, harpsichord, kazoo, piano, timpani, vocals)
Ron “Pigpen” McKernan (organs, celesta, claves, vocals)
Bob Weir (guitar, kazoo, vocals)

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Tracklist:
01. That’s It For The Other  7.57:
01.1. Cryptical Envelopment (Garcia)
01.2. Quadlibet for Tenderfeet (Garcia/Kreutzmann/Lesh/McKernan/Weir)
01.3. The Faster We Go, the Rounder We Get (Kreutzmann/Weir)
01.4. We Leave the Castle (Constanten)
02. New Potato Caboose (Lesh/Petersen) 8.26
03. Born Cross-Eyed (Weir) 2.04
04. Alligator (Lesh/McKernan/Hunter) 11.20
05. Caution (Do Not Stop On Tracks) (Garcia/Kreutzmann/Lesh/McKernan/Weir) 9.37
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06. Alligator (live) (Lesh/McKernan/Hunter) 18.43
07. Caution (Do Not Stop On Tracks) (live) (Garcia/Kreutzmann/Lesh/McKernan/Weir)  11.38
08. Feedback (live) (Constanten/Garcia/Hart/Kreutzmann/Lesh/McKernan/Weir) 6.58
09. Born Cross-Eyed (single version) (Weir) 2.55

06 – 08.: recorded August 23, 1968

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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)