01. Evolution 5:39 02. Your Mind 3:48 03. Natural Juices 6:36 04. It's The Music That Makes Us Do It 3:49 05. Witch Doctor's Brew 7:25 06. Funky Junky 5:02 07. Composition Seven 9:32
Bass, Backing Vocals – Harold Greene Congas, Bongos, Backing Vocals – George 'The Chain' Chainey Drums, Backing Vocals – David "Bra Ping" Sutton Lead Guitar, Rhythm Guitar, Vocals, Arranged By – Kevin 'Cornbread' Thornton Piano, Organ, Percussion, Vocals – Michael Greene Tenor Saxophone, Alto Saxophone, Percussion, Backing Vocals – Thurron 'Thorn' Mallory Trombone, Organ, Piano, Percussion, Vocals – Vince "Worm" Wormley Trumpet, Percussion, Backing Vocals – Lamont Payne
Latin-tinged Southern California funk band Magnum has seen its reputation blossom since the original 1974 release of their LP, “Fully Loaded.” An exuberant band of individually talented musicians working in an expansive and comfortable environment, they give a loose funky overlay to a grounded R&B and Jazz sound that included a variety of instruments, including whistles, that lift the music to an exciting, hypnotic groove.
Based in San Pedro Bay, California, Magnum originally consisted of brothers Michael Greene (muilti-instrumentalist and youngest in the group) playing piano, organ, percussion and vocals and Harold Greene on bass; with Kevin “Cornbread” Thornton on lead and rhythm guitars and doing the arrangements, Vance Wormley on trombone, organ, piano and percussion and with George Chaney on congas and bongos; Thurron Mallory, playing tenor, alto sax and electrified percussion, joined six months later and brought with him the rest of the Magnum Horn ensemble with Lamont Payne on trumpet as well as percussion.
As the house band for radio station KGFJ-AM’s Soul Search competition as well as the Soul Caravan, a series of weekly performances on a flatbed truck playing in and around urban Southern California. They also drew large crowds practicing in the Greene’s garage. Once they practiced at Thurron's childhood home in Compton, LA that drew such big crowds that the police had to shut the block down to disperse the crowd. The band stuck together performing in Southern California for a couple years after the release of “Fully Loaded,” once the opportunity came to perform with other artists, Magnum disbanded and the members moved on to other projects.
For fans of groups like Rasputin Stash, Funk. Inc., Black Heat, Mandrill and whatnot, this album is right up your alley. A sampling DJ's best wet dream, the album features horn driven '70s black rock, wet bottom heavy basslines and a tight rhythm section. - - a popular music review web site that I respect very highly (since they gave my own CD four stars) remarked that they were a very good group but not quite up to par with other funk ventures of the time (like Earth Wind and Fire and Sly Stone.) - - I disagree... In all fairness, I think when you listen to many of those legendary bands, you have to realize that as great as they are, your ears have been biased by years and years of hearing the music over and over again and the memories that comes with it (plus once a group has one mega hit... trust me, they get to record in better studies and get much better pre and post production.) - - In all honesty, a few weeks ago I heard Magnum for the first time and I have to say while their music didn't have the advantage of "bringing back warm memories", I liked the music enough to have been listening to it over and over again... so I'm sure in time this album will fall into that category... this album offers variety of a Jazzed out Frank Zappa meets Miles Davis soul Jam, to the sheer rockin' funkiness of It's The Music That Makes You Do It and fingerpopping blaxploitation groove of Funky Junky.. there are also plenty of production surprizes and kicks thrown in to make this album a rare treat and great listen straight through. - - Yes, maybe I wouldn't trade all the Tower of Power albums in my collection to get my hands on this if I had to, but trust me... this is must have for any serious '70s "free soul" fanatic !
01. S.P. 02. Hungry Man 03. No One Left But Me 04. Dream 05. Whisky And Gin 06. People 07. The Date
Joe Farace - Guitar Don Cowger - Bass Tom Rizzo - Drums Greg Coulson - Vocals Gene Ingham - Bass, Flute Mark O'Connor - Mellotron, Synthesizer, Clavinet Gene Meros - Flute
Orange Wedge was established around 1968 in Baltimore, Maryland. The group evolved from Greg & the Originals. Members were Greg Coulson (lead vocals), Fred Zang (rhythm guitar, vocals), and Don Cowger (bass). In 1968 they added Craig Krixer (lead guitar), Dave Burgess (keyboards) and Tom Rizzo (drums). Krixer came up with the name Orange Wedge. The rock band began playing many teen centers, and school dances. After a brief illness and hospital stay in early 1969 Coulson rejoined the band.
They began playing on regular basis quickly becoming one of the top hard rock bands in Baltimore. Orange Wedge could be seen at all the local clubs in Maryland, Delaware, Virginia and West Virginia. Zang and Krixer left the group in 1969 and joined Black Foot Smoke. Zang played guitar and / or bass for a lot of other groups. He is still active in the music business. The group that created the records existed between 1971 and 1975.
The 1976 follow up to Wedge was No One Left But Me. Due to the lack of offers the Orange Wedge also released their second LP as a private pressing that was to be sold at gigs and local shops, and it sold like hot bread making this one an elusive piece among hard rock collectors. Their sound here is still 100% high energy, though an evolution has been made and the band sounds a bit more sophisticated.
It was their best selling album at the time with a pressing of 1000 copies that hardly made it out of Baltimore, so here's a very good chance to rediscover this amazing piece of pure rock power. Here at Wah Wah we have respectfully worked on its reissue to offer you a killer release in thick cardboard paste-up sleeve, and featuring an insert with the story of the band and lots of cool photos gently provided by original Orange Wedge guitarist and composer Joe Farace.
01. Love Me 2:58 02. Death Comes Slowly 11:15 03. Comfort Of You 5:28 04. Keep On Livin' 6:01 05. One Night Lover 4:01 06. Meathouse Shuffle 2:04 07. Revenge 6:34
Joe Farace - Guitar Don Cowger - Bass Tom Rizzo - Drums Dave Burgess - Keyboards Greg Coulson - Vocals Gene Ingham - Bass, Flute
Hard Rock band Orange Wedge's first album, was originally released in 1972 in Baltimore, Maryland released as a private pressing on label Contraband,for gifts to girls and broadcast during performances. It is said that only 500 copies were Recorded between march and september 1972 at Flite Tree Recordings.
Band formed in the late sixties and has released two full length meager circulation. Music reminds of contemporaries "Detroit Waves" - no compromise, no anguish, no psychology, but the punch so that the enthusiastic fans jumped head, while conservative opponents became hysterical. It is clear that a team with such a drive was hugely popular on campuses and youth clubs, and, in general, it is not even particularly wanted to so much to be "widespread recognition".
Looking ahead. I will say that the next record came out twice the circulation - the whole thousand! Still - a great, brutal, melodic hard time very good level.Note band practically sang covers, almost all the material - your own. Somehow it is not very typical of a little-known and not too ambitious team.
However, the lack of ambition and not all suffering after it became clear that the ceiling of popularity and promotion of staff are local radio stations, the composition began to rapidly melt and by 1975 there were only away vocalist Greg Colson and drummer Tom Rizzo, who had to announce soon the closure of the project.
This first Orange Wedge album was originally a private pressing of 500 copies. Nowadays it's a very rare album as the original pressing as you might guess. On the musical point of view this is pretty damn strong mix of guitar driven hard rock and psychedelic elements. The album includes seven songs which are all more or less great. "Death Comes Slowly" is the longest song of the album and it's a true killer and probably the ultimate highlight here. But the other songs do their job more than fine as well.
If you're into the early 70's hard rock and heavy psych you don't want to miss this album. Do yourself a favour and check it out if you enjoy those genres. This one is an undiscovered and forgotten gem.
01. Earth Odyssey 6:45 02. Sweet Love 4:18 03. Keep On Truckin' 5:10 04. Ev'ry Day 5:15 05. See The Light 6:29 06. Try A Little More 5:32
Bass, Vocals – Rick Martin Guitar, Vocals – Mark Shapiro Keyboards, Vocals – Frank Bissel Lead Vocals, Percussion, Harmonica – Pete Accardi Percussion – Fred Kieffer
Surprize were a 1970's psychedelic rock band from Philadelphia. After being together for eight months, the band recorded our first, and only, album "Keep On truckin'" in one of Philadelphia’s finest recording studios. Upon release the band started to get TV and radio airplay as well as being booked for larger concerts. The band were a great success and growing more and more popular every day.
A few years later Surprize were approached by a larger and more well-known recording company. They wanted to promote and produce the second album and give it a release on their own label which meant the chance of national distribution.
Shortly after this approach whilst performing out of town, band leader Peter Accardi had a supernatural occurence, which would change the bands.
In Peter's own words
" After the show I had a party at my motel room. There I met a man who possessed satanic, psychic powers so strong that he controlled the minds of my friends and acquaintances to a degree that you would have to see for yourself to believe. Everyone there seemed to be able to read each others’ thoughts and led me to believe that every NORMAL human being could do this. They claimed to know ALL about ALL."
"Many of my friends actually read my thoughts and told me exactly what I was thinking. They told me that all I had to do to be like EVERYONE else was to relax, and let my mind wander into their level. Then according to their counsel, I would fully understand ALL things: eternity, infinity, where I came from and where I was going."
I could actually feel an unbelievably strong pull on my mind and thoughts. I remember thinking that maybe this strange man was some sort of god, yet as I looked around the room, I saw only wrong and evil. At this I decided that he must be the anti-Christ, or even Satan himself. I had little knowledge of the Bible, but I had walked the aisle in a fundamental, Bible-teaching church to” receive Christ” at about age twelve."
The next morning Peter Accardi, called for a special meeting. At this meeting Peter shared how something supernatural had happened to him, and how he knew he was going to heaven. His life was changed and he tried to share how we all needed the same thing in our lives. Much to everyone's shock, Peter walked away from his career as the lead singer of the band and decided to go to Bible College in order to become a Preacher.
A few weeks later keyboard player joined Accardi in his new calling and followed him on his journey to become a Preacher. Not long after the band decided to call it a day.
As for Accardi and Bissel both now serve the Lord at the Elkdale Baptist Church, West Clifford, Pennsylvania. Peter Accardi is the church Evangelist and Frank Bissel serves as the Pastor of the church.
01. Love Over You 4:54 02. Get Off 3:10 03. Summer Fun 3:38 04. Starlight 5:36 05. Lone Soul Road 4:43 06. With Your Beau 3:10 07. Chance Of Fate 4:09 08. Wet Back 3:02
In 1969 SAINTE ANTHONY'S FYRE was the ultimate hardrock powertrio from Trenton, New Jersey. Band leader, guitar wiz and vocalist Greg Ohm was heavy into music since childhood, having played classical music in elementary and high school (1st violin Trenton High’s Orchestra). He also took some music classes in college and ended up with the group Peter's Precious Soul, who were very popular locally. But Greg grew tired of playing Top 40 cover songs and decided to start his own band.
While cleaning his grandmother's attic one day in 1967 he found an old newspaper with the headline, "Ste. Anthony's Fyre Strikes French Town." A wheat crop had developed ergot, which is a fungus disease that affects rye and other plants, and was contaminated. The wheat was used to make bread and sent the whole town on an LSD-like trip that lasted nearly three weeks. This was the perfect name for the group Greg had in mind and thus Sainte Anthony's Fyre was born.
Greg recruited two skilled local musicians, and friends of his; Tom Nardi (previously in the bubblegum band Marshmallow Way) on bass and vocals and Bobb Sharples on drums. In 1968 they started rehearsing in the cellar of a boutique in downtown Trenton called the Hip-Pocket. Greg was extremely innovative and played weird positions, inverted chords, and off-key tuning on his customized Gibson Firebird guitar.
He would only use Marshall’s, three 100-watt heads with six cabinets. Greg also considered himself a fashion plate and always wore a grey felt cowboy hat, a scarf tied around his left knee, and bedroom slippers when he played. Tom used a Sunn 2000S with four 15'' JBLs, four Sunn 412S cabinets with two Sunn Sorado heads, one Sorado head with a 610 cabinet, and one 15'' cabinet, to blow eardrums left and right. He also sported a cartridge belt around his waist. Bobbie always had a double bass drum set. This was a real power trio.
One of the owners of the Hip-Pocket and his business partner decided to manage the band and used the profit from the clothing store to promote them. They started Zonk Productions and managed to get Sainte Anthony’s Fyre booked as an opening act for bands like MC5, Wishbone Ash, Grass Roots, Rare Earth, Fleetwood Mac, and Joe Cocker.
About this time they met a black promoter named Dickie Diamond who wanted to bankroll them. He said he knew everyone and would take care of everything. He was putting on shows with black acts and had the band opening for them. They also had to fill in as backup players for an impressive rooster of artists like James Brown, Jackie Wilson, the Coasters, the Drifters, the Four Tops, Kool and the Gang and others!
As Sainte Anthony’s Fyre’s fan base grew Zonk Productions decided it was time to put out an album. It was recorded around the end of 1969 in a studio in Pennsauken, New Jersey which was run by the bass player from the Lovin' Spoonful. Unfortunately he had no idea how to record this loud bunch.
They refused to go directly into the board or use small amps so the sound board kept blowing up. Then finally they just set the amps up facing the back wall and hung two microphones on the far wall. They did some overdubbing at Nise Studios in Philadelphia and after mixing, the tapes were sent to Motown for pressing, who according to the band totally screwed it up. United Artists then pressed about 1000 copies of the Zonk. Because the record was an independent release no radio stations would play it.
In the meantime Dickie had some crazy schemes going. He wanted to put them on tour as Led Zeppelin (he called them "Zefflin"), he said no one would figure it out because Zeppelin was from England and nobody knew what they looked like. He also started booking shows, selling the tickets, and then canceling the shows. Nobody knew what they were doing but Dickie said he would make it up to the band. So he got some time at Electric Lady Studio in New York to re-record the album in January 1971. But before Chris. Ultimate wasted slimy speed freak vortex of polluted psychedelic hard rock from the greasy wasteland of inner city Jersey.
The most wicked manic garage power trio to end them all. Raw gnarly drugged guitar, cavernous bass, drums beat to a pulp and psychotic vocals. Beyond early Blue Cheer, this record is so wasted, toxic and heavy! One look at the pictures will tell you how they sound. A highly sought after collector piece.
Totally raw and totally wasted. This one's one of the best of it's kind that I've heard. Right from the get-go with Love Over You the band shows they ain't fucking around and proceed to crackle and fizzle your brain with distortion and a nuclear wasteland of fuzz destruction. The first track is probably the best of the bunch, but the others are nearly as good. All of them. Even some of the best psych albums have a weak moment or two, but not here. This one is top notch all the way through and easily holds its own against Blue Cheer, Wicked Lady, or any of the other titans of zonked out, proto-doom grime out there.
Wild, loud, raw New Jersey hard psych beast that’s been a favorite target of record collectors, dealers and swamp dwellers for the past two decades, originally released on the Zonk! label .This album is bleeding with that authentic dirty basement sound built around a solid set of catchy heavy weight tracks influenced by the holy trinity of Cream, Blue Cheer and Hendrix!. The bible of underground psych rock, Acid Archives, says this about it: “This legendary private press is rated as one of the ultimate local basement hard rock blowouts by many connoisseurs''. The band have an amazing shuffling boogie style that trades doomy atmospherics for get-down dynamics and amphetamine breakouts in a way that has something in common with the early MC5’s testifying style, but there’s something a little more crude I find this a superior and more powerful album. Popular UK magazine that’s majors in all things 60s and psychedelic, Shindig!, proclaims: “a masterpiece of zonked out, fuzz-drenched hard rock." These guys had to have had their ears on the Motor City back in the day - we're hearing the unmistakable testosterone-fueled influence of the MC5 or The Rationals, as well as the sinister oil-caked, cabaret feel of Alice Cooper too. These dudes were apparently courted by the bigs back in the day (Felix Pappalardi even offered to produce, but ultimately wanted too much moolah) and was a hair away from signing with Atlantic, but ultimately facing restrictions that would dictate their sound, decided against it, and recorded/released this one themselves. Fuck yeah! The "rough" sound of the record really is an asset to the overall feel and probably ups the aggression and sinister feel overall, with the guitars fuzzed out and pushing the red zone to the maxx, bro. If you dig Pentagram, Blue Cheer, Grand Funk, or even newer, backward-looking bands like Graveyard, Witchcraft and FUZZ, then prepare to feel the HEAT from the FYREE!
01. All I Need4:04 02. Nights Of Dreams6:46 03. Send Me Back5:14 04. Limey Ladies3:10 05. Between Two Worlds9:43 06. Long Ago & Not So Far Away5:12
Bass – David Niblock Drums – Wesley Locke Guitar – Michael Greer Piano – Marty Stout Vocals – Don A. Dixon, Robert Kirkland
Bass, Vocals – Don A. Dixon Drums – Jimmy Glasgow Guitar, Organ, Vocals – Michael Greer Piano – Marty Stout Vocals – Robert Kirkland
Recorded at Reflection Sound Studio, Charlotte, North Carolina.
Tracks 1, 4 to 6 produced Spring 1973 and published by People Pleaser Music, BMI.
Tracks 2, 3 produced Spring 1971 and published by People Pleaser Music, BMI and Metrolina Music, BMI.
Obscure artefact out of a local scene that produced cult music for a 15-year period; this is a powerful trip in a song-oriented 1970s British rock/hardrock style, with psych moves on the two long epics. Plenty of raw guitar, some piano and synth, heartfelt vocals, all wrapped in a consistent package that displays talent and self-confidence. May be too much of a 70s mainstream sound for some, and indeed it would have deserved to come out on a major label. Should appeal to fans of Felt
This very rare 1973 private press hard rock record in that Primevil, Magi, Wedge vein but even more primitive and down and dirty with filthy acid guitar like you love.
Euphoria formed Wiscons round 1973, showed amazing songwriting talent plus musical ability Classic midwest American heavy psych with somewhat biker vibe Raging agressive Fuzz-guitar leads with great echoey-reverb effects ,true sledgehammer bass ,crunching drums ,very melodic tunefull vocals. A Must for all 70 s heavy psych enthusiasts.
This is a heavy rock album with lots of fine guitar work, particularly on the title track, Lost In Trance, the most psychedelic cut, and Enchanted. All the songs on the album were written by lead guitarist D. Walloch.
This one is a very good heavy rock record from 1973. It was originally a private pressing and nowadays it's a rare collector's item. The musical style on this album is guitar driven hard rock with clear psychedelic influences.
The album is a damn consistent totality because the obvious stand out tracks are missing. All of the songs are highly enjoyable here. The only thing I could criticize is the vocalist who could be better. Also the album cover is pretty unoriginal and lame.
But all in all this only LP by Euphoria does it's job very well and I like it quite much. If you're into heavy psych you should give this one a try. It's worth it.
01. Vibe-Ing Theme 4:26 02. Prelude Ta Hell 2:00 03. Needle 'N Spoon 1:58 04. Cold Turkey 9:20 05. Soul Of Black Folks 2:58 06. Court Is Closed 8:44 07. Inside Black America 4:07 08. Times Are Hard Friends Are Few 4:59
Alto Saxophone – Bertie King Baritone Saxophone – Edward Pizzaro Bass] – Benny R. Mitchell Congas – Bob Eure, Joe Bryant, Len Cooper, Wayman Jones Drums – Jim Milton Flute – Leslie Burrs Guitar – Sam Brown, Tim Sanders (tracks: A1, B1), Tyrone Fisher Keyboards – Don Wilson Tenor Saxophone – Earl Swanson, Joe Jefferson (Del Jones) Timbales [Timbali] – Len Cooper ombone – George Kelly Trumpet – Herbie Jones
Producer – Del Jones
Del Jones’ Positive Vibes were a Philadelphia band that released two versions of the same album - both self-released on Hikeka Records in 1973. First was the ‘psych mix’ entitled ‘Court Is Closed’ and then the self-titled ‘soul mix’ with added horns and re-ordered with two extra tracks – ‘Vibe-Ing Theme’ and ‘Soul Of Black Folks’.
The single most intense Black America album ever. Basically Del Jones is the Philadelphia ghetto version of the Berlin based Cosmic Couriers clan. Intense does not even begin to describe this album. The anger that comes through will melt your mind. And all the freaked out vocals, wah wah guitar, flute and heavy rhythms will make you grab for your Ash Ra Tempel albums and hold on tight. Given the economic conditions of the housing projects of the early 1970s, it's surprising more albums didn't seep through like this. Of course there are a couple of throwaway soul numbers that are fortunately short - but most of the album will fry your brain! 'Cold Turkey' has some of the most anguished freaked out madness since John L. went nuts on 'Flowers Must Die' (on Ash Ra Tempel's Schwingungen).
STONE CLASSIC early 70's black, aural-Counter-Cult-statement using the form of dynamic Jammer FUNK... 'n I mean FUNK! ...anyway, now... all ye' rappin' nuts out there, pay a close listen to what Del Jones has to say on the insert sheet that comes w/ this album: ..."the music was born outta reality and a concrete struggle of a people who were seeking to develop a living culture in a commercial epoch that was stifling. social movements of the youth of this nation and indeed the world were vamping to the musical visionaries that articulated a cleansing pathway. Revolutionary politics can not be fostered without a progressive culture to encourage, to influence and document the storm. ...my group Del Jones' Positive Vibes travelled in the eye of the storm in an era where musical experimentation and creative intensity matched the drive of a society torn by external war (Vietnam) and internal struggle (The Black Power Movement and the overall social upgrading). ...this album (Court Is Closed) was recorded in the early 70's and is a natural component of a musical struggle as intense as the warfare in the streets. documented here and trapped in every note, every wail, every cry is an anquished plea for a better tomorrow. the album jacket itself showed the strain of struggle situated in the simmering inner-city. ...in the composition "vibe-ing theme" I announced to the world what this music was about. in the anti-drug three movement piece with "prelude ta hell, needle 'n spoon and cold turkey" I attacked this problem knowing the result an unchecked drug epidemic would bring. now look outside and see a society wrecked! "soul of black folks" praised my Afrikan music culture. meanwhile "court is closed" predicted the coming turmoil. "inside black America" supplied an overview of the people-pain locked in racism's continuation. finally "times are hard, friends are few" punctuated it all in a hail of drum-fire as the world turned away from sanity. ...I am proud this music is still alive as the situation that produced it has hemorrhaged. festering exploited casualties dot the landscapes of tomorrow. executive producers Rich Haupt & Scott Bubrig have gone to great lengths to preserve the integrity of this record. cosequently, I can still speak from the cutting edge of our time. ...today I am CEO of "Eye Of The Storm Communications, Inc." author of four books "Culture Bandits 1 & 11", "The Black Holocaust", "Global Genocide" and "The Invasion Of The Body Snatchers: Hi-Tech Barbarians". in closing, the new musical project I'm working on is entitled "Dance of 'De Elder" and it will be completed soon for outta the drum I come with thunder 'n lightnin'!"
One of the most unique 70's funk slabs I've ever heard. A murky gumbo of funk, jazz, spoken word, political anger and an unwavering experimental edge. The hazy production may turn off some listeners but the more adventurous will have fun exploring this one. Definitely gonna have to come back to this album and really wish this group would have released more stuff.
Empress Valley Supreme Disc / EVSD-305/306/360/361
August 21, 1971 The Forum Inglewood, CA
101. Introduction 102. Immigrant Song 103. Heartbreaker 104. Since I've Been Loving You 105. Black Dog 106. Dazed And Confused 107. Stairway To Heaven 108. Celebration Day 109. That's The Way 110. Going To California
201. What Is And What Should Never Be 202. Whole Lotta Love / Weekend 203. Rock And Roll 204. Communication Breakdown 205. Organ Solo 206. Thank You
Despite the delay of their fourth album due to mixing problems and disagreements with Atlantic records about the cover artwork, Led Zeppelin were anxious to bring their newly penned songs to the United States. Their seventh tour, and their first of Japan the following month, shows a band burning bright in performance and improvisation that is unlike anything else in the history of rock.
Some of their greatest concerts are found in this period, none of which has been acknowledged by the band with an official release. Thankfully there are many unofficial documents in circulation to be listened to and enjoyed. Led Zeppelin played twenty-two shows in just under a month. (Some sources list twenty-four concerts, but dates in Seattle and Oklahoma City are disputed).
The opening show was on August 19th in Vancouver which wasn’t taped but is known because of the incident where the road crew, thinking the show was being bootlegged, destroyed the equipment of a government worker measuring the decibel level in the arena. The second two shows, and the first two to be recorded, were in Los Angeles on August 21st and August 22nd.
Empress Valley release by utilizing the common source with the second used for “Celebration Day.” The taper was a considerable distance from the stage but the tape is good and listenable and this new edition sounds very warm and full.
“Moby Dick” is missing but it is not clear if it is cut from the tape or if it was dropped from the set. Between “What Is And What Should Never Be” and “Whole Lotta Love” there is not an obvious cut but there is what sounds like what could be a very clever edit.
The tape picks up with JJ Jackson’s introduction of the group before they hit the stage and play their most effective opening, the double shot of “Immigrant Song” and “Heartbreaker.”
“It’s been about a year I think since the last time. Maybe a bit more” Plant says before they slow the pace down a bit with “Since I’ve Been Loving You.” Their new album was still unreleased but they played several of the new songs beginning with “Black Dog.” The lyrics were more loose in these early versions and in this show Plant throws in “See my baby walking down the street / ain’t nobody around except the chief of police” among other lines that are not found in the studio version.
“Now listen, if you’re gonna make a noise, don’t make a racket cause it puts the road managers off. Here’s one from about, I don’t know, thirty-six months ago.” “Dazed And Confused” was already considered an “oldie,” having been played at almost every gig since they started.
This track normally stretched to twenty minutes on this tour with many elaborations in the long improvisation. But the most noted piece in this show is the Los Angeles debut of “Stairway To Heaven.” Page has stated in interviews in the past forty years claiming he knew it would be a hit because of the reception it received this night. Despite Plant messing up some of the lyrics, the audience is quiet and attentive and give a loud standing ovation when the song is over.
As “Whole Lotta Love” begins there are several loud bangs from the audience. Reaching almost a half hour, it contains one of the best medleys of the tour. During “Boogie Chillun'” Plant sings about the “Holiday Inn manager talking…” before they get into a cover of Hank Snow’s 1950 hit “I’m Moving On.”
There only six recorded instances of Led Zeppelin playing this song. For ninety seconds they play a song that sounds like their arrangement of Buffalo Springfield’s “For What It’s Worth” but with completely improvised lyrics. It sounds like Plant is saying “I can’t stand the size of your ego…”
“Mess O’ Blues” leads into Elvis’ “Got A Lot O’ Livin’ To Do” from The King’s second movie Loving You. (This film is also the source for “Let’s Have A Party,” a song Zeppelin would cover heavily the following two years).
Instead of getting into “You Shook Me” to end the medley with a long and heavy blues, they extend “Honey Bee” before returning to the final verse and end the song. They reward the audience with four encores beginning with Eddie Cochrane’s “Weekend.”
“Rock And Roll” is the final new song played, “Communication Breakdown” and finally “Thank You” close out another amazingly energetic and fun performance in Los Angeles.
August 22, 1971 The Forum Inglewood, CA
101. Run Don't Walk 102. Immigrant Song 103. Heartbreaker Medley 104. Since I've Been Loving You 105. Black Dog 106. Dazed And Confused 107. Stairway To Heaven 108. Celebration Day 109. That's The Way 110. What Is And What Should Never Be
201. Moby Dick 202. Whole Lotta Love 203. Communication Breakdown 204. Organ Solo 205. Thank You
The second night exists on only one tape which is slightly more clear than the first night. There is a minor amount of hiss present, but nothing too distracting in a tape that emphasizes the vocals and drums over the guitar. Previous silver editions include Walk Don’t Run (Mud Dogs -022/023), Walk Don’t Run (Tarantura T4CD-1) and its copy Definitive Kingdom (Whole Lotta Live WLL020/21), Firecrackers Explosion II (Empress Valley EVSD360/361) and on Freak Out (TDOLZ Vol. 39).
There are cuts after “Dazed And Confused,” “Stairway To Heaven,” “Celebration Day,” “Moby Dick” and “Whole Lotta Love.” “Going To California” doesn’t appear on the tape but there is no cut after “That’s The Way.” Either it was lost in the cut after “Celebration Day” or it was dropped from the setlist altogether. The latter is more likely since the existing tapes from this tour reveal there was no swapping of the two acoustic numbers in the set.
Like the tape for the first show, this one begins with JJ Jackson’s introduction of the group. To celebrate Los Angeles they start the show with The Ventures’ 1960 surf hit “Walk, Don’t Run.” This is the only time they ever played this live and gives the name to every release of this show. The whole point of surf music is to recall the fun of partying at the beach, and Zeppelin covering this tune establishes the fun atmosphere of this show before getting down to business with “Immigrant Song” and “Heartbreaker.”
Afterwards there is a short delay because of the organ, Pages plays a bit of “Boogie Chillun'” as Plant explains “John Paul Jones’ badge is inside the organ.” They proceed with a dramatic version of “Since I’ve Been Loving You.”
During the twenty-minute “Dazed And Confused” Page experiements with new variations of common melodies in the improvisation section, stretching them out to see how they work. The coda after the final verse has a section which is very mellow and delicate.
Plant tries to quiet the audience before “Stairway To Heaven,” saying “Good evening. It’s very difficult to try and see who’s out there really because these spotlights aren’t helping very much. If it was a little less intense, it’d be a lot nicer. We’ve got a new album coming out in about three weeks time, after a lot of messing around, and this is one of the tracks from it. It starts off rather quietly, so we’d like it quiet. Shhhhh.”
He again flubs a line, this time in the second verse where he sings “in a tree by the brook” too early mumbles a new second verse. The guitar solo sounds very intense but is unfortunately buried deep in the mix.
Before “That’s The Way” Plant explains, “now this is the first, or rather, this is the only number we really attempted to harmonize on. And tonight my voice is really fucked, so I don’t believe we think we’re gonna do too much harmonizing. Anyway, we’re gonna try, so why not?” The previous evening’s excesses took their toll on his voice obviously.
The “Whole Lotta Love” medley pushes a half hour long and includes two mysterious covers after “Boogie Chillun’.” Some call them “Think I’m Crazy” and “Take It Easy,” by the lyrics are quite inaudible and it’s hard to understand what exactly they’re playing.
Plant leads them into “My Baby Left Me” and “Mess O’Blues” before capping off the improvisation with a five minute long, heavy version of “You Shook Me.” The first encore is an eight minute long version of “Communication Breakdown” and like many others includes a long bass solo in the middle. But as Jones jams Page plays a pretty little country melody. The final encore on the tape is “Thank You” with a long organ solo. Whether or not they played “Rock And Roll” too isn’t known.
Day 1, Disc 1 - Richie Havens - August 15, 1969, 5:00pm - 5:45pm
CD1-01 Richie Havens– "Hello" 1:49 CD1-02 Richie Havens– From The Prison> Get Together> From The Prison 5:08 CD1-03 Richie Havens– Stranger 6:39 CD1-04 Richie Havens– "You're All Groovy, You Know" 1:23 CD1-05 Richie Havens– High Flying Bird 4:18 CD1-06 Richie Havens– I Can't Make It Anymore 6:19 CD1-07 Richie Havens– With A Little Help From My Friends 3:30 CD1-08 Richie Havens– Handsome Johnny 4:49 CD1-09 Richie Havens– "100 Million Songs" 1:34 CD1-10 Richie Havens– Strawberry Fields Forever 6:42 CD1-11 Richie Havens– Freedom 5:14 CD1-12 Sri Swami Satchidananda– "Music Is The Celestial Sound" 17:19 CD1-13 John Morris (6)– "We're All Here Now, I Guess" 0:27
Day 1, Disc 2 - Sweetwater - August 15, 1969, 6:15pm - 7:20pm
CD2-01 John Morris (6)– "We Apologize For The Noise Of The Choppity-Choppity..." 6:35 CD2-02 Sweetwater– Motherless Child 8:31 CD2-03 Sweetwater– Look Out 4:36 CD2-04 Alex Del Zoppo– "Kick Out The Jams, Folks" 1:00 CD2-05 Sweetwater– For Pete's Sake 8:27 CD2-06 Sweetwater– Day Song 2:27 CD2-07 Nancy Nevins– "Guess It's Gonna Take A Little More Time To Get Together" 0:42 CD2-08 Sweetwater– What's Wrong 15:17 CD2-09 Sweetwater– My Crystal Spider 5:14 CD2-10 Sweetwater– Two Worlds 5:51 CD2-11 Nancy Nevins– "There Sure Are A Lot Of People Here" 1:15 CD2-12 Sweetwater– Why Oh Why 4:18 CD2-13 Sweetwater– Let The Sunshine In 1:43 CD2-14 Sweetwater– Oh Happy Day 3:59
Day 1, Disc 3 - Bert Sommer - August 15, 1969, 7:35pm - 8:15pm
CD3-01 Bert Sommer– Jennifer 3:40 CD3-02 Bert Sommer– "There's Too Much Stuff To Set Up" 0:30 CD3-03 Bert Sommer– The Road To Travel 4:48 CD3-04 Bert Sommer– I Wondered Where You'd Be 3:12 CD3-05 Bert Sommer– She's Gone 3:23 CD3-06 Bert Sommer– Things Are Goin' My Way 2:31 CD3-07 John Morris (6)– "Come On, Creep-Come On Down" 2:22 CD3-08 Bert Sommer– And When It's Over 3:25 CD3-09 Bert Sommer– Jeanette 3:36 CD3-10 Bert Sommer– America 4:23 CD3-11 Bert Sommer– A Note That Read 4:17 CD3-12 Bert Sommer– Smile 3:57 CD3-13 John Morris (6)– "What We Do Here Counts" 14:45
Day 1, Disc 4 - Tim Hardin - August 15, 1969, 8:30pm - 9:35pm
CD4-01 John Morris (6)– "Let's See How Bright It Can Be" 1:04 CD4-02 Tim Hardin– How Can We Hang On To A Dream 4:29 CD4-03 Tim Hardin– Once-Touched By Flame 4:57 CD4-04 Tim Hardin– If I Were A Carpenter 5:39 CD4-05 Tim Hardin– Reason To Believe 4:42 CD4-06 Tim Hardin– You Upset The Grace Of Living When You Lie 5:22 CD4-07 Tim Hardin– Speak Like A Child 4:54 CD4-08 Tim Hardin– Snow White Lady 15:48 CD4-09 Tim Hardin– Blues On My Ceiling 10:31 CD4-10 Tim Hardin– Simple Song Of Freedom 4:40 CD4-11 Tim Hardin– Misty Roses 4:39 CD4-12 John Morris (6)– "How Is It Out There?" 11:06
Day 1, Disc 5 - Ravi Shankar - August 16, 1969, 12:00am - 12:40am
CD5-01 John Morris (6)– "Somebody Somewhere Is Giving Out Some Flat Blue Acid" 6:30 CD5-02 Ravi Shankar– Raga Puriya-Dhanashri/Gat In Sawarital 11:48 CD5-03 Ravi Shankar– "I Would Like To Introduce The Instruments" 7:43 CD5-04 Ravi Shankar– Tabla Solo In Jhaptal 4:06 CD5-05 Ravi Shankar– Raga Manj Kmahaj 18:27 CD5-06 John Morris (6)– "I Guess Nobody's Thirsty Anymore" 0:34
Day 1, Disc 6 - Melanie - August 16, 1969, 1:00am - 1:25am
CD6-01 John Morris (6)– "One, Two, Three-Light 'em Up!" 6:12 CD6-02 Melanie (2)– Close To It All 3:28 CD6-03 Melanie (2)– Momma Momma 4:33 CD6-04 Melanie (2)– Beautiful People 4:10 CD6-05 Melanie (2)– Animal Crackers 2:53 CD6-06 Melanie (2)– Mr. Tambourine Man 2:26 CD6-07 Melanie (2)– Tuning My Guitar 5:16 CD6-08 Melanie (2)– Birthday Of The Sun 4:00 CD6-09 John Morris (6)– "It's A Free Concert From Now On" 7:20
Day 1, Disc 7 - Arlo Guthrie - August 16, 1969, 1:45am - 2:25am
CD7-01 John Morris (6)– "Okay, Arlo?" 0:44 CD7-02 Arlo Guthrie– Coming Into Los Angeles 3:21 CD7-03 Arlo Guthrie– "Lotta Freaks!" 1:05 CD7-04 Arlo Guthrie– Wheel Of Fortune 3:23 CD7-05 Arlo Guthrie– Walking Down The Line 5:04 CD7-06 Arlo Guthrie– The Story Of Moses 10:57 CD7-07 Arlo Guthrie– Oh Mary, Don't You Weep 4:46 CD7-08 Arlo Guthrie– "I Was The Only Person, Like, In This Whole Festival That..." 4:03 CD7-09 Arlo Guthrie– Every Hand In The Land 1:54 CD7-10 Arlo Guthrie– Amazing Grace 3:37 CD7-11 John Morris (6)– "Ain't Nothin' Can Make You High As This" 6:03
Day 1, Disc 8 - Joan Baez - August 16, 1969, 3:00am - 4:00am
CD8-01 Joan Baez– Oh Happy Day 4:31 CD8-02 Joan Baez– The Last Thing On My Mind 3:31 CD8-03 Joan Baez– I Shall Be Released 3:48 CD8-04 Joan Baez– "He's Fine, And We're Fine, Too" 3:00 CD8-05 Joan Baez– Joe Hill 3:02 CD8-06 Joan Baez– "We Three Together Constitute The Struggle Mountain Resistance Band" 2:12 CD8-07 Joan Baez– Sweet Sir Galahad 3:51 CD8-08 Joan Baez– Hickory Wind 3:53 CD8-09 Joan Baez, Jeffrey Shurtleff– Drug Store Truck Drivin' Man 2:49 CD8-10 Joan Baez– One Day At A Time 4:35 CD8-11 Joan Baez– Take Me Back To The Sweet Sunny South 2:44 CD8-12 Joan Baez– Warm And Tender Love 4:16 CD8-13 Joan Baez– Swing Low, Sweet Chariot 5:55 CD8-14 Joan Baez– "I Think It's Amazing That You People Are Still Awake" 0:42 CD8-15 Joan Baez– We Shall Overcome 4:45 CD8-16 John Morris (6)– "That Brings Us Fairly Close To The Dawn" 3:10
Day 2, Disc 9 - Quill - August 16, 1969, 12:15pm - 1:00pm
CD9-01 John Morris (6)– "Wave, Funny Little Man" 3:20 CD9-02 Quill (2)– They Live The Life 8:19 CD9-03 Quill (2)– That's How I Eat 5:31 CD9-04 John Morris (6), Hugh Romney– “Kiss Those Guys If They Start Punching Somebody” 1:23 CD9-05 Quill (2)– Driftin' 8:15 CD9-06 Unknown Artist– “We're Over At The Hog Farm, And We Have Tons Of Food" 2:15 CD9-07 Quill (2)– Waiting For You 11:59
Day 2, Disc 10 - Country Joe - August 16, 1969 1:00pm - 1:30pm
CD10-01 Chip Monck– "Please Come Down?" 10:36
CD10-02 Country Joe McDonald– Janis 2:50 CD10-03 Country Joe McDonald– Donovan's Reef 4:04 CD10-04 Country Joe McDonald– Heartaches By The Number 3:06 CD10-05 Country Joe McDonald– Ring Of Fire 2:50 CD10-06 Country Joe McDonald– Tennessee Stud 3:11 CD10-07 Country Joe McDonald– Rockin' Round The World 1:59 CD10-08 Country Joe McDonald– Flying High 2:06 CD10-09 Country Joe McDonald– I Seen A Rocket 1:50 CD10-10 Country Joe McDonald– The "Fish" Cheer / I-Feel-Like-I'm-Fixin'-To-Die-Rag 3:17 CD10-11 Country Joe McDonald– I-Feel-Like-I'm-Fixin'-To-Die-Rag (Reprise) 1:51 CD10-12 Chip Monck– "Cut, Bleeding, Whatever" 3:37
Day 2, Disc 11 - Santana - August 16, 1969, 2:00pm - 2:45pm
CD11-01 Santana– Waiting 5:11 CD11-02 Santana– Evil Ways 4:34 CD11-03 Santana– You Just Don't Care 4:21 CD11-04 Santana– Savor 5:22 CD11-05 Santana– Jingo 5:45 CD11-06 Santana– Persuasion 3:25 CD11-07 Santana– Soul Sacrifice 13:04 CD11-08 Santana– Fried Neck Bones And Some Home Fries 6:33 CD11-09 Chip Monck– "Wheat Germ, Holly Has Your Bag" 16:19
Day 2, Disc 12 - John Sebastian - August 16, 1969, 3:30pm - 3:55pm
CD12-01 Chip Monck– "If It's Out Of Reason, I Trust Someone Will Tell Me" 1:23 CD12-02 John Sebastian– How Have You Been 6:29 CD12-03 John Sebastian– Rainbows All Over Your Blues 3:43 CD12-04 John Sebastian– I Had A Dream 3:41 CD12-05 John Sebastian– Darling Be Home Soon 5:57 CD12-06 John Sebastian– Younger Generation 4:15 CD12-07 John Morris (6), Chip Monck– "They’re With Us, Man!" 1:36
Day 2, Disc 13 - Keef Hartley - August 16, 1969, 4:45pm - 5:30pm
CD13-01 Chip Monck– “Please Meet Harold At The Stand With The Blood Pills” 5:59 CD13-02 The Keef Hartley Band– Spanish Fly 6:58 CD13-03 The Keef Hartley Band– She's Gone 7:10 CD13-04 The Keef Hartley Band– Too Much Thinking 7:19 CD13-05 The Keef Hartley Band– Believe In Me 7:43 CD13-06 The Keef Hartley Band– Medley: Sinnin' For You> Leaving Trunk> Just To Cry 17:57 CD13-07 Chip Monck– “Le Dernière Parte de la Stage, Immédiatement, S'il Vous Plait” 15:10
Day 2, Disc 14 - Incredible String Band - August 16, 1969, 6:00pm - 6:30pm
CD14-01 Chip Monck– “Puppet Theatre Will Be Going On At The Hog Farm At 6:15” 3:55 CD14-02 The Incredible String Band– Invocation 1:42 CD14-03 The Incredible String Band– The Letter 5:37 CD14-04 Chip Monck– “Please Excuse This Interruption” 1:30 CD14-05 The Incredible String Band– Gather 'Round 6:30 CD14-06 Robin Williamson– “It Makes Me Fantastically Happy” 0:44 CD14-07 The Incredible String Band– This Moment 6:13 CD14-08 The Incredible String Band– Come With Me 3:40 CD14-09 Robin Williamson– “I Just Want To Acknowledge All The Requests” 1:00 CD14-10 The Incredible String Band– When You Find Out Who You Are 8:56 CD14-11 Chip Monck– “Could We Please Have The Driver Of Sly’s Truck, Please?” 1:14 CD14-12 Hugh Romney– “I Don’t Think There’s Such A Thing As A Bum Trip” 0:56 CD14-13 Chip Monck– “Let’s See If We Can Get Some Semblance Of Order Going” 11:37
Day 2, Disc 15 - Canned Heat - August 16, 1969, 7:30pm - 8:45pm
CD15-01 Chip Monck– "There’s Been A Little Tremor Of Paranoia" 4:19 CD15-02 Canned Heat– I'm Her Man 6:17 CD15-03 Canned Heat– Going Up The Country 6:09 CD15-04 Canned Heat– A Change Is Gonna Come / Leaving This Town 8:25 CD15-05 Canned Heat– Rollin' Blues 8:39 CD15-06 Canned Heat– Woodstock Boogie 28:29
Day 2, Disc 16 - Canned Heat - August 16, 1969, 7:30pm - 8:45pm
CD16-01 Bob Hite, Chip Monck– “Sure, Man. Go Right Ahead.” 3:01
CD16-02 Canned Heat– On The Road Again 10:57 CD16-03 Chip Monck– “Welcome Yourselves To This Experiment” 18:53
Day 2, Disc 17 - Mountain - August 16, 1969 9:00pm - 10:00pm
CD17-01 Chip Monck– “The Brown Acid That Is Circulating Around...” 9:26 CD17-02 Mountain– Blood Of The Sun 3:01 CD17-03 Mountain– Stormy Monday 7:18 CD17-04 Mountain– Theme For An Imaginary Western 5:13 CD17-05 Mountain– Long Red 5:45 CD17-06 Mountain– Who Am I But You And The Sun (For Yasgur's Farm) 3:47 CD17-07 Mountain– Beside The Sea 3:32 CD17-08 Mountain– Waiting To Take You Away 4:50 CD17-09 Mountain– Dreams Of Milk And Honey 16:11 CD17-10 Mountain– Southbound Train 6:17 CD17-11 Chip Monck– “The Green Acid Is Really A Great Deal More Serious Than We Thought” 2:28 CD17-12 Chip Monck, Joshua White– “Open Your Eyes Wide, ‘cause Here It Comes” 5:57
Day 2, Disc 18 - Grateful Dead - August 16, 1969, 10:30pm - 11:50pm
CD18-01 Ken Babbs, Chip Monck– “It’s The Ninth Wave” 9:12 CD18-02 The Grateful Dead– St. Stephen 2:05 CD18-03 The Grateful Dead– Mama Tried 2:41 CD18-04 “All Us People From The Bay Area, We're Real Lsd Freaks!” 11:08 CD18-05 The Grateful Dead– Dark Star 19:10 CD18-06 The Grateful Dead– High Time 6:18
Day 2, Disc 19 - Grateful Dead - August 16, 1969 10:30pm - 11:50pm
CD19-01 The Grateful Dead– Turn On Your Lovelight 39:01 CD19-02 Ken Babbs, Chip Monck– “This Is Richie And He’s Lost His Chick” 6:26
Day 2, Disc 20 - Creedence Clearwater Revival - August 17, 1969, 12:30am - 1:20am
CD20-01 John Morris (6), Chip Monck– "You're Carrying Janis' Wah-wah Pedals" 4:42 CD20-02 Creedence Clearwater Revival– Born On The Bayou 5:22 CD20-03 Creedence Clearwater Revival– Green River 3:17 CD20-04 Creedence Clearwater Revival– Ninety-Nine And A Half (Won't Do) 4:46 CD20-05 Creedence Clearwater Revival– Bootleg 3:38 CD20-06 Creedence Clearwater Revival– Commotion 2:47 CD20-07 Creedence Clearwater Revival– Bad Moon Rising 2:13 CD20-08 Creedence Clearwater Revival– Proud Mary 3:50 CD20-09 Creedence Clearwater Revival– I Put A Spell On You 4:27 CD20-10 Creedence Clearwater Revival– The Night Time Is The Right Time 3:39 CD20-11 Creedence Clearwater Revival– Keep On Chooglin' 10:28 CD20-12 Creedence Clearwater Revival– Suzie Q 10:52 CD20-13 Chip Monck– “It’s Going To Be A Very Long Evening” 1:08
Day 2, Disc 21 - Janis Joplin - August 17, 1969, 2:00am - 03:00am
CD21-01 Chip Monck– “Douglas!” 1:27 CD21-02 Janis Joplin– Raise Your Hand 5:16 CD21-03 Janis Joplin– As Good As You've Been To This World 6:23 CD21-04 Janis Joplin– To Love Somebody 5:31 CD21-05 Janis Joplin– Summertime 5:23 CD21-06 Janis Joplin– Try (Just A Little Bit Harder) 5:15 CD21-07 Janis Joplin– Kozmic Blues 4:43 CD21-08 Janis Joplin– "This Is Snooky Flowers" 0:57 CD21-09 Janis Joplin– I Can't Turn You Loose 6:40 CD21-10 Janis Joplin– Work Me, Lord 8:24 CD21-11 Janis Joplin– Piece Of My Heart 4:39 CD21-12 Janis Joplin– “Music’s Not For Putting Yourself Through Bad Changes” 1:31 CD21-13 Janis Joplin– Ball And Chain 6:29 CD21-14 Chip Monck– “If That’s To Your Liking” 9:12
Day 2, Disc 22 - Sly & The Family Stone - August 17, 1969, 3:30am - 04:20am
CD22-01 Chip Monck– “A Little Exercise” 1:12 CD22-02 Sly & The Family Stone– M'Lady 6:55 CD22-03 Sly & The Family Stone– “We Have Some Equipment That Is Not Working Properly” 0:44 CD22-04 Sly & The Family Stone– Sing A Simple Song 5:15 CD22-05 Sly & The Family Stone– You Can Make It If You Try 5:34 CD22-06 Sly & The Family Stone– Medley: Everyday People / Dance To The Music / Music Lover / I ant To Take You Higher 22:53 CD22-07 Sly & The Family Stone– Love City 5:46 CD22-08 Chip Monck– “Get It Out In All One Big Burst” 1:54 CD22-09 Sly & The Family Stone– Stand 3:35 CD22-10 Chip Monck– “A Wallet Lost” 2:24
Day 2, Disc 23 - The Who - August 17, 1969, 5:00am - 6:05am
CD23-01 Abbie Hoffman– “I Think We, Like, Oughtta Do Something About John Sinclair” 2:11 CD23-02 The Who– Heaven And Hell 3:34 CD23-03 The Who– I Can't Explain 2:25 CD23-04 The Who– It's A Boy 0:37 CD23-05 The Who– 1921 2:30 CD23-06 The Who– Amazing Journey 5:41 CD23-07 The Who– Sparks 3:27 CD23-08 The Who– Eyesight To The Blind 2:00
CD23-09 The Who– Christmas 3:17 CD23-10 The Who– Acid Queen 3:34 CD23-11 The Who– Pinball Wizard 2:57 CD23-12 Abbie Hoffman, Pete Townshend– “Fuck Off My Fucking Stage!” 0:31 CD23-13 The Who– Do You Think It's Alright 0:49 CD23-14 The Who– Fiddle About 1:14 CD23-15 The Who– There's A Doctor I've Found 0:22 CD23-16 The Who– Go To The Mirror Boy 3:25 CD23-17 The Who– Smash The Mirror 1:06 CD23-18 The Who– I'm Free 2:25 CD23-19 The Who– Tommy's Holiday Camp 1:00 CD23-20 The Who– We're Not Gonna Take It 9:21 CD23-21 The Who– Summertime Blues 3:36 CD23-22 The Who– Shakin' All Over 6:17 CD23-23 The Who– My Generation 6:43 CD23-24 Chip Monck– “Welcome This New Day” 0:54
Day 3, Disc 24 - Jefferson Airplane - August 17, 1969, 8:00am - 09:40am
CD24-01 Chip Monck– “That’s Not A Piece Of Rope That You’re Hanging On” 2:30 CD24-02 Jefferson Airplane– The Other Side Of This Life 8:29 CD24-03 Grace Slick– “One Of Those Sloppy Things That Goes On And Cannot Be Repeated” 3:50 CD24-04 Jefferson Airplane– Somebody To Love 4:38 CD24-05 Jefferson Airplane– 3/5 Of A Mile In 10 Seconds 5:44 CD24-06 Jefferson Airplane– Won't You Try / Saturday Afternoon 5:28 CD24-07 Jefferson Airplane– Eskimo Blue Day 6:11 CD24-08 Grace Slick– “We Got A Whole Lot Of Orange And It Was Fine” 1:03 CD24-09 Jefferson Airplane– Plastic Fantastic Lover 4:31 CD24-10 Jefferson Airplane– Wooden Ships 22:07
Day 3, Disc 25 - Jefferson Airplane - August 17, 1969, 8:00am - 09:40am
CD25-01 Jefferson Airplane– Uncle Sam Blues 6:43 CD25-02 Jefferson Airplane– Volunteers 4:14 CD25-03 Grace Slick– “It’s Pooneil 1” 1:05 CD25-04 Jefferson Airplane– The Ballad Of You & Me & Pooneil 15:57 CD25-05 Jefferson Airplane– Come Back Baby 6:05 CD25-06 Jefferson Airplane– White Rabbit 2:27 CD25-07 Jefferson Airplane– The House At Pooneil Corners 9:17 CD25-08 “There Is Always A Little Bit Of Heaven In A Disaster Area” 2:24 CD25-09 John Morris (6)– “The Roads Are Fairly Clear Now” 1:21 CD25-10 Muskrat (2)– “We Got A Times” 1:21 CD25-11 Hugh Romney, John Morris (6)– “Bugsy To The Pink And White Tent” 3:33
Day 3, Disc 26 - Joe Cocker - August 17, 1969, 2:00pm - 3:25pm
CD26-01 Max Yasgur– “I Think You People Have Proven Something To The World” 2:53 CD26-02 John Morris (6), The Grease Band– “Now Is The Time!” 2:19 CD26-03 The Grease Band– Rockhouse 4:15 CD26-04 The Grease Band– Who Knows What Tomorrow May Bring 4:28 CD26-05 Joe Cocker– “That Farming Guy Who Came Out, He Seemed A Nice Little Bloke” 0:21 CD26-06 Joe Cocker– Dear Landlord 8:05 CD26-07 Joe Cocker– Something's Coming On 4:02 CD26-08 Joe Cocker– Do I Still Figure In Your Life 3:30 CD26-09 Joe Cocker– “An English Variation On Somebody’s Head-bashing Tune” 0:35 CD26-10 Joe Cocker– Feelin' Alright 4:54 CD26-11 Joe Cocker– “A Ballad Of Grecian Quantity” 0:30 CD26-12 Joe Cocker– Just Like A Woman 6:23
Day 3, Disc 27 - Joe Cocker - August 17, 1969, 2:00pm - 3:25pm
CD27-01 Joe Cocker– Let's Go Get Stoned 7:04 CD27-02 Joe Cocker– I Don't Need No Doctor 12:01 CD27-03 Joe Cocker– “Just Shows You What You Can Do With A Few Shillelaghs” 0:37 CD27-04 Joe Cocker– I Shall Be Released 5:50 CD27-05 Joe Cocker– Hitchcock Railway 7:02 CD27-06 Joe Cocker– Something To Say 9:08 CD27-07 Joe Cocker– With A Little Help From My Friends 8:07 CD27-08 John Morris (6), Barry Melton– “Maybe We Can Stop This Rain” 10:03
Day 3, Disc 28 - Country Joe And The Fish - August 17, 1969, 6:00pm - 07:50pm
CD28-01 Chip Monck– “Leave The Fences For Last When You Take Firewood” 10:21 CD28-02 Country Joe And The Fish– Rock & Soul Music 2:08 CD28-03 Country Joe And The Fish– Love 3:08 CD28-04 Country Joe And The Fish– Not So Sweet Martha Lorraine 4:28 CD28-05 Country Joe And The Fish– Sing Sing Sing 3:16 CD28-06 Country Joe And The Fish– Summer Dresses 5:37 CD28-07 Country Joe And The Fish– Friend, Lover, Woman, Wife 2:27 CD28-08 Country Joe And The Fish– Silver And Gold 4:48 CD28-09 Country Joe And The Fish– Maria 4:13 CD28-10 Country Joe And The Fish– The Love Machine 5:25 CD28-11 Country Joe And The Fish– Ever Since You Told Me That You Love Me (I'm A Nut) 2:47 CD28-12 Country Joe And The Fish– Crystal Blues 6:03 CD28-13 Country Joe And The Fish– Rock & Soul Music (Reprise) 13:07 CD28-14 Country Joe And The Fish– The "Fish" Cheer / I-Feel-Like-I'm-Fixin'-To-Die-Rag 3:10 CD28-15 Chip Monck– “We’ll Start With Minimal Lighting” 4:18
Day 3, Disc 29 - Ten Years After - August 17, 1969, 8:15pm - 9:15pm
CD29-01 Chip Monck– “Please Do Come Down” 1:19 CD29-02 Ten Years After– Spoonful 7:31 CD29-03 Ten Years After– Good Morning Little School Girl (1) 2:08 CD29-04 Ten Years After– Good Morning Little School Girl (2) 1:23 CD29-05 Ten Years After– Good Morning Little School Girl (3) 4:41 CD29-06 Ten Years After– Hobbit 8:08 CD29-07 Ten Years After– I Can't Keep From Crying Sometimes 18:00 CD29-08 Ten Years After– Help Me 17:56 CD29-09 Ten Years After– I'm Going Home 12:15 CD29-10 Chip Monck– “There's Been An Awful Lot Of Broken Limbs” 5:22
Day 3, Disc 30 - The Band - August 17, 1969m 10:00pm - 10:50pm
CD30-01 Chip Monck– “B.B. King, Freddie King, Herbie Mann” 10:57 CD30-02 The Band– Chest Fever 5:42 CD30-03 The Band– Don't Do It 4:24 CD30-04 The Band– Tears Of Rage 5:37 CD30-05 The Band– We Can Talk 3:25 CD30-06 The Band– Long Black Veil 4:25 CD30-07 The Band– Don't Ya Tell Henry 3:52 CD30-08 The Band– Ain't No More Cane 5:08 CD30-09 The Band– This Wheel's On Fire 3:57 CD30-10 The Band– I Shall Be Released 3:38 CD30-11 The Band– The Weight 6:18 CD30-12 The Band– Loving You Is Sweeter Than Ever 5:14 CD30-13 Chip Monck– “Help, I’m Being Busted!” 3:22
Day 3, Disc 31 - Johnny Winter - August 18, 1969, 12:00am - 1:05am
CD31-01 Chip Monck– “There’s Evidently A Trickle” 3:09 CD31-02 Johnny Winter– Mama, Talk To Your Daughter 5:22 CD31-03 Johnny Winter– Leland Mississippi Blues 5:13 CD31-04 Johnny Winter– Mean Town Blues 11:13 CD31-05 Johnny Winter– You Done Lost Your Good Thing Now 17:02 CD31-06 Johnny Winter, Edgar Winter– I Can't Stand It 6:26 CD31-07 Johnny Winter, Edgar Winter– Tobacco Road 10:17 CD31-08 Johnny Winter, Edgar Winter– Tell The Truth 7:48 CD31-09 Johnny Winter– Johnny B. Goode 5:35 CD31-10 Chip Monck– “Amplifier Section, Come In, Please” 6:52
Day 3, Disc 32 - Blood, Sweat And Tears - August 18, 1969, 1:30am - 2:30am
CD32-01 Chip Monck– “It’s Really Annoying To Have To Constantly Make This Announcement” 2:34 CD32-02 Blood, Sweat And Tears– More And More 2:51 CD32-03 Blood, Sweat And Tears– Just One Smile 4:45 CD32-04 Blood, Sweat And Tears– Somethin' Comin' On 2:29 CD32-05 Blood, Sweat And Tears– I Love You More Than You'll Ever Know 7:29 CD32-06 Blood, Sweat And Tears– Spinning Wheel 4:56 CD32-07 Blood, Sweat And Tears– Sometimes In Winter 3:30 CD32-08 Blood, Sweat And Tears– Smiling Phases 10:22 CD32-09 Blood, Sweat And Tears– God Bless The Child 6:54 CD32-10 Blood, Sweat And Tears– And When I Die 5:18 CD32-11 Blood, Sweat And Tears– You've Made Me So Very Happy 4:24 CD32-12 Unknown Artist– “What About The Moody Blues?” 8:08
Day 3, Disc 33 - Crosby, Stills, Nash & Young - August 18, 1969, 3:00am - 4:00am
Day 3, Disc 34 - The Paul Butterfield Blues Band - August 18, 1969, 6:00am - 7:10am
CD34-01 Chip Monck– “Doriza Of Utica” 2:15 CD34-02 The Paul Butterfield Blues Band– Born Under A Bad Sign 13:38 CD34-03 The Paul Butterfield Blues Band– No Amount Of Loving 6:12 CD34-04 The Paul Butterfield Blues Band– Driftin' And Driftin' 12:08 CD34-05 The Paul Butterfield Blues Band– Morning Sunrise 8:01 CD34-06 The Paul Butterfield Blues Band– All In A Day 7:50 CD34-07 The Paul Butterfield Blues Band– Love March 11:20 CD34-08 The Paul Butterfield Blues Band– Everything's Gonna Be Alright 9:21 CD34-09 Chip Monck– “Good Morning” 0:19
Day 3, Disc 35 - Sha-Na-Na August 18, 1969, 7:30am - 8:00am
CD35-01 Sha Na Na– “Test, Test” 1:36 CD35-02 Sha Na Na– Get A Job 2:27 CD35-03 Sha Na Na– Come Go With Me 2:32 CD35-04 Sha Na Na– Silhouettes 2:58 CD35-05 Sha Na Na– Teen Angel 3:31 CD35-06 Sha Na Na– (Marie's The Name) His Latest Flame 2:08 CD35-07 Sha Na Na– Wipe Out 2:13 CD35-08 Sha Na Na– Book Of Love 2:01 CD35-09 Sha Na Na– Little Darlin' [Incomplete] 0:44 CD35-10 Sha Na Na– At The Hop 3:05 CD35-11 Sha Na Na– Duke Of Earl 2:00 CD35-12 Sha Na Na– Get A Job (Reprise) 0:27 CD35-13 Chip Monck– "Thank You For Making All This Possible" 8:12
Day 3, Disc 36 - Jimi Hendrix - August 18, 1969, 9am - 11:10am
CD36-01 Jimi Hendrix– Introduction 2:21 CD36-02 Jimi Hendrix– Message Of Love 7:21 CD36-03 Jimi Hendrix– Hear My Train A Comin' 9:49 CD36-04 Jimi Hendrix– Spanish Castle Magic 7:06 CD36-05 Jimi Hendrix– Red House 5:24 CD36-06 Jimi Hendrix– Lover Man 5:12 CD36-07 Jimi Hendrix– Foxey Lady 5:07 CD36-08 Jimi Hendrix– Jam Back At The House 7:45
Day 3, Disc 37 - Jimi Hendrix - August 18, 1969, 9am - 11:10am
CD38-01 Chip Monck– "Good Wishes, Good Day, And A Good Life" 4:33 CD38-02 Unknown Artist– "This Is Groesbeek" 0:16 CD38-03 Unknown Artist– "Hungry Wet Hordes” 4:48 CD38-04 Unknown Artist– "Sun Dance" 0:10 CD38-05 Unknown Artist– "Cancel Out Whatever I Said About The Morning" 0:26 CD38-06 Unknown Artist– "Lotsa Kooks Around Here" 0:39 CD38-07 Unknown Artist– "National Outdoor Leadership Types" 1:17 CD38-08 Unknown Artist– "Why Aren’t You Dishonest Like Everybody Else?” 1:17 CD38-09 Unknown Artist– “I Just Saw The Titles On This Thing" 0:16 CD38-10 Unknown Artist– "We’ve Had Hassles” 0:30 CD38-11 Unknown Artist– "This Is Up At The Hospital Tent” 2:07 CD38-12 Unknown Artist– "It’s Monday Afternoon” 0:49 CD38-13 Unknown Artist– "It’s My Geiger Counter” 1:25 CD38-14 Unknown Artist– "Uh… Boys By The American Flag” 1:22 CD38-15 Unknown Artist– "Magic Terry Knows What He’s Talking About” 5:57 CD38-16 Unknown Artist– “150 Logs” 4:15 CD38-17 Unknown Artist– "There’s A Little Tin Box Full Of Hash Around Somewhere” 0:43 CD38-18 Unknown Artist– "Here’s A Guy Slightly Freaked Out” 1:14 CD38-19 Unknown Artist– "Walking Up The Hill” 0:35 CD38-20 Unknown Artist– The Rain Chant [Original Field Recording] 1:12 CD38-21 Muskrat (2)– "Please Go To The Information Booth, Man” 0:15 CD38-22 Muskrat (2)– "Around That Crane In A Three Foot Radius” 0:35 CD38-23 Muskrat (2)– "On Sunday, Man, The Times Gave A Very Favorable Editorial” 0:49 CD38-24 Muskrat (2)– "It’s Gonna Take Me A Few Weeks To Fully Comprehend It” 1:50 CD38-25 Unknown Artist– "We Are Making Announcements" 1:30 CD38-26 Unknown Artist– "Other People’s Pills” 0:16 CD38-27 Chip Monck– "Please Bear With Us” 1:36 CD38-28 Unknown Artist– "If Anybody Can Understand What I’m Saying, Stand Up And Move” 1:17 CD38-29 Unknown Artist– "A Matter Of Life And Death—Dig It!” 0:25 CD38-30 Unknown Artist– "Up Against The Wall, Boys” 2:06 CD38-31 Unknown Artist– "Rap Central, Near The First Aid Trailer” 4:15 CD38-32 Unknown Artist– "For Those Of You Who Haven’t Heard Of The Bindy Bazaar” 1:06 CD38-33 Unknown Artist– "Three; Richie’s Voice” 1:00 CD38-34 Unknown Artist– "Hello!” 0:16
Limited edition boxed set; a total of 1969 numbered copies were released. Box numbers may be printed in white or black ink. 238 promotional copies—all numbered #0000/1969—were also issued.
Credits: Produced for Release by Andy Zax & Steve Woolard Sound Produced by Andy Zax & Brian Kehew Compiled, assembled and edited by Andy Zax, 2005-2019
Mixed by Brian Kehew at OFR and Timeless, North Hollywood, CA, 2005-2019
Except: Richie Havens and Mountain (from vintage mixes; original engineers unknown) Melanie (from mono soundboard reel restored by BK) Jimi Hendrix (Eddie Kramer)
Art Direction & Design: Masaki Koike at Phyx Design
Came in a wooden box wrapped by a guitar strap packed in an additional cardboard box. Contains 38 CDs packed in 3 individual books (1 day per book), a Blu-ray disc in a Digipak-kind case, a 288-paged book in a cardboard slipcase and a folder containing photographies, 2 posters, a facsimile of a notebook and the original Woodstock programme and a BethelWoods commercial sheet.
Orders placed with Rhino for the big box included exclusive Dale Saltzman 18×15 lithographs based on banners from the original festival.
Fifty years after the three-day concert made rock’n’roll history, a gargantuan, 38-disc set attempts to tell the full story of the event for the very first time.
The mythological status of 1969’s Woodstock Music and Arts Festival can sometimes feel overpowering. The festival is the ultimate expression of the 1960s. Moments from the three-day concert have crystallized as symbols of the era, with details like Richie Havens’ acoustic prayer for freedom, Roger Daltrey’s fringed leather vest, or Jimi Hendrix’s “Star Spangled Banner” held up as sacred countercultural relics.
Partly to blame are both Michael Wadleigh’s 1970 documentary film and the accompanying triple-LP soundtrack, which multiple generations of fans encountered through older relatives or at midnight showings at revival houses. The truth about what happened on Max Yasgur’s dairy farm in upstate New York is vastly more interesting than the myth, but for years, there was no counter-argument available.
With the festival’s 50th anniversary, producers Andy Zax and Brian Kehew made the case that this was the time to set the record straight and get it right. As Zax writes in the liner notes, “If we’re still thinking and arguing and opining about the meaning of Woodstock after half a century, shouldn’t we at least have a set of baseline facts about what happened there?” The result is the limited edition 38-CD set Woodstock - Back to the Garden: The Definitive 50th Anniversary Archive. (Several abridged versions—10xCD, 3xCD and 5xLP sets—were released in June.)
Over the course of the set’s 432 tracks, producers Zax and Kehew unveil an exhaustive, end-to-end reconstruction of the festival in precise chronological order, the result of 10 years of careful research, audio reconstruction, and debunked myths, as Zax relates in the 88-page liner notes. But the true revelation of this release is simply how great the newly restored recordings sound. Zax and Kehew approached the mixing by referring to photographic documentation, which allowed them to situate the performers within the mix based on where they were standing onstage. Comparing the original soundtrack to the 2019 product is like switching from black and white to Technicolor: The compression and flatness that choked the life out of the original release is gone. The result is a sonically welcoming experience that is as immersive as you could want; it is a joy to listen to.
A glance at the complete lineup drives home the fact that there was an abundance of talent onstage at Woodstock. The stretch from late Saturday night into early Sunday morning stands out in particular, beginning with Creedence Clearwater Revival at 12:30 a.m., then Janis Joplin (who took the stage to an enormous roar at 2 a.m.), Sly and the Family Stone, and the Who, finishing as dawn broke purple behind the stage, with Jefferson Airplane (who were on the orange acid, as opposed to the brown acid featured in the now-infamous warning over the PA), providing what lead singer Grace Slick proclaimed “morning maniac music!” at 8 a.m. The experience of hearing these sets back to back is extraordinary. As ’60s rock chronicler Ellen Sander says in the liner notes, “Just when you thought it couldn’t get any more fabulous, it did. It was like being in the heartbeat of a mythic beast.”
Almost all the artists involved allowed their full, actual sets to be included this time around. (The lone exception was Jimi Hendrix: The owners of his catalog held back two songs from his set.) John Fogerty complained for decades about Creedence following the Dead, but their set turns out to have been 50 minutes of high-octane choogle, including three recent Top Ten singles. The Band’s set, originally rejected by the group because “it wasn’t totally up to our standard,” proves to be delicate, gorgeous, and heart-wrenchingly evocative. Crosby Stills & Nash substituted tracks from a later Fillmore East performance on the first Woodstock album, but their set at the festival was better, transmitting an ebullience and energy that feels more like they’re singing together for the first time in Joni Mitchell’s house than onstage in front of half a million people; both “Wooden Ships” and “Long Time Gone” have an electric depth that still resonates 50 years later. And the Dead’s longtime assertion that they were a disaster is greatly exaggerated, even if 40 minutes of “Turn on Your Lovelight” is a little much, even for Deadheads.
Also restored and contextualized in this release are all the legendary stage announcements from production team members John Morris and Chip Monck—each one of which, writes Zax, might serve as “the start of a miniature novel”: Louis Price is summoned with a number to call in Washington, D.C.; Wheat Germ is told that the bag containing his medicine is in the possession of Holly; Edward Shea needs to meet Barbara at the car right away. Special mention goes to the idiots who climbed the lighting \scaffolding and spent the festival being admonished twice an hour by an increasingly annoyed-sounding Monck. The mundanity and humanity of these details draw you in, and it’s a much more believable scenario than the Wadleigh documentary with its triple-split-screens and jump cuts. Ultimately, the announcements are the mechanism that places the attendees within the story. As the Who’s Roger Daltrey astutely (and affectionately) notes, “The stars of Woodstock were the audience.”
The one negative of this project is its inaccessibility. Rhino only manufactured 1,969 box sets; each one retailed at $799.98, (And now resellers offer them with a starting price of $2000 and there are no plans to make the 38-disc version available on streaming services. For those with smaller budgets, the 10xCD version is still worthwhile, as it’s the first Woodstock compilation to feature every artist that appeared at the festival, and was assembled with the same intent of conveying the experience of the three days. What the 38-disc box set succeeds at is not just righting the record, or presenting a mammoth set of live songs, but in creating an environment that effectively transports the listener to that muddy pasture in upstate New York. In the spirit of the original event, that experience should be extended as widely as Woodstock’s influence.
Below is my stream of conciousness notes from listening to this set. Most of the notes were written as I listened, except for the day 1 notes that were written right after I'd finished those sets. Also, I've included the approximate times that each act performed, because I think that it adds a whole lot to the listening experience. For instance, without know that The Who came on at 5:00am, it wouldn't make sense as to why they trimmed so much out of Tommy. Anyway, without further ado...
I just finished day 1, and let me say that they did an amazing job. The unexpurgated comments alone are fascinating. My biggest pleasant surprises from day one are:
5:00pm - Richie Havens' set is wonderful... all up to the quality for the 2 tracks that had been released before. The myth that praised him for playing 3 hours has solidly been dispelled here. However, the comments that he played and ran out of things is probably true. He doesn't know the words to The Beatles' songs, and he makes up Freedom on the spot. All in all, a wonderful, powerful performance to kick off the festival.
6:15pm - Sweetwater is so good that I've now listened to two of their albums. Kind of an Airplane meets Blood, Sweat & Tears kind of thing. I simply love the horns. Too bad about the ensuing tragedy that cut their career short... they could have been incredible.
7:15pm - Bert Sommer was up next with a short acoustic set. I've heard this before on the bootlegs, but it is much better here, complete and high fidelity. While I'm not a hardcore folkie, I really enjoyed this performance and will listen to it again... particularly his version of America.
9:00pm - Apparently, Tim Hardin was so fucked up that he couldn't get onto the stage on time. In my mind it shows. This is a really rocky, unsatisfying set that has left this listener noting that he will not be listening to Mr. Hardin any time soon. A waste of precious stage time.
10:00pm - They say that the rain storm was in full fury during Ravi Shankar's set, but you really can't hear it on the tapes. While this style of Indian music really doesn't jiuve with my tastes, I can absolutely say that it is intricate, beautiful and well performed. I also incredibly enjoyed his discussion of the various instruments and how they are used.
11:00pm - Melanie Safka's set is, in my mind, one of the most beautiful things about the first day. She has an innocence that somehow just screams Woodstock! I've never heard the set intact before, but you can bet that I'll be listening to it again.
12:00am - I just love Arlo Guthrie... I always have. His combination of humor, song selection, delivery and shenanigans are on full display during this set. Unfortunately, he's pretty drunk so there's some slop as well. But the Moses Story is worth the price of admission on its own. Listen to this one!
1:00am - Easily the strongest performer of day one, the Joan Baez set is incredible. There were already a lot of things released, but it's so nice to hear this in its entirety. Her voice is gorgeous, the set list is strong, and the recording is amazing
12:15pm - Quill, a band that I'd only vaguely heard from the bad recordings of Woodstock that I had previously found, is here in glorious sound. They are an interesting band... almost proggy, but with horns. Nothing amazing, but worth a spin.
Day 2
1:15pm - Country Joe solo (along with John Sebastian who would follow Santana), is a fascinating set for the simple reason that he wasn't scheduled to perform. It was completely ad hoc, and in a lot of ways it shows. A forgettable (except that it's Woodstock) set, but still cool from that perspective. Also, it has the Fish cheer. Gimme an 'F'...
2:00pm - The Santana set seriously deserves all of the praise that's been heaped upon it. For an unknown and without an album, this shit is absolutely incredible! The unreleased (until recently) tracks are every bit as good as Soul Sacrifice... particularly the amazing Fried Neckbones encore. Honestly, everything they played is stellar and essential. And, even after having bought both of the Columbia releases of the first album with Woodstock thrown in, this is so much clearer. If you have ever wondered what was so special about Santana, the answer is here in spades.
3:30pm - The John Sebastian set, another totally impromptu performance, is pretty much forgettable... except for the fact that he is tripping balls so hard! Seriously, this cat sounds spaced out like a wook after a long weekend. I'm almost getting a contact buzz just listening to his set. It's a really fun hot mess!
4:45pm - I just don't understand why the Keef Hartley set has never been released, or even why none of the tracks was included on the record or movie. This is some hot shit. Maybe not at the Santana level, but this jazz/blues/rock combo with a wicked horn section is really very good. This is so worth listening to... I'm positive that this will stay on my playlist for a while. Very much in line with Blood, Sweat & Tears, but not nearly as commercial. I'll lump them in with Sweetwater as a band that I need to explore more closely. I guess, after doing a little Googling, that their manager screwed them over by trying to dictate terms for them to appear in the movie, and the producers just said no. What a loss. This is one of the performances that is almost entirely "newly discovered" as the bootlegs didn't have much.
6:00pm - Apparently, The Incredible String Band refused to play their scheduled set on Friday night because of the rain. So they were slotted in at this time, and contained to a really short time slot. Honestly, their entirely acoustic set just really doesn't fit with the rock acts that they found themselves surrounded by. As a result, there is really no flow and, again apparently, there was a rather poor reception to this set. It's not a bad set, but it's not a good set either. I can certainly understand why there was a cold reaction from the crowd. If they had played on Friday, perhaps we would be listening to a lot more of their music... or maybe not. This is the first performance that I'm not really enjoying. This may be the last time that I listen to this disc.
7:30pm - The last of the daytime acts was Canned Heat. This set was the second fantastic set of the afternoon. Canned Heat came into this thing as a well respected west coast band. They left as a flag bearer of the Woodstock Nation. Their infectious boogie rock is really well recorded and we can finally hear the whole thing including the 30 minute Woodstock Boogie... in the context in which it was played. It's just so much better than the previous presentation. After this raucus performance, the crowd was hopped up for the evening that followed.
It should be noted that the announcements from day 2 daytime are made by Chip Monck, who spelled John Morris during the daytime acts. It's pretty interesting to hear Chip talking about "getting the f*** off of the towers", when he was the one who actually designed and oversaw construction of those towers! He had a very vested interest. It is so amazingly cool that every word uttered from the main stage is available on this box... it's just fascinating. The number of announcements, and their content, is just mesmerizing. I can't imagine this happening now. In some ways it's a relic, and in some ways it's really too bad that society doesn't care anymore like they did at this festival.
I'll be back with more after I listen to the evening performances from day 2 (and what a stacked lineup that is!)
9:00pm - The Mountain set is loud and furious, if not particularly nuanced. Sometimes I love them, sometimes I'm bored. This show I'm bored.
10:30pm - The Dead set is both better and worse than it has been traditionally labeled. In the better camp is the Dark Star... it's a really solid effort and as good as many of it's comtemporary performances. In the worse column is the 40 minute Lovelight that continues to be boring way past its point of pain... I wanted so badly to just shut this off and move on. The rest of the show is just okay... the Stephen could have been great, if they hadn't shut it down for... Mama Tried??? Really???
12:30am - CCR comes out and absolutely blows the doors... err... blades of grass... off this thing! Admittedly, Fogerty is pretty much a dickwad with his commentary later in life, but at Woodstock these guys absolutely rocked.
2:00am - For many, many years I've been hearing that the Janis set was subpar because she was so fucking wasted. For what it's worth, I don't hear that at all. What I hear is probably the strongest recorded performance, post-Big Brother, that Janis ever recorded. It's such a shame that this remained mothballed for so many years. And the previous release of the entire set was not mixed properly. This recording presents the whole set in technicolor... so nice!
3:30am - Another blistering set in the dead of the night, Sly & The Stone had to have had everything in the Catskills shaking their goddamned tail feathers... even the cows! This particular set has aged incredibly well, in many ways as relevant today as it was in '69. Permanent rotation material here.
5:00am - The Who set follows the same format as their other contemporary performances (Leeds, Hull, Wight), although in my opinion, this one is not as strong as any of those. It's okay, but not even close to the strength of Santana, Canned Heat or Sly Stone.
Day 3
8:00am - So the "new" day began less than 2 hours after the "old" day ended. Jefferson Airplane was supposed to close out day 2, but in reality since the sun was already up and shining, Grace welcomed day 3 with a boisterous "Good morning, people!". If I had to pick just one performance as the very best of Woodstock, this would be the one. I have heard dozens of Airplane shows, but none compare to the palpable energy of this set. High out of their minds on "the orange", they deliver the goods and prove once again why, at this point in time, they were the biggest band on the planet.
2:00pm - We've all heard Joe Cocker do Help From My Friends, but there is so much more amazing music from his set. This band (The Grease Band) is very adept and they do a fantastic job lending a backdrop to the outstanding vocalist. This set is right up with the Mad Dogs thing in my book. So full of raw soul and funk... absolutely wonderful, superb set!
3:00-6:00pm - A wicked storm rages through the area. There is a great snippet from the stage mics where you can hear lots of announcements about the towers. Very cool to hear... it would have sucked to be in the middle of it!
6:30pm - Country Joe McDonald becomes the only performer to appear twice, this time with his electric band The Fish. This is a planned set and it shows, being very similar to his other contemporary shows. The set is super solid, tight, and a whole lot of fun. So much of this show was missing and it all deserves to be heard! Plus, the electric version of the Fish Cheer / Fixin' to Die is well worth the listen. Plus, Martha Lorraine really should have been on the original album / in the movie... it was such a huge commentary at the time. And Love Machine was another big highlight of this show.
8:15pm - Ten Years After hits the stage with their mega electric blues. It's a solid set from Alvin Lee and company, long believed to have not been recorded due to technical problems. I honestly find this a bit boring, but if you're into high speed blues shredding, then look no further.
10:00pm - Having been pushed back to a much later slot due to the rain storm, The Band played a set full of favorites but found themselves a little bit wobbly. To wit, listen to Chest Fever and its cacaphonous playing. Still, well worth listening to.
12:00am - Johnny Winter brings his ridiculous shredfest to Woodstock. This is as strong a JW set as I've ever heard... really good!
1:30am - Blood, Sweat & Tears come out and do a blistering set. The horn section is positively on fire and the vocals are on the mark. Some of the best BS&T that I've every heard.
3:00am - I don't need to tell anyone about how this was their second gig and they were scared shitless. But this performance absolutely cemented their legacy. And it is such a joy to finally hear the Neil Young portion of this thing in beautiful fidelity. I've been waiting a very long time for this, and I'm not disappointed.
And finally, the day after day 3 report (there wasn't supposed to be a day 4)
6:00am - The Butterfield Blues Band comes on and does a very respectable set of traditional blues. The vast majority of the material is much, much better than the Love March that was originally released. Absolutely no surprises.
7:30am - Pure silliness ensues with Sha Na Na. Certainly not the highlight of the weekend, they still are entertaining enough... at least if you come without expectations.
9:00am - The gods descend and Jimi Hendrix absolutely destroys Woodstock. Easily the biggest act of the weekend, this isn't just a great Jimi show... it might just be one of the absolute best Jimi shows ever! 1969-1970 were probably the apex of Jimi's brief career. So good!
More thoughts:
For most of my adult life, I have listened and re-listened and listened again to the bits of this festival that slowly found their way into the light. I was about 15 years too young to be there, or you can absolutely bet that I would have. For most of this period of time, most of my perceptions have been shaped by the Wadleigh film and the corresponding soundtrack. I truly believed that Country Joe played on the first day. That Santana played following the huge rain storm. That Joan Baez came after Sha Na Na. It is so fucking refreshing to hear this monster in its entirety, unexpurgated, and IN THE CORRECT ORDER!
This set is phenomenal. Listening to it end-to-end is a journey. I am so happy that I have taken this journey. I know that many of you are as big of music freaks as I am, and all I can say is... this is the real shit! Peace out.
