1969: Records in heavy rotation in my bedroom included the debut album from Led Zeppelin, Led Zeppelin II, THE BEATLES Abbey Road (which is a hard listen for me-sorry Beatles fans), THE WHO Tommy (another difficult record to listen to all the way through), KING CRIMSON’S In The Court Of The Crimson King a great record,one that for its time was truly unique, THE ROLLING STONES Beggar’s Banquet which never left my turntable and the follow-up release Let It Bleed, NEIL YOUNG’s masterpiece Everybody Knows This Is Nowhere, ZAPPA’s Hot Rats which help change my musical perspective, FLEETWOOD MAC’s Then Play On, CSN debut, Blind Faith’s one and only official release which is also a very strange record, Nashville Skyline by BOB DYLAN, The MC5’s Kick Out The Jams, Isaac Hayes’ Hot Buttered Soul which arrived unexpectedly when I did not respond in time to a record company selection deadline and glad I got this gem,Chicago Transit Authority double set before they shortened their name to CHICAGO, Jethro Tull’s Stand Up, Live Dead, The DOORS Soft Parade, PINK FLOYD’s Ummagumma, Jefferson Airplane’s Volunteers, and PROCOL HARUM’s A Salty Dog which was actually my brothers record.
ON THE TURNTABLE: In November of 1967 I was purchasing mostly albums, having drifted away from single (45rpm) releases.This change in my purchasing, as well as the purchases of like minded teens listening to the same current music, was due in part, a large part, by one singular event; that being the change in FM radio broadcasting.
(A brief history thanks to Allen Sniffen) In 1966 the Federal Communications Commission ruled that major market FM radio stations could no longer simulcast their AM sister stations. FM had to become separate with individual programming. This was deemed necessary to allow FM to grow and develop its own audience. The ruling put radio station owners in a bind. They needed to come up with new formats for these weaker and less desirable stations. Since FM was more difficult to receive, its universe of potential listeners was much smaller… and so was its billing. The new formats therefore had to be both different and relatively inexpensive to program. It was in that environment that RKO General Broadcasting launched its new WOR-FM (98.7Mhz) “Hot 100” format on July 30, 1966. The name is deceiving because, in fact, it was the first progressive rock station in the country. It marketed itself as stereo as a way to distinguish itself from AM radio. The problem was that many of the records played by the station were not in stereo. While it was true that most record albums were stereo, singles were not. Since the singles came out before the albums, much of the new music it was breaking was in mono.
So to me as a 14 year old, my listening experience changed overnight, well actually after purchasing an AM-FM radio which did not exist in my house.The newly staffed WOR-FM hired some of NYC’s hottest “Top Ten” dj’s, specifically MURRAY“The K”(Kaufman) from 1010 WINS, SCOTT MUNI from 570 WMCA and later 770 WABC, and ROSKO, the coolest sounding person on the radio, anywhere. Murray The K appeared to be the draw for WOR-FM and the “new” MURRAY was a 180 degree departure from what I was familiar with while listening to him on 1010 WINS (AM). This was not “Top 40” jive talking any longer, as a matter of fact it was a “cool” MURRAY, one who it has been claimed broke the song “Society’s Child” in the Summer of 67 (because it should be heard), as well as PROCOL HARUM’s “Whiter Shade of Pale” simply because HE “liked it”.AND Murray was famous in the area for his holiday stage show extravaganzas, the last which brought THE WHO and (as billed) THE CREAM to NYC for the first time, Easter of 1967. My buddy went and raved about those two bands.
But WOR-FM was a short lived experiment as program directors tried to rein in the playlist, to the chagrin of the radio hosts. Murray was fired in September of 67 despite having the highest rated FM program in NY, even higher than most AM shows. During his short tenure at WOR-FM “The K” attracted not only a large audience but in the audience advertisers found a different demographic, a newer demographic,that being a more mature college aged kid and with this newer, older audience the station drew in record companies as their advertisers. Record companies had found the station (WOR-FM) was highly valuable at influencing sales of rock albums especially new artists and groups like Cream, The Doors, Jefferson Airplane, and The Jimi Hendrix Experience, acts which were having their records played and /or being introduced.
At WOR-FM (October 1967)with a new tighter playlist ROSKO quit while “on the air”. He was soon found (October 30,1967) hosting the 7PM to midnight program at the “all girls dj’s” of WNEW-FM 102.7 FM. WNEW-FM was at that time a MOR station with an entire staff of female Dj’s, a unique experiment at the time. But at the 7PM hour Rosko had a free hand to “do his thing”. JONATHAN SCHWARTZ (10AM- 2PM) was added on November19, and a few days later SCOTT MUNI (2-6PM) joined the staff. ALLISON STEELE later dubbed “The Nightbird” (2AM-6AM) was held over from the formerly “all girl” staff and WNEW-FM took off.
Note: a few years later the line up included John Zacherle and Pete Fornatale with Vince Scelsa added on weekends.
So all this AM/FM babble is the background to my “new” listening experiences which in turn changed my record purchases from TOP 40 hits (45RPM) to albums.
During that November I purchased “Love Forever Changes”, my first LOVE lp, their third and final collection. I picked up CREAM’s “Disraeli Gears” (did not have “Fresh Cream”) and spent hours looking at the cover while trying to decipher the meaning of “SWLABR”. Incidentally, the album was recorded (May 1967) following the nine days of CREAM being part of MURRAY THE K’S “Music In The Fifth Dimension” series.
Murray The K’s Music In The 5th Dimension | RKO 58 St Theater (28 shows over nine days and nights) featuring:
Mitch Ryder & Detroit Wheels, Wilson Pickett, The Who, Hardly-Worthit Players, Cream, Blues Magoos, The Blues Project, Smokey Robinson & the Miracles, Jim & Jean, Mandala, The Chicago Loop, Phil Ochs, Simon & Garfunkel, The Young Rascals
(udiscovermusic.com)When both The Who and Cream made their live debut in America, it could hardly have been any less auspicious. It happened for both of them on 25 March 1967 at the RKO Keith Theater on 58th and 3rd Ave in New York City. The shows were redolent of the old 1940s variety shows with a bill packed with artists that actually began at 10 o’clock in the morning and ran all day with a movie thrown in for good measure. All the artists on the bill played five shows a day and it was grueling; the whole thing was promoted by New York’s legendary DJ, Murray the K.
The Who and Cream, or The Cream as they were billed, were well down the bill. Headlining were Mitch Ryder and the Detroit Wheels, Wilson Pickett, with Buddy Miles was on drums, The Hardly Worthit Players, The Mandala, the Chicago Loop, Simon & Garfunkel, Jim & Jean, Phil Ochs, The Young Rascals and The Blues Project, Al Kooper’s band.
My next album was “Buffalo Springfield Again” their second album (my first) followed by JEFFERSON AIRPLANE’s “After Bathing at Baxters”. “Surrelistic Pillow” was a man stay on my turntable before this collection was released on November 30,1967. This was departure and I loved that band. By the end of the CHRISTMAS release season I also had Hendrix’s “Axis As Bold As Love”, Dylan’s “John Wesley Harding” and an album I still love “The Who Sell Out”. Times surely had changed and so did my record collection.
Recently, I checked the files for purchases I made when I was 16 years old in 1968. Not surprisingly, those discs were all receiving heavy rotation on WNEW-FM: “Super Session”-Bloomfield,Kooper and Stills, The Airplane’s “Crown of Creation”, Jeff Beck’s amazing “Truth”, Big Brother and The Holding Company’s “Cheap Thrills”, Traffic’s second album, The Doors “Waiting For The Sun” and a fav of mine The Small Faces “Ogden’s Nut Gone Flake”. Also included were:Dance To The Music,We’re Only In It For The Money, The Notorious Byrds Brothers, Anthem of The Sun, Child Is The Father To The Man, Odessey and Oracle, SweetHeart of The Rodeo, The Village Green Preservation Society, Wheels of Fire, Dr John’s GRIS GRIS, Electric Ladyland, Beggar’s Banquet, Music From Big Pink and of course THE BEATLES akaThe White Album.
TICKETS TORN IN HALF:ZAPPA’s HALLOWEEN in New York.
First, there was a residency at the Garrick Theatre in 1967. I was a youngster but do remember the poster of their shows gracing many walls and telephone poles throughout lower Manhattan.(see attached). Then there were the “Mother’s Day” shows at Fillmore East, and finally the HALLOWEEN EXTRAVAGANZA’s. What a glorious time it was. Here’s what I wrote in my “music journal”, by date, not years, so pay attention.
TICKETS TORN IN HALF: FRANK ZAPPA-OCTOBER 28,1978 at THE PALLADIUM in New York. This is my fifth Zappa show and second for HALLOWEEN @The Palladium. It’s a tradition for ZAPPA, one which I needed to see again and my wife arranges a babysitter so she can come. It’s another fantastic ZAPPA extravaganza, long and of course with the mandatory audience participation. The HALLOWEEN dvd was recorded the night we were there. The only problem with sitting in the orchestra is that the tall ass mother…who sat in front of me had on a huge, round bunny head with large floppy ears costume, making my vision to the stage blocked quite a bit.
TICKETS TORN IN HALF:FRANK ZAPPA- October 29,1977:My fourth Zappa show and first HALLOWEEN experience@ The Palladium.This was an amazing spectacular performance. The band was tight, the audience loose and me mellow as can be. What a great night it was. We need to do this again,soon. Prior to the show while waiting on line to get in, I’m having a smoke and four drunken teens walk by. One said loudly “ Hey man, ain’t you the new teacher?” I looked him directly in the eye and said What?”, to which he restated the question. I said, “I’m not a teacher, man”. They left. The next Monday in school I saw the kid sitting on the radiator outside my class. I walked over and asked, “How was Zappa?”. He jumped up and said, “I knew it was you.”
FRANK ZAPPA and THE MOTHERS.
1. 10-29-77 Show 1 Start/Introductions 4:06
2. Peaches En Regalia 2:42
3. The Torture Never Stops 12:59
4. Tryin’ To Grow A Chin 3:34
5. City Of Tiny Lites 7:15
6. Pound For A Brown 8:26
7. Bobby Brown Goes Down 6:06
8. Conehead (Instrumental) 5:50
9. Flakes 3:53
10. Big Leg Emma 1:52
11. Envelopes 2:42
12. Terry’s Solo #3 3:51
13. Disco Boy 3:57
14. Lather 3:40
15. Wild Love 22:51
16. Titties N Beer 6:01
17. Audience Participation #3 2:42
18. The Black Page #2 3:05
19. Jones Crusher 2:53
20. Broken Hearts Are For Assholes 3:50
21. Punky’s Whips 9:18
22. Encore Audience #3 1:46
23. Dinah-Moe Humm 5:12
24. Camarillo Brillo 3:29
25. Muffin Man 5:09
TICKETS TORN IN HALF:October 31, 1980_FRANK ZAPPA@The Palladium This is my sixth Zappa show and third Halloween Palladium event. I did not write much in my journal after this but did note” CHUNGA’s REVENGE but no PEACHES. Another great ZAPPA show”.
(background)It must have been that GARRICK THEATRE poster that I saw while walking around Greenwich Village especially the one which lasted for years outside the movie theatre on 8th Street that piqued my interest in this strange looking ensemble known as THE MOTHERS OF INVENTION. Strange name also. Who or what are they?
It’s Spring of 1967, me a fifteen year old who most every Saturday when the weather was good was checking out the street art shows in and around THE VILLAGE with my art teacher, a Franciscan Nun. She was hip to what was happening, and years later left the order for a commune or something. Anyway back to the poster. We get off the subway and there it is. A few steps later there is another and another, and another. So on down the street. THE MOTHERS (written in bold) of Invention (not so bold) at THE GARRICK THEATRE Tuesday thru Sunday ,each poster with a photo of a man with a pronounced almost comical mustache and the heads of some other guys under his photo.
A few months later Back at school (September) a guy in one of my art classes brings in two albums: THE MOTHERS OF INVENTION- Freak Out and ABSOLUTELY FREE. Hey, that’s the poster, I thought. Who are these guys? I must admit my naive ears where not accepting what I was hearing. This isn’t rock music. WTF. I gave up early.
1969: I got an 8 track copy of CRUSIN’ WITH RUBIN AND THE JETS (released 1968) which never left my player for the longest time. It was a blast. This lead me to buy the album WE’RE ONLY IN IT FOR THE MONEY (released before R&TJ). October finds the HOT RATS album in the racks of the local record store and I’m sold on FRANK ZAPPA.A few months later CHUNGA’S REVENGE (1970) is joining my ever growing collection of vinyl. I need to see this band and soon.Until then add as many MOTHERS records to the pile.
I had every intention of seeing THE MOTHERS at their FILLMORE EAST performance November 13, 1970 but as I had tickets for TYA at MSG I missed it. It’s a long story.Geez, it would have been nice in more ways than one to see ZAPPA that night.
Now, I have two tickets for the late show June 1971.It’s never been the same as that night along with other nights changed my perception of live music. Even thought I left early AND missed John and Yoko with the MOTHERS, it WAS never the same. They were funny and musically sound. WOW
TICKETS TORN IN HALF: October 24,1970- DEREK AND THE DOMINOES/HUMBLE PIE/Ballin’ Jack @FILLMORE EAST
I was officially alone, a one ticket kinda guy, encouraging some friends to see Derek and The Dominoes with Humble Pie and Ballin’Jack at Fillmore East. However, I knew this particular small circle of friends would not last too long as far too many drugs were ingested, by them not me. I was there for the music. Tonight was like babysitting brats. One guy lost his ticket outside after cussing out a NYPD officer, another nodded off during Humble Pie (as loud as they were), and then, the guy who lost his ticket shows up with an usher just as Derek and The Dominoes were introduced and claims I have his ticket. The usher politely asked me to accompany him to the lobby, to which I responded “NO” and then I explained that the empty seat next to me is for “the drugged out motherfucker” who dropped his ticket somewhere. The usher nodded, and sat my “friend” who promptly took a nap. I couldn’t wait to drop them off and vowed that it would be the last time I would go out with them as danger lurked there. HUMBLE PIE was a knockout success and DEREK AND THE DOMINOES as expected, outstanding. Musically, I was one happy man.
TICKETS TORN IN HALF:October 19,1995-RAY DAVIES “STORYTELLER”@ The ACADEMY on 43RD ST and two years later:
(taken from a review)There was much to enthuse over. Davies ran through most of the Kinks’ hits in unplugged mode; himself on acoustic guitar with one guitarist accompanying him. This nudged the audience into realizing what fine, durable songs they are: 30 years on, not one sounds dated or immature. We have long known that Waterloo Sunset, Days and Lola are classics; this treatment conferred equal status on minor hits such as Autumn Almanac and Dead End Street.
Between classics , Davies read excerpts from his autobiographical X-Ray and told anecdotes: upstaging the Beatles on a package tour, growing up in Muswell Hill with younger brother Dave and older sisters. Mum frowned on the girls playing Billy Eckstine’s That Old Black Magic: the words were too sexy. Davies then sang it, a cappella, with a cheeky smile. “Mum was right,” he said finally: If you could bottle his charm you’d be rich
TICKETS TORN IN HALF:October 20,1997-RAY DAVIES “Storyteller”@WESTBURY MUSIC FAIR. Almost exactly tow years to the date that I saw the first incarnation of the STORYTELLER SAGA. With a few changes and modifications, the story remains the same but some of the music selections have changed.It was all good
TICKETS TORN IN HALF:October 12,1970- ROCK RELICS AUCTION@Fillmore East This was a Rock RELICS Auction which was scheduled to have “Surprise Guests”.The Auction itself was a blast hosted by WNEW-FM Dj John Zacherle. A professional auctioneer monitored the bidding. Guitars, clothes, posters, drum heads, sticks, etc, etc were all auctioned off with the proceeds going to “candidates for peace”. Guest acts included Edgar Winter, Mongo Jerry, Elvin Bishop (with the Pointer Sisters) Jake and The Family Jewels, and David Rea.To this day I still have the program with all the prices the items sold for.
TICKETS TORN IN HALF:September 4,1984-G.B.H/The ACCUSED/NAPALM@SUNDANCE, BayShore ,N.Y.This was a local show in a small club featuring NAPALM, my sister-in law’s boyfriend’s band. I had no idea who or what the other bands were or did but I knew it must be a big event by the crowd outside before the show.Thrash, metal, punk, all very loud and somewhat entertaining.
TICKETS TORN IN HALF:August 17,2000 NEIL YOUNG w/ Friends and Relatives/Pretenders/Tegan and Sara@JONES BEACH, Wantagh,NY( Band: Spooner Oldham,Ben Keith, Donald duck Dunn, Astrid Young, Peggy Young)
(Neil Young & Crazy Horse cover)
(Neil Young & Crazy Horse cover)
ROCK’S IN MY HEAD- CHAPTER 29: WOODSTOCK
Joni Mitchell did not attend WOODSTOCK. Her agent DAVID GEFFEN in his ultimate wisdom thought it would be best for her to remain in the CHELSEA HOTEL in Manhattan resting up for her appearance on the DICK CAVETT television show the following Monday night. The afternoon of the Cavett taping, surprise, many of her friends, those who performed during the legendary weekend arrived to sit in on the taping.They were David Crosby, Stephen Stills, and Jefferson Airplane.
In the months and years that followed the giant festival, it would be the “Woodstock” song that Joni Mitchell had written about the gathering which she composed on the basis of reports from her then boyfriend Graham Nash, plus what she saw on television.
I didn’t go to Woodstock, thought about it and planned to go with 3 friends but decided against it at the last minute. I never regretted giving the tickets away. No doubt the music was amazing but I enjoy the modern convinces of food, bath, etc. Festivals are not made for me, or me for them. I’d much rather be in a small club seeing a few bands then be in a large, muddy field hearing (might not be seeing) many, many groups. However, The WOODSTOCK MUSIC AND ARTS FESTIVAL was a pivotal moment in history circa 1969.
As a historian I studied who played and when they played, what they played, how much they were paid, the weather they played in, the traffic problems in getting the artists to the stage,as well as the hundreds of filed news reports which later documented the financial dilemma of the festival ,and ultimately,information regarding the movie. So here goes, whether you want it or not…
Originally the promoters established a cap set at $15,000 per artist (band) to perform, except Hendrix ($18,000) which was a story unto itself.
After being denied permits for the original site (Wallkill, NY), which was near WOODSTOCK (hence the name) the promoters of the festival found a good soul of a farmer located in BETHEL (White Lake),NEW YORK (43 miles away from original site) named MAX YASGUR who received $10,000 to lease the land (damage estimate to his fields was over $50,000).
Ticket prices were advertised as $6.00 a day (single day tickets) or $18.00 for the entire weekend (Friday, Saturday, Sunday). Prior to the event 186,000 tickets were (reportedly) sold. (My math: tix sales $3,348,000…band fees $139,825)
Looking years hence, one “bargain” group for the festival would be SANTANA, paid a measly $750.00 as they were unknown act managed by Bill Graham. And then there was IRON BUTTERFLY for not showing up to collect a $10,000 fee, which was a hefty price to pay a band on a sharp decline. The WOODSTOCK movie would have been 4 hours longer if IB showed up and played IN A GADDA DA VIDA.
The first band to agree to perform, and given a hefty fee ($10,000) as well as being offered a prime spot in the line up, was CREEDENCE CLEARWATER REVIVAL. Until that agreement the promoters found it difficult to find any band to perform. Once CCR was announced the other “big named” acts signed up. A note of importance: CCR under the leadership of John Fogerty refused to be taped for the movie and Fogerty bitched about the GRATEFUL DEAD “putting the crowd to sleep” prior to CCR hitting the stage.
Friday Aug.15th- THE LINEUP
Richie Havens 5:07 pm – 7:00 pm
Swami Satch 7:10 pm – 7:20 pm
Sweetwater 7:30 pm – 8:10 pm
Bert Sommer 8:20 pm – 9:15 pm
Tim Hardin 9:20 pm – 9:45 pm
Ravi Shankar 10:00 pm – 10:35 pm
Melanie 10:50 pm – 11:20 pm
Arlo Guthrie 11:55 pm – 12:25 am
Joan Baez 12:55 am – 2:00 am
Richie Havens ($6000) 5:07-7:00PM
Richie Havens opened the festival with a rousing performance. He was asked to continue playing by the promoters as other acts were delayed due to the traffic problems, the roads leading into the small upstate New York town and the major highway feeding it were at a virtual standstill. Knowing he had run out of tunes, Havens improvised a tune he called “FREEDOM” which is actually an old spiritual known as “MOTHERLESS CHILD”.
From The Prison
Let’s Get Together
From The Prison (reprise)
Minstrel from Gault
I’m A Stranger Here
High Flying Bird
I Can’t Make It Anymore
With A Little Help From My Friends
Strawberry Fields Forever/Hey Jude
Freedom (Motherless Child)
Next up was SWAMI SATCHIDANANDA (7:10-7:20PM) who offered his blessing to the masses in the audience.
SWEETWATER ($1,250) (7:30-8:10) Actually Sweetwater was scheduled to open the festival but were stuck in traffic and had the pleasure of an additional stop requested by NYS Troopers. These conditions slowed their arrival to be the first ACT to perform but they were the first BAND to play and what do they open with one might ask:
For Pete’s Sake
Why Oh Why
Let The Sun Shine In (from Hair)
Oh Happy Day
BERT SOMMER (fee unknown)was “the hair” from the Broadway play HAIR. Bret was once a member of THE LEFT BANKE before landing on The Great White Way . He penned a few tunes for The Vagrants (Leslie West’s band of old). Bret on his own( with a few side men) offered a ten song set.(8:20-9:15)
The Road To Travel
I Wondered Where You’d Be
Things Are Going My Way
And When It’s Over
America (Simon Garfunkel tune)
A Note That Read
TIM HARDEN: ($2000) 9:20- 9:45 plays a very short set. As short as it was it was a great set of tunes. Mr. Harden was overwhelmed, reportedly due to his heroin addiction and his fear of performing, after seeing the massive crowd out front.
(How Can We) Hang on to a Dream
If I Were a Carpenter
Reason to Believe
You Upset the Grace of Living When You Lie
Speak Like a Child
Snow White Lady
Blues on My Ceiling
Simple Song of Freedom
RAVI SHAKAR ($4,500) played for about a half hour (10:00- 10-35) and I can’t really spell the ragas he played but he played three.
MELANIE: ($750) plays at 10:50-11:20 in place of THE INCREDIBLE STRING BAND who refused to play in the rain. Hmmmm, strange, an acoustic ensemble afraid of the water. So MELANIE steps up and offers the following set list:
Close to It All
Mr. Tambourine Man
Tuning My Guitar
Birthday of the Sun
ARLO GUTHRIE:($5000)11:55- 12:25AM
Coming into Los Angeles
Wheel of Fortune
Walking Down the Line
Arlo Speech: Exodus
Oh Mary, Don’t You Weep
Every Hand in the Land
JOAN BAEZ: A pregnant Joan Baez was paid $10,000 bucks to close out Day 1 aka The Folk Segment.
Oh Happy Day
The Last Thing On My Mind
I Shall Be Released
Story about how the Federal Marshals came to take David Harris into custody
Sweet Sir Galahad
Drug Store Truck Driving Man
I Live One Day at a Time
Take Me Back to the Sweet Sunny South
Let Me Wrap You in My Warm and Tender Love
Swing Low, Sweet Chariot
We Shall Overcome
Saturday Aug. 16th DAY TWO SCHEDULE
Quill 12:15 pm – 12:45 pm
Country Joe McDonald 1:00 pm – 1:30 pm
Santana 2:00 pm – 2:45 pm
John Sebastian 3:30 pm – 3:55 pm
Keef Hartley Band 4:45 pm – 5:30 pm
Incredible String Band 6:00 pm – 6:30 pm
Canned Heat 7:30 pm – 8:30 pm
Mountain 9:00 pm – 10:00 pm
Grateful Dead 10:30 pm – 12:05 am
Creedence 12:30 am – 1:20 am
Janis Joplin 2:00 am – 3:00 am
Sly & Family Stone 3:30 am – 4:20 am
The Who 5:00 am – 6:05 am
Jefferson Airplane 8:00 am – 9:40 am
QUILL (12:15- 12:45)
They Live the Life
That’s How I Eat
Waitin’ for You
COUNTRY JOE McDONALD – solo (1:00- 1:30PM)
Heartaches by the Number
Ring of Fire
Rockin’ Round the World
Flying All the Way
Seen a Rocket
“Fish” Cheer / I-Feel-Like-I’m-Fixin’-To-Die Rag
SANTANA ($750) 2:00- 2:45PM
You Just Don’t Care
Fried Neckbones And Some Home Fries
JOHN SEBASTIAN ($1000) 3:30- 3:55PM
John Sebastian was there as a spectator, one allowed to pitch a tent in the backstage area. When the managers realized they had a huge time lapse after SANTANA they asked Sebastian if he would sing a few ,offering to pay him $1000.00 Before that moment he had no intention of performing but said okay. With no true (rehearsed) set list and a BORROWED guitar he hit the stage, loaded as all get out in his tie dyed outfit. One thousand bucks for a five song 25 minute set. Not too shabby, and a great way (after the movie) to revitalize his career.
How Have You Been
Rainbows All Over Your Blues
I Had A Dream
Darlin’ Be Home Soon
KEEF HARTLEY BAND: (4:45-5:30) ($500.00)
The first question most ask is: WHO?. KEEF Hartley was a drummer of some renown having taken the drum throne in RORY AND THE HURRICANES when RICHARD STARKEY aka RINGO STARR left for greener pastures. KEEF later joined forces with JOHN MAYALL playing drums on Mayall’s solo endeavor THE BLUES ALONE. At Woodstock , their FIRST American gig, KHB performed as a Big Band complete with horns, ala Blood Sweat and Tears.
Think It Over
Too Much Thinking
Believe In You
Rock Me Baby
Medley: Sinnin’ For You, et al.
THE INCREDIBLE STRING BAND (6:00-6:30)($2250.00) Imagine you are the acoustic ISB at Woodstock,it’s late Saturday afternoon and you are called upon to perform for a crowd that is in PARTY mode. Good luck, especially since you refused to play Friday night in the rain.Karma is a bitch.
Invocation (Spoken Word)
Come With Me
When You Find Out Who You Are
It’s early Saturday evening and everybody is here. It’s time to BOOGIE. Hey, after The Incredible String Band you could get thunderous applause for tuning up for an hour and get the crowd going.
CANNED HEAT 7:30-8:30 ($6500)- to me this is a huge fee to pay the band as Harvey Mandell replaced Henry Vestine on guitar only a few days before.
I’m Her Man
Going Up The Country
A Change Is Gonna Come/Leaving This Town
I Know My Baby
Woodstock (Refried Hockey) Boogie- (45 minutes long)
On The Road Again
MOUNTAIN: ($2000.00) (9PM-10PM)
Blood of the Sun
Theme for an Imaginary Western
For Yasgur’s Farm (named later)
Beside the Sea
Waiting to Take You Away
Dreams of Milk and Honey > Guitar Solo
Dirty Shoes Blues
THE GRATEFUL DEAD: (10:30-12:05) ($2500.00)
Rumor has it that this was one of the worst Dead performances. Mid show they stood without playing, just tuning up for ten minutes.
The Dead’s lifeless show pissed off John Fogerty who with Creedence was scheduled to go on next but The Dead put everyone to sleep, he said.
Turn On Your Lovelight (45 minutes)
CREEDENCE CLEARWATER REVIVAL (12:30 AM-1:20 AM)($10,000) Crazy money but these swamp rockers were huge that summer.
Born on the Bayou
Ninety-Nine and a Half (Won’t Do)
Bad Moon Rising
I Put a Spell on You
The Night Time Is the Right Time
Keep on Chooglin’
JANIS JOPLIN (2AM-3AM)$7,500
Raise Your Hand
As Good As You’ve Been To This World
To Love Somebody
Try (Just A Little Bit Harder)
Can’t Turn You Loose
Work Me Lord
Piece Of My Heart
Ball and Chain
SLY AND THE FAMILY STONE(3:30-4:20 AM)$7,000
Sing A Simple Song
You Can Make It If You Try
Dance To The Music
I Want To Take You Higher
THE WHO (5AM- Sunrise 6:05)$11,200 (fee is questionable) Abbie Hoffman made a surprise cameo and met Pete’s boot.
Heaven And Hell
I Can’t Explain
It’s A Boy
Eyesight To The Blind
Tommy Can You Hear Me?
*Abbie Hoffmann Incident*
There’s A Doctor I’ve Found
Go To The Mirror Boy
Smash The Mirror
Tommy’s Holiday Camp
We’re Not Gonna Take It
See Me Feel Me
Shakin’ All Over
JEFFERSON AIRPLANE “Good morning people” 8AM -9:40 ($7500)
The Other Side of This Life
Somebody to Love
3/5 of a Mile in 10 Seconds
Won’t You Try / Saturday Afternoon
Eskimo Blue Day
Plastic Fantastic Lover
Uncle Sam Blues
The Ballad of You & Me & Pooneil
Come Back Baby
The House at Pooneil Corner
Sunday Aug. 17th (Day 3)
Joe Cocker and The Grease Band 2:00 pm – 3:25 pm($1,375)
Jam (without Cocker)
40,000 Headmen (without Cocker)
Something’s Coming On
Do I Still Figure in Your Life
Just Like a Woman
Let’s Go Get Stoned
I Don’t Need No Doctor
I Shall Be Released
Something to Say
With a Little Help from My Friends
Country Joe and the Fish 6:30 pm – 8:00 pm($2500)
Rock & Soul Music
(Thing Called) Love
Not So Sweet Martha Lorraine
Sing, Sing, Sing
Friend, Lover, Woman, Wife
Silver and Gold
The Love Machine
Ever Since You Told Me That You Love Me (I’m a Nut)
Short Jam (instrumental)
Rock & Soul Music (Reprise)
“Fish” Cheer / I-Feel-Like-I’m-Fixin’-To-Die Rag
Ten Years After 8:15 pm – 9:15 pm ($3250)
Good Morning Little Schoolgirl
I Can’t Keep from Crying Sometimes
I’m Going Home
The Band 10:00 pm – 10:50 pm($7500)
Don’t Do It
Tears of Rage
We Can Talk
Long Black Veil
Don’t You Tell Henry
Ain’t No More Cane on the Brazos
This Wheel’s on Fire
I Shall Be Released
Loving You Is Sweeter Than Ever
Johnny & Edgar Winter 12:00 am – 1:05 am($3750)
Mama, Talk to Your Daughter
Six Feet Under the Ground
Leland Mississippi Blues
Mean Town Blues
You Done Lost Your Good Thing Now
I Can’t Stand It (With Edgar Winter)
Tobacco Road (With Edgar Winter)
Tell the Truth (With Edgar Winter)
Johnny B. Goode
Blood, Sweat & Tears 1:30 am – 2:30 am ($15,000)
More and More
Just One Smile
Something’s Coming On
I Love You More Than You’ll Ever Know
Sometimes in Winter
God Bless The Child
And When I Die
You’ve Made Me So Very Happy
Crosby, Stills, Nash & Young 3:00 am – 4:00 am ($5000)
Stephen Stills said, “This is the second time we’ve ever played in front of people, man. We’re scared shitless.”
(Set One – Acoustic)
Suite: Judy Blue Eyes
4 + 20
You Don’t Have To Cry
(Set Two – Electric)
Long Time Gone
Sea Of Madness
Find The Cost Of Freedom
Paul Butterfield Blues Band 6:00 am – 6:45 am (fee unknown)
Born Under a Bad Sign
No Amount of Loving
Driftin’ and Driftin’
All in a Day
Everything’s Gonna Be Alright
Sha Na Na 7:30 am – 8:00 am($700)
Get A Job
Come Go With Me
(Who Wrote) The Book of Love
At The Hop
Duke Of Earl
Get A Job (Reprise)
Jimi Hendrix 9:00 am – 11:10 am($18000)
Message of Love
Hear my Train a Comin’
Spanish Castle Magic
Gypsy Woman/Aware of Love
Voodoo Child- slight return
The Star Spangled Banner
Jimi Hendrix – $30,000 for two sets plus $2,000 for expenses. Note- There was a cap of $15,000 per artist at Woodstock so a deal was made for Hendrix to play two sets, an acoustic set and a set with his band.Actually he made $18,000.
Blood, Sweat & Tears – $15,000
Joan Baez – $10,000
Creedence Clearwater Revival – $10,000
The Band – $7,500
Janis Joplin – $7,500
Jefferson Airplane – $7,500
Sly and the Family Stone – $7,000
Canned Heat – $6,500
The Who – $6,250 (also reported at $11,200 but Variety claimed that number was inaccurate)
Richie Havens – $6,000
Arlo Guthrie – $5,000
Crosby, Stills, Nash & Young – $5,000
Ravi Shankar – $4,500
Johnny Winter – $3,750
Ten Years After – $3,250
Country Joe and the Fish – $2,500
Grateful Dead – $2,500
The Incredible String Band – $2,250
Mountain – $2,000
Tim Hardin – $2,000
Joe Cocker – $1,375
Sweetwater – $1,250
John B. Sebastian – $1,000
Melanie – $750
Santana – $750
Sha Na Na – $700
(photos and clippings may or may not be from WOODSTOCK. Just representations of artist which performed there.)
ROCK’S IN MY HEAD- CHAPTER 27: GOD IS BACK IN TOWN
For the Summer of 69 the next concert up was CREEDENCE CLEARWATER REVIVAL with TERRY REID and AUM, July 19, 1969 at FILLMORE EAST. With my kid brother, a fan of Creedence, at my side, I was there to see the undercard, Terry Reid, having loved both of his albums. San Francisco’s AUM opened the show and closed their set with GOD IS BACK IN TOWN, a song which was getting some air play at the time. Terry Reid hit the stage announcing that his favorite Les Paul guitar was stolen the previous night and he begged for its return. Despite not having his trustworthy axe, Terry had the place on its feet by sets end. Then the hit makers nicknamed CCR rocked the house. Dressed like rich hippies with flannel shirts, jeans and boots, these swamp rockers closed it all out with a 20 minute version of “KEEP ON CHOOGLIN”. Even with my limited experience I knew this band would not be playing for the East Village hippies much longer. Bigger pay days in shittier sounding, larger halls would be their destiny.
The very next night after CREEDENCE my girlfriend had invited two friends over to her house and we four sat in her mother’s bedroom to watch the APOLLO 11 moon landing on television. Amazing, the SPACE RACE is finally settled. But the events leading up to it were amazing. July 16 APOLLO 11 was launched,on the 19th it passed behind the moon to enter the lunar orbit, the 20th the Lunar Module separated from the command module and lands on the moon’s surface in THE SEA OF TRANQUILITY. On the 21st of July,1969 Astronaut Neil Armstrong stepped onto the moon’s surface. Buzz Aldrin joined him a few minutes later. While that in itself is amazing my thoughts at that moment were “How do they get back to the module AND if and when they do, how do they get back to Earth? Yes is the answer of course as on July 24 they splashed down in the Pacific.
Estimates put the number who watched or listened to the Moon landing between 1/2 and 1 billion people around the world
Having dug Terry Reid so much at The Fillmore the weekend before we traveled to the Action House in Island Park, not far from my home, to see him again. While in a less than capacity house Terry was off to the side of the stage prior to his set when I engaged him in a conversation and found him to be just a delightful person, one appreciative of the crowd coming out to see him and he made me feel comfortable when I introduced myself to him. I must say I was a bit apprehensive but I needed to know and NO he did not get his Les Paul returned. His set that night was much longer than Fillmore’s and just as tasty.
It was about this time that the verdict came down convicting MUHAMMAD ALI, aka Cassius Clay, aka World’s Heavyweight Boxing Champ (stripped of his title), a Conscientious Objector, of draft evasion. AND Senator Ted Kennedy pleads guilty to leaving the scene of an accident, CHAPPAQUIDDICK, where his aide MARY JO KOPECHNE drowned. Teddy received a “two month SUSPENDED sentence”. Ali is convicted yet the politician Ted pleas….HMMMMM