50th Anniversary: 1967 Monterey International Pop Festival: Performance-By-Performance

Crap, I saw this post late and missed it but maybe we can catch it together on YouTube if it's on there. Thanks anyway.

That's a good point- I wouldn't be surprised and I can see McGuinn trying to perform the 12-string jangles on a 6-string. The official lineup isn't listed in the Monterey DVD booklet cause they weren't in the film. But by Notorious recorded later in '67, he stopped using it so much.

It is incredibly valuable and I wish so many other groups of the era had soundboard recordings from '67 so I'll take a decent Byrds performance 100% over zilch.

Just such a weird year for a rock band like the Byrds had in '67 - Interesting how Gene Clark appeared on one TV show appearance and again was in the band (his 3rd time) when he helped with The Notorious Byrd Bros. I would have loved to have Gene Clark at this show as one of the Byrd founders appear maybe on one song but on that TV show appearance doing "Goin' Back" (a few months after Monterey), he looks so out of it, I'm not sure if he could handle a scene as big as Monterey.

Also, David Crosby did one thing that became a popular thing to do. Like Dylan, The Byrds put away their hugest songs to show that they had grown out of that Mr. Tambourine Man nest and can rely more on even hipper material, and more rocking material. Many artists in the years that followed used that philosophy - a challenge to de-associate yourself with your signature songs to show change, growth to an audience that should be willing to accept the change. Of course some live concert attenders want the hits - especially now, but back then, I think the music fan was willing to accept the challenge. Todd Rundgren for instance usually stays away from his biggest though he finally played them on last year's tour. I guess it's about creating a wider image and the Byrds covering so many genres/styles proved their enormous musical palette.

 

What?
Are we talking Monterey Pop?
The video posted shows McGuinn playing it.

 

Well, her debut album is one I love. There's some good folk-rock there but really its about jazz pop with her and plenty of piano. A lot of the songs are slow so its a dramatic, emotional and quiet album overall. "Stoney End" and "Flim Flam Man" or more singles-style radio type songs but many tracks are slow piano jazz club style like "Billy's Blues", "Lazy Susan", "He's a Runner", "I Never Meant to Hurt You". So the pace varies a lot - sometimes in the same song like "And When I Die". So I'd say it's a totally worthwhile album and there's enough diversity and great songwriting and singing to make it one of the better releases of 1967- a tough feat.

 

I count myself a fan of Elvin Bishop, and the Pigboy Crabshaw and In My Own Dream albums by BBB are both very good. But those came a bit later and Bishop was clearly no Bloomfield, so the net result was just not as good as before Bloomfield left.

 

CAUTION!:

I hope folks are not judging these musical acts like a sporting event, rating acts based solely on their performances, here.

Remember, Otis Redding and Jimi Hendrix had been touring since the 50's, many of these acts were in their infancy and the scale of the festival size was very new.

Also, I'm sure a party atmosphere may have effected many states of mind and resulting performances.

Laura Nyro has had several very great live recordings released, just listen to,them, rather than focus on an off day.

 

I am trying to avoid sounding pretentious, but it's long been my opinion that those who know lead guitar know Cipollina was among the very best. That his career was not as big and widely known as it could have been, and for QMS as well, I think was due to a number of factors. One was likely as alluded to here that the lineup was not set coming out of Monterey, and it took some time for them to settle on a quartet lineup, with attendant arrangements. So they did not get any bounce from Monterey, and were cut out of the film as it was . They also were not that quick getting a record contract, as they would not do their first studio release through Capitol until May of 1968. Imo a fantastic album showing a range of styles, it ended up being the only pure studio release by what was the classic lineup. Meanwhile the band was almost constantly on tour, and while this seemed to be the way Cipollina liked to live the music, Gary Duncan got burned out by it and his own increased drug use, and quit. Their Happy Trails is even better than their first album, with long live sections and what Jerry Garcia called as a net result a great and perhaps the best example of the psychedelic sound from a San Francisco group.

Once Duncan left they for one album, Shady Grove, added Nicky Hopkins and remained a quartet. SG is a fine album but not as good as the first two, dominated by Hopkins's piano. Then Dino Valenti returned, but imo the two albums they did with him before Cipollina left were not that good, really dominated by Valenti. They did sell, though. Cipollina then formed Copperhead which released imo a very good record, but it did not sell well. Thereafter Cipollina I think it is fair to say decided he did not want to commit to involvement in a set band exclusively as he joined a number of different outfits with the primary goal apparently to play live as much as possible, including sitting in with bands like The Grateful Dead.

The criticism that Quicksilver did not (before Valenti's return) have solid enough vocals was I think overstated. Greg Freiberg was in fact a solid singer and ended up joining Starship as a singer with Grace and Paul. The real problem was Duncan's departure, as he was a good enough singer to cover the load together with Freiberg. But once he left... Freiberg's vocals dominate Shady Grove, but clearly they decided once Valenti reappeared to bring him back in, and that set them on a course of short term gain, but it was not sustainable.

So we are essentially left with a studio album and a mixed live and studio album as the high points of Quicksilver, followed by the piano dominated effort with Hopkins. It could have been a lot more, but at least we have these.

 

Damn right.I was getting tired of the "what if" threads.I want to say "don't you have anything better to do than start these ridiculous threads".

 

I don't know that Bloomfield actually stuck with that negative view of the other SF bands as he certainly hung out with people like Garcia, Cipollina, Kaukonen and Melton. That understated praise for Janis also belies that he was instrumental in helping her put together the Kozmic Blues outing with her. It's also absurd to suggest the Airplane among others were not accomplished. Jack Casady is generally acknowledged to be one of the great bassists in rock, Spencer Dryden was a great ensemble drummer, and their vocals were as good as anybody's, and I do mean anybody's. That quote I think reflects as you say Bloomfield's blues purist perspective, but even there I do not think he stuck to that, given the range found on The Electric Flag's output and other of his work.

 

I am LOVING this thread, great idea!

I was born in 1970 so obviously I missed it, but Monterey Pop has long been my "time machine" festival, much more than Woodstock. I'd have given anything to experience the festival...but with the DVDs, the "Perfect Haze" book, and now this thread, its the next best thing

 

I had a very similar experience that summer, 84, seeing them at The Stanhope House on Lake Hopatcong, NJ. Small venue with tables and chairs, we were not even 10 feet from the band. I went with some other Quicksilver fanatics and also remembered Gravenites's work with Bloomfield and others. It is my recollection the drummer was Greg Elmore, Quicksilver's drummer, and some younger guy on bass. Toward the end they did Mona and Who Do You Love, and finished with an awesome cover of Going Down. One of the best shows I've ever seen. I have a DVD of this band that is awesome.

 

JEFFERSON AIRPLANE
(Introduced by Jerry Garcia)

1 Somebody to Love (A+)
2 The Other Side of This Life (A-)
3 White Rabbit (A)
4 High Flying Bird (A-)
5 Today (A)
6 She Has Funny Cars (A-)
7 Young Girl Sunday Blues (B+)
8 The Ballad of You and Me and Pooneil (A)

Paul Kantner vocals, guitars
Marty Balin vocals
Jack Casady bass
Jorma Kaukonen lead guitar, vocals
Spencer Dryden percussion
Grace Slick vocals

If there was one artist who felt closest to the type of scene the concert was, it would be Jefferson Airplane. They’re combined brands of L.A. and S.F. psychedelic and garage rock force the spotlight upon them and the music speaks the rest of the conversation. They’re just stellar here and usually match or exceed the studio versions of the songs. While Surrealistic Pillow did well and better than Jefferson Airplane Takes Off, the Airplane did not have total dominance until the release of one of the 60's most famous anthems "Somebody to Love" in March. ["My Best Friend" curiously was the lead single of the album and one of the relatively weaker songs on the album.] "White Rabbit" was not yet huge, released the same month as the concert. The opening riffs on “High Flying Bird”, the psychedelic folk jamming of “The Other Side of This Life”, the shouting vocals on “Somebody to Love”, there are so many fine moments here, it’s tough to single out ones quickly. The performances and material converge to set the music a-flight on all the songs. A different vibe hovers over the faster new harpsichord arrangement of “Today”, and the psychedelic glory of “The Ballad of Me You and Pooneil” is in it’s 12 minute enhanced version found on the boxset years later.

Their set is one of the best performances from the festival as a whole. I’ve heard plenty of Airplane live shows since we’ve been lucky to see so many released and many times the trio of vocalists are singing over each other which can get chaotic in a good way but also messy and can throw off the arrangements. Here Marty Balin doesn’t do too much over-singing over Kantner and Slick so the performance is a touch stronger vocally than normal. Instrumentally Jorma Kaukonen is not 100% Jorma yet, he doesn’t blow me away (though he knocks me over) like he would very soon but he still feels like the central force in their sound. One of my favorite rock bands ever, I think it may not be the best I’ve ever heard from them, but it’s highly enjoyable and it’s a pleasure to have the whole long set. Many of us know what followed in Jefferson’s history, no need for me to say- co-rulers of the ‘Summer of Love’-and a long career with a couple of name changes. All critics, contemporaries and fans agreed Jefferson Airplane took off.

Jefferson Airplane- High Flyin' Bird, White Rabbit

 

These pics were too good to resist (sorry). Jefferson Airplane was such a central part of the concert and philosophy I thought a couple of extras might not hurt plus some more of the songs in concert audio below.



Jefferson Airplane-
Somebody to Love
Other side of this Life
White Rabbit
High Flying Bird
Today
Young Girl Sunday Blues

 

Absolutely brilliant idea for a thread!

 

And Grace STILL remains the best combination of beauty and voice that has ever graced us.

 

Cippolina and Kaukonen, two of the best up to his death for John Cippolina, and Kaukonen I have seen in the '00s and is still up there (if not the same). Just think of all the major guitar gods at this one event... Hendrix, Bloomfield, Garcia, Jerry Miller, and many other notable players besides, and great bass players... Entwistle for example and Jack Cassidy.

 

Barry Melton is IMHO a very underrated guitar player. I never tire of hearing him soloing.
There's a song on the Fixin' to Die album that's basically a long guitar solo, called Eastern Jam - this is Tom Verlaine level guitar-playing if you don't mind the anachronism.

 

It's this coming Sunday, the fiftieth anniversary to the day (16 - 18 June) of the event. I'll be able to post the website link after it airs.

 

And that's why the lens is on her all the time while Marty is off-camera singing lead on "Today"
Anyway, the Airplane offered an excellent set.

 

BOOKER T. & THE MG’S

1 Booker Loo (B+)
2 Hip Hug-Her (A-)
3 Philly Dog (B)
4 Green Onions

Note: Booker T. & the M.G.s set list is incomplete.

• Steve Cropper - guitar
• Booker T. Jones - organ, guitar, keyboards
• Donald "Duck" Dunn - bass
• Al Jackson, Jr. - drums

Album lineup:

Booker T. & the MG’s had been around for some time when they got their chance to play the Monterey stage. They had an all-time classic instrumental in “Green Onions”, and had a great rep as a house band for Stax. Blurring the lines of rock, pop, soul, R&B and funk, their music isn’t quite easy to categorize which is usually a good thing. They were accepted by the rock community and got their own set and then with the Mar-Keys backed Otis Redding. (I think it was a partial joint backing-not sure.) “Booker Loo” and “Hip Hug Her” are exciting back-to-back performances with a lot more rock guitar and though “Philly Dog” drops the level of entertainment some, it’s still tight. These are some of the last performances for the Mar-Keys who join them on “Philly Dog”. While it’s definitely a comedown from the high inhaled from Jefferson Airplane, they were a perfect intro and segue way to Saturday’s final performer. They wound up as Hall of Famers and one of the most appreciated instrumental/backing groups of the 60’s. (Unfortunately I couldn't find any photos, audio of "Green Onions" or video. Photo above: with Carla Thomas)

Booker T. & the MG's- Booker Loo

 

OTIS REDDING (Introduced by Tommy Smothers)

1 Shake (A)
2 Respect (A-)
3 I've Been Loving You Too Long (A)
4 Satisfaction (B+)
5 Try a Little Tenderness (A+)

Backed by Booker T. & the MG's; The Mar-Keys

Otis Redding, the memorably excellent singer, had been around since the 1950’s and was highly successful and highly anticipated when it was time for Monterey. An emotional and exciting performance from Redding, the set sequencing is terrific, pacing the fast and slow numbers well. The rollercoaster starts out on “Shake” -tremendous though more effective in the movie with Otis shaking himself. Both that and “Respect” both sweat their so hot while “I’ve Been Loving You Too Long” is the perfect cool down. “Satisfaction” is probably the weak link (still a B+) but “Try a Little Tenderness” ends the brilliant set. The first 2 move at hardcore punk speed they’re so fast and the moving slower songs hit just as hard. What a performer he was to start slow on the finale and speed it up and bring up the intensity to the max to end his excellent set. He has the crowd on a string whether he went upbeat or downbeat, melodic or rhythmic. Easily one of the best moments of the festival and a great way to close out a historic Saturday.

Otis Redding- Shake, I've Been Loving You Too Long

 

Otis Redding - Respect

 

Otis Redding - Satisfaction

 

Otis Redding -Try a Little Tenderness

 

Sorry about the Mar-Keys, Bar-Kays confusion. I always get them mixed up. The Mar-Keys are really Booker T/MGs without horns. The Bar-Kays were the band that was part of the tragedy later in the year involving Otis.

The Bar-Kays

• James Alexander, bass
• Jimmy King, guitar
• Ronnie Caldwell, organ
• Carl Cunningham, drums
• Phalon Jones, saxophone
• Ben Cauley, trumpet
• Jim Stewart, supervision

 

Otis! My Man!