CHRISTINE PERFECT McVIE: “Godspeed”

   Many moons ago I saw a “perfect” woman take the stage of FILLMORE EAST, something I was not expecting. At that moment I was a bit disappointed as a major shift of personnel for the band I wished to hear had drastically changed. A few weeks prior to this engagement I had purchased tickets to see (Peter Green’s) FLEETWOOD MAC and up until the days prior to that night I was wholly anticipating seeing one of my favorite guitarists and “his” band once again. Then, well…he disappears. On my turntable at the time was the album “Fleetwood Mac” aka “The Garbage Can Cover”. Back on November 22,1969 I experienced JOE COCKER with THE GREASE BAND, FLEETWOOD MAC (with Peter Green) and an opening act of KING CRIMSON at Fillmore East in New York City. This billing was a memorable one as CRIMSON blew the house down in the opening 35 minutes. Then, FLEETWOOD MAC topped it with its one hour plus set. While COCKER had the head bill he carried a severe liability. After FLEETWOOD MAC left the stage THE GREASE BAND was musically no match for either act. I was in awe of CRIMSON and MAC. I had to see FLEETWOOD MAC again.‘Black Magic Woman’, ‘Albatross‘, ‘Man of the World’, ‘Oh Well’ and ‘The Green Manalishi’ all rang in my head in great anticipation. But unbeknownst to me PETER GREEN left the band May 1970.

   TICKETS TORN IN HALF: August 29,1970: SAVOY BROWN/ FLEETWOOD MAC/ FAIRPORT CONVENTION@FILLMORE EAST. Back to Fillmore East for what would be one of my favorite shows for the summer of 70. This one featured Savoy Brown, Fleetwood Mac, and Fairport Convention all British acts sharing the bill. Fairport once had Sandy Denny who was not in the band any longer but still had Richard Thompson on guitar/vocals. Fleetwood Mac was missing Peter Green (the main attraction guitar/vocals)which was a huge disappointment to me but this newer FLEETWOOD MAC now had Christine Perfect (John McVie’s wife) on board full time (keyboards and vocals) and they did some KILN HOUSE stuff which rocked. Savoy Brown was Kim Simmonds but Chris Youlden (vocals) was no longer a member. Lonesome Dave did the voice and shades of FOGHAT were born.

   This new version of FLEETWOOD MAC, one of many more versions to come, had this new piano player, a singer who offered different styles of songs and rearrangements of older material AND she was a “looker” as was said at the time. As much as I was disappointed in not seeing PETER GREEN there was something about this new beginning to FLEETWOOD MAC that excited me.

   CHRISTINE PERFECT McVIE became a permanent member of the band. The BOB WELCH version was up next with “Future Games” and then “Bare Trees” both lps moving THE MAC further from their original blues based origin but closer to what the band would become. Then,“Penguin” the band added BOB WESTON (slide guitar) and (IMO horrendous) vocalist DAVE WALKER (from Savoy Brown #7). The “Mystery To Me” era, WALKER is fired so vocal duties are split between WELCH and CHRISTINE. Its release has the band back on heavy radio rotation. However, the drama known as FLEETWOOD MAC rears its ugly head again as MICK FLEETWOOD finds out that his beautiful wife JENNY BOYD (George Harrison’s sister in law) is having an affair with BOB WESTON, BOB is ultimately fired and the band cuts the tour short moving back to England.There, as a four piece they record “Heroes Are Hard To Find”, a beautiful collection of tunes sung perfectly by WELCH and CHRISTINE.

   Unfortunately, meanwhile back in the States…CLIFFORD DAVIS longtime manager of said FLEETWOOD MAC going back to their blues days (1967 in England) was upset with the band for cancelling the tour midway through. He decides to have FLEETWOOD MAC book a new tour of the U.S., a tour without any members of FLEETWOOD MAC participating. Unbeknown to the concert going public, we buy tickets.

   TICKETS TORN IN HALF: January 26,1974, Academy of Music- FLEETWOOD MAC/KISS/SILVERHEAD. I’m there for FLEETWOOD MAC. SILVERHEAD, well I had no idea who they were, still don’t. KISS was on a return performance from their debut at the same venue on New Years Eve. That night their set was cut short as Gene Simmons set his hair on fire.This night, KISS set the entire venue of 3000 on fire, not literally. A great show with lights, fire breathing, fully costumed performers and ear drum shattering loudness. Then, FLEETWOOD MAC appears. I notice MICK FLEETWOOD is not on the kit, No John McVie, No Christine…strange looks all around the crowd, “Who are these guys?”, guys playing instrumentals and no noticeable MAC tunes. Boos start, getting louder by the moment. An announcement is made that refund vouchers are available at the box office, to which I took my two. This was a bogus FLEETWOOD MAC, a band put together by the alleged owner (a past manager) of the “brand name” FLEETWOOD MAC. This “band” hit the road while the true members were sorting out problems with alcohol, drugs, relationships, etc. Immediately after this, the true band members grab the reins, moves to The States (were the touring money was), BOB WELCH leaves and FLEETWOOD MAC hire Buckingham and Nicks, the rest is history, or…

   The 10th album, recorded by the 10th lineup of the band in 8 years time, 1975’s FLEETWOOD MAC took one full year to finally run up to the top of the charts. February of 1977 “Rumours” is released, a true “pop” album. No shades of the original band of 67 existed any longer. However, CHRISTINE as a vocalists continues to shine. The album explodes, Number 1 for weeks/months at a time. 

   TICKETS TORN IN HALF: June 30, 1977- FLEETWOOD MAC @ Madison Square Garden. In my collection of memorabilia I saved John Rockwell’s NYTimes review of FLEETWOOD MAC’S “Rumours Tour” stop at Madison Square Garden, for what reason I don’t know. The show was great for its time but I longed for Peter Green’s FLEETWOOD MAC. This band was so much different. Overall I thought the show was pretty good.

(partial from Rockwell) FLEETWOOD MAC’s debut Wednesday night at Madison Square Garden—the first of two performances there—was a confirmation of its newly won status as this country’s most popular and best poprock band—except for, maybe the Eagles. And by and large it was a superior show to the group’s outing earlier this year at the Nassau Coliseum in Uniondale, L.I. With one crucial exception.That exception was Stevie Nicks. Miss Nicks, along with Lindsey Buckingham, gave the three British veterans in the band the spark that lifted Fleetwood Mac into its current status. Miss Nicks composes wonderfully sinuous, mystically compelling songs, she is about as alluring a performer as rock can offer and, at her best, she sings with a huskily seductive individuality.

   But she had two problems Wednesday. The first and less important had to do with her onstage manner. Always a languorous wanderer as a performer, she pushed her lackadaisical loopiness too far. She managed to come in on cue and to remember her words, but at her worst she looked like a glamorous female equivalent of Joe Cocker, and in general her slack meanderings were more a cause for concern than for fascination.

   Far more serious was the state of her voice. Miss Nicks has nodes on her vocal chords, and her condition has worsened appreciably since the Nassau date only three months ago. The band canceled its sold‐out Syracuse concert Tuesday because of her throat, but it didn’t seem to help much.

   It was at this point in time that I gave up all hope that FLEETWOOD MAC would be the MAC I remembered, this was a very different ensemble. My taste did not lean toward a twirling, spinning woman dressed in black. I preferred the blonde playing piano and singing off to the side. RIP, CHRISTINE McVIE.

TICKETS TORN IN HALF: The Faces

TICKET TORN IN HALF: FEBRUARY 17, 1971- FACES (listed as SMALL FACES) and SAVOY BROWN, THE GREASE BAND.

The Spring semester began only a few weeks ago and it is obvious we are not the same group as we were in September. Many of my cronies disappeared from campus. Some failed out, two got busted, one arrested on campus and expelled, others transferred, one left without warning stealing about 40 of my albums(another story for a later date)… so the “clique”changed. The radio station gave me more responsibilities as “record librarian” and more hours on the air. It seemed to be that they liked what I was doing. The time at the radio station combined with being “business manager/co-editor” of the campus newspaper, officer in the student government, and a member of the concert committee left little time for academics. Fortunately, my course work was basically liberal arts basket weaving thrown in with my business classes. Needless to say, I was having too much fun while still maintaining a 3.5 GPA.

I called a girl I reacquainted with at The Dominoes (Suffolk Community) out on an official date to see THE FACES. To my sheer surprise she said YES. We took the train in and arriving in NYC, it started to snow pretty hard so I thought it best we eat in a place closer to the Fillmore. Inside the theater The Grease Band was a disaster without Joe Cocker, followed by Savoy Brown without Chris Youlden, Roger Earl, Lonesome Dave, or Tone Stevens, so we had only one hope left , THE FACES. And, THE FACES did not disappoint, as a matter of fact they were one of the best, most fun, bands I had ever seen.My date agreed. Ronnie Wood kicked it off on pedal steel with SWEET LADY MARY, the band cranked it up with I DON’T WANT TO DISCUSS IT, TOO MUCH WOMAN(an Ike Turner cover),The Stones STREET FIGHTING MAN, Rod Stewart out did Paul McCartney on Paul’s new tune, MAYBE I’M AMAZED, followed by Ian McLagen, Ronnie Lane, and Kenny Jones playing their roles in IT’S ALL OVER NOW,I’M LOSING YOU, LOVE IN VAIN,AROUND THE PLYNTH,AN OLD RAINCOAT NEVER LET’S YOU DOWN, GASOLINE ALLEY, THREE BUTTON HAND ME DOWN and an encore of Elton John’s COUNTRY COMFORT. All while we were seated in the second row center with me taping the show on my trusty cheap cassette recorder. It was a wonderful night, and we lucked out in catching the midnight train back home. Unfortunately it was still snowing and the drive to get her home took longer than I had hoped, and then I still had to travel one hour back to my room in a heavy snow. Got settled after 3 AM with the snow piling up all around me. Micro-Economics Class at 8AM, followed by Macro at 9AM. Something has to give soon.

THE FACES became a favorite of mine to see live as one never knew what to expect. The FILLMORE EAST night had the band chugging MATEUS wine, bottle after bottle which littered the amp tops, keyboards, and drum riser. It has been said the FACES refused anymore engagements at FILLMORE EAST for the fact that “you can NOT get drunk twice in one night”, meaning two sets per night is one too many. So who are these guys?

It’s early 1968 and on the clear evening with a wire antenna attached to my AM/FM Panasonic radio I can pick up CKLW 800-AM-“The Big 8” a station serving WINDSOR,Ontario and DETROIT,Michigan. THE BIG 8 is said to be “the blackest white station in America” playing a unique integrated mix serving Ontario, Detroit and some (clear) nights heard in Cleveland and as far as New York. Commercials needed the disclaimer “Not available in Ontario”.The only problem is the station, a Canadian broadcaster, legally had to play 30% of music from Canada, which in some cases was good as we were introduced to Joni Mitchell and The Guess Who.

So… “ here’s the #1 Canadian hit single ITCHYCOO PARK” by a band I had heard about but never “heard” their music. I wrote down the name of the band, searched for the record and finally found the 45 RPM. It was wonderful. “Itchycoo Park/I’m Only Dreaming” 45rpm on IMMEDIATE RECORDS. A few weeks later I had the album… “There Are But Four Small Faces” a US only release. “My Way of Giving”, “Tin Solder”, “Here Comes The Nice”, all great tunes. In the summer of 68, SMALL FACES-“Ogdens’Nut Gone Flake” which is a blast is released. It is a precursor for HUMBLE PIE to be sure and “Happiness Stan” is one of my heroes. A few years later I played side two in its entirety on my college late night radio program and never got one complaint. Either people didn’t care or weren’t listening. Makes no never mind to me, I loved that album.

Then, STEVE MARRIOTT leaves to form HUMBLE PIE with PETER FRAMPTON, JERRY SHIRLEY and GREG RIDLEY. “PIE” was phenomenal after they dropped the acoustic stuff, so powerful they literally “Rocked The Fillmore”.

The SMALL FACES now left without a frontman picked up two of JEFF BECK GROUP (#1) alumni who are unemployed due to BECK’S car accident. RONNIE WOOD, a bass player for BECK and a guitarist by trade, along with vocalist extradonaire ROD STEWART join up after IAN McLAGEN assists in the making of THE ROD STEWART ALBUM. Fun ensues at the recording so “WOODIE and STEW” join the SMALL FACES as the band is (still) known in The States. At home they are “Faces”, no THE, no SMALL, just FACES.

“First Step” is released spring of 70 followed by an extensive American tour lasting through November.The band plays at both FILLMORE EAST and WEST, BOSTON TEA PARTY, many colleges, The Action House, Unganos, just about any size venue, anywhere… everywhere.

The summer of 70, “Gasoline Alley” the second solo endeavor for Rod Stewart is released and becomes a huge hit. Another FACES tour is planned to which Rod commits while also continuing to record solo works.

February of 71, a few night after I saw them at FILLMORE EAST, “Long Player” by The FACES is out making some noise in the charts and on the road they go for another extended tour.

All is smooth and fun loving until EVERY PICTURE TELLS A STORY (May 1971) hits the charts with the single “Maggie May” becoming a worldwide #1 hit. While “Faces” were playing on Rod’s solo albums, FACES as a band was a separate entity, a touring phenomena. Unfortunately to those new fans only invested in hearing “Maggie May” they had to endure “Faces”, an otherwise great live band. Constant calls for Rod’s hits lead to a bit of distraction to the band members not named Rod.

“A Nod’s As Good As A Wink To A Blind Horse” released in November 71 showed the skills of Ronnie Lane as a vocalist and songwriter. His song “Debris” is only one indication of their past and their future.

Unfortunately, I saw them November 26, 1971 at MADISON SQUARE GARDEN (FACES/CACTUS/BULL ANGUS) and wrote a scathing review of the show and the crowd. “Joshua TV” with its closed circuit video system was used for the first time giving those in attendance a close up of FACES.The other bands were not included in this aspect of the show. Bull Angus was hard to hear which was a blessing, CACTUS muffled, and FACES drunk. My review got negative feedback from the big wigs at WB Records. My “freebie” privilege was revoked.

Rod Stewart’s solo “Never A Dull Moment” hits the stores in summer of 72 and goes to #1with the single “You Wear It Well” topping the charts.
Many are now considering Faces to be Rod Stewart’s “backing band” to the dismay of founding member/bassist and once a primary vocalist, RONNIE LANE.

During the winter, back in England the band starts working on “OOH LA LA”. Rod Stewart’s new pop star persona makes him virtually disappear from the recording sessions forcing Ronnie Lane to take control of a band which was originally his. When the record is released March of 73 Rod Stewart bad mouths the record in the press infuriating Ronnie Lane who after the tour to promote the album quits. The FACES continued on for 2 1/2 years without producing another album, basically touring as ROD STEWART and THE FACES.

May 10,1973 at Nassau Memorial …Ronnie Lane, one of his last gigs with FACES. Jo Jo Gunne opens the show, consisting of a few guys from the remnants of SPIRIT. FACES were good that night, Ronnie Lane exceptionally good. In the late 1970’s Ronnie Lane was diagnosed with Multiple Sclerosis (MS) which had effected his mother and two siblings earlier in life.

Back to ROD STEWART, in October 74 he releases “Smiler” which basically sucks. But continues to tour as ROD STEWART and FACES until …1976 , Faces no more. Ron Wood joins the STONES, KENNY JONES drummed for THE WHO after KEITH MOON’S death in 78.

In a few weeks I’ll write my rant about “April Fool” a great collection by the none other best of the best, RONNIE LANE.…

Nassau Coliseum May 10,1973

ON THE TURNTABLE:and the year was-1970

ON THE TURNTABLE: And the year was…1970
Every few weeks I post a review of the albums I listened to in a particular year. So today is one of those postings…AND THE YEAR WAS:1970

Strange freaking year for me.January of 1970 I just turned eighteen years old, awaiting graduation from high school, applying to colleges and possible facing the military draft. No matter what transpired the night before or what each morning brought upon us, we partied on.My job at the cassette factory recently closed so I had to find gainful employment to keep my obsession of attending live shows and buying recorded music. I found not one job but two; One working in a boat yard part time after school and full time on the weekends, as well as working evenings as a substitute cleaner/custodian in the local schools when called upon, which was regularly.That custodian gig paid off big time years later, but that’s another story altogether.I graduated high school in June, worked the summer, and headed off to college in September. There I immediately landed on the college radio station doing Friday night 11PM to Saturday 7 AM as well as an occasional afternoon show.

1970 Music: in no particular order or favor:

To me NEIL YOUNG’s third album “After The Gold Rush” (August 70)was better than CSNY’s (March 70)“Deja Vu” but not nearly as exciting as Neil’s “Everybody Knows…”. It’s 1970, so “…Gold Rush” is the perfect collection for the 8-track tape players we all installed in our cars. One copy of “Gold Rush” moved from one friend’s cars to other friends cars. Perfect “pot smoking music” was how it was once described.

After I and II the new LED ZEPPELIN album had to entitled “ III”.They are original…or maybe not, anyway “Immigrant Song” kicks it off, on from there it was electric, acoustic,electric back to acoustic. Cool stuff. The tune“Since I’ve Been Loving You” was copped directly from the obscure “Grape Jam”. Robert Plant was good friends with BOB MOSLEY of MOBY GRAPE so Zep stole from every one, being unscrupulous,unmerciful, but good.

VAN MORRISON’s “Moon Dance” was another staple on the ole turntable, as well as the new turntable/stereo which I had updated at this time. I now had an actual stereo system with true speaker separation… And loud,too.

THE WHO- “Live at Leeds” I bought this (vinyl), threw it on, cranked up the stereo and almost blew out the windows to my room.Simply said, it’s “DA ‘HO”…played it a 1000 times.

THE BEATLES “Let It Be” well… everyone bought this. No biggie here for me, I did buy it but hardly ever played it. I did buy the “Naked” version years later and must say I like the Naked better.

TRAFFIC: “John Barleycorn Must Die”-Summer of ’70, six songs, thirty five minutes, bravo. I was so glad BLIND FAITH was over and TRAFFIC together for another go round. This was a quite different TRAFFIC sound and another great tape to bring out with the boys on the corner.

Two from ELTON JOHN, “Elton John” and “Tumbleweed Connection”- After seeing ELTON JOHN (the trio) open for LEON RUSSELL @ Fillmore East, I was sold, this guy would be huge, but how huge I did not know.

BAND OF GYPSYS “Band of Gypsy’s”-I appreciated his uniqueness, his innovative approach but still was not a huge fan as were most of my friends. Don’t get me wrong, his first album was a gem, and “Electric Ladyland”, wow. Then I wanted to go to this FILLMORE EAST show, New Years Day 1970, even had tickets but that’s another story. After I got this album, I really regretted not going and had a higher appreciation of the artistry known as HENDRIX.

THE DOORS- “Morrison’s Hotel”, this is their fifth album. Their fourth sucked, horns and all. This was a “return to the blues” so said one reviewer. Which blues, I’ll never know. Better than “Soft Parade”, I’ll give you that.

CSNY “Deja Vu” Funny how I liked most of the tunes, except the Graham Nash ones. To this day, I still laugh at the words to “Our House”.With “Two cats in the yard”…”flowers in the vase”…yuck, this is rock and roll, Graham.

T.REX- “T.Rex”(1970 release) After reading about T. Rex and DAVID BOWIE in MELODY MAKER I contacted the record company and received a copy of the album for the radio station in January 1971. I took it home on the winter break and never brought it back.

DEREK and THE DOMINOS-“Layla and Other Assorted Love Songs” I saw the band at FILLMORE EAST in October before the album was released. November ,we get it at the radio station, and I throw it on in the lounge. “Little Wing” grabbed my attention, then that “Layla” tune was kinda special. We saw the band again in December at Suffolk Community College (another story), they never played “Layla” but we did on the station, constantly. During one of my overnighters I played the entire album along with the original version of some of the blues numbers.

THE GRATEFUL DEAD- “Workingman’s Dead” and “American Beauty” both were heavy rotation on my show and in my room.

MILES DAVIS: “Bitches Brew”- “Miles Runs The Voodoo Down” followed by DR JOHN’S “ Gris Gris Gumbo Ya Ya” can get one in a bit of controversy with the radio staff, especially when you are the new guy (me) and the offended party is the outgoing “thinks he is a big shot Assistant Program Director”, a guy who regularly plays a “Melanie Half Hour”. I still swear he removed “Bitches Brew” from the record library. Smart me, I’ll bring my own and play it again, just for fun.

Speaking of fun…THE STOOGES “Fun House” was not welcomed at my parent’s home nor at the radio station…no fun zone, I guess. Nor was the VELVET UNDERGROUND’s “Loaded” welcomed but I played “Sweet Jane”, “Who Loves The Sun” and “Rock & Roll” to no end. Throw in the MC5 “Back In The USA” and one can see why I was hosting a very late night radio show. rather than “the Breakfast Hour”.

And then there was THE KINKS “Lola Versus Powerman and The Money Go Round”, JETHRO TULL’S“Benefit”, VAN MORRISON’s “His Band and Street Choir” wonderful follow up to “Moon Dance”,
WOODSTOCK “TheSound Track, JOE COCKER’s“Mad Dogs and Englishmen”, ROD STEWART’s “Gasoline Alley,THE BEACH BOYS “Sunflower” and of course SPIRIT “Twelve Dreams of Dr. Sardonicus”.

Funny, by Spring of 71 I was in charge of the record library at the station, a true benefit for any record collector, AND was doing Tuesday and Thursday afternoons, with a weekend show… 16 hours total air time…AND NO HOLDS BARRED.

ON THE TURNTABLE- Best of 1969

ON THE TURNTABLE -1969:

Putting out my BEST OF for this past year made me nostalgic in a way. So I dug out some listings from yesteryear and over the next few weeks I’ll post a few.My brother and I actual compiled lists of our favorite records but this listing is from most of the records I bought that year, in no particular order or preference.

It’s 1969 and my record collection was growing in leaps and bounds. Seems like the more money I had the more records I bought. However, my stereo was not what one would expect of a serious record collector.  I was using an old split speaker (in a case) record player propped up on my desk. But hey, the sucker did the job. That and my portable single speaker cassette player tucked along side my portable PANASONIC AM/FM stereo radio made up my “sound system”. I also had an AM/FM radio bedside. A friend had a huge stereo unit, one with humongous speakers,a turntable with a “stylus” no less, but alas he had virtually no records, always borrowing mine.

Records In My Rotation throughout that year included:

The debut album from LED ZEPPELIN “Led Zeppelin”, I bought this early on in the year after a recommendation from my work buddy, Pete, who saw this “unknown” band open for IRON BUTTERFLY. This album was amazing and it took me a few days to realize that this JIMMY PAGE was the same JIMMY PAGE from THE YARDBIRDS. Later, in the year after its release and after seeing the band live twice I copped LED ZEPPELIN II. Geez, these recordings were unique, and the band was …WOW.

THE BEATLES “Abbey Road” was and still is a hard listen for me, yet when it first was released I played it continuously, usually picking out a song or two before moving on to some other record .It was probably the Harrison tunes that I liked the most.

THE WHO “Tommy” is another difficult record to listen to all the way through, but that year I did see the band perform “Tommy” in its entirety twice, and I must say, live WHO was better than any record.

KING CRIMSON’S “In The Court Of The Crimson King”was/is a great record, one that for its time was truly original. This band blew me away when I saw them in the fall of 69, opening for FLEETWOOD MAC and JOE COCKER. After their 34 minute set, I bought the album the next payday. Speaking of FLEETWOOD MAC “Then Play On”( their 3rd album) drew me to see them live and I became a PETER GREEN fan that night. This collection showed the originals of the name sake take their blues influenced and mostly refurbished recordings a step further. I must have recited the opening of  “Oh, Well-Part 1” a million times to friends, to the point where I was annoying. I still am, say some. And JOE COCKER’s “With A Little Help From My Friends” which I grabbed in the early summer after hearing some of his tunes on the radio and before seeing him and THE GREASE BAND open for The AIRPLANE at FILLMORE EAST was a goodie, but again, live he was a trip.

Also, there was NEIL YOUNG’s masterpiece “Everybody Knows This Is Nowhere”, along with FRANK ZAPPA’s “Hot Rats” which help change my musical perspective and soon led me to CAPTAIN BEEFHEART  “Trout Mask Replica”.

Two debuts, one from CROSBY, STILLS AND NASH, a summer hit and Blind Faith’s one and only official release, which I thought was a mess, as was their show at MADISON SQUARE GARDEN. “Nashville Skyline” by BOB DYLAN was a pleasant surprise, even my POP liked it, well, it had JOHNNY CASH on it.THE FLYING BURRITO BROS “Gilded Palace of Sin” was a good pick up and  ISAAC HAYES’ “Hot Buttered Soul” arrived unannounced when I did not respond in time to a record company selection deadline but boy was I glad I got that gem. CHICAGO TRANSIT AUTHORITY’s debut double set before they shortened their name to CHICAGO, and coincidentally was the only record I ever bought by them. JETHRO TULL’s “Stand Up” was a mainstay on the turntable along with the profane MC5’s “Kick Out The Jams” which was played on minimal volume as not to upset the parents. And then there was the profanity nestled in JEFFERSON AIRPLANE’s “Volunteers” another record which kept a low profile when played.

I practiced my drums listening to  THE GRATEFUL DEAD’s “Live Dead” but was not enthused with The DOORS “Soft Parade”, and

PINK FLOYD’s Ummagumma was, well, just listen to “Careful With That Axe ,Eugene” and wonder why my Mom would yell, “What is that? Please, no more.” She didn’t particularly enjoy THE STOOGES “The Stooges”, either, no matter how many times I played it. Speaking of Mom’s taste, THE VELVET UNDERGROUND “The Velvet Underground” was more to her liking as was THE KINKS “Arthur”.

JOHN MAYALL’s “Turning Point” was bought the same day as PHAROAH SANDER’s “Karma”, late 1969. Both late night incense burning albums.

and of course, THE ROLLING STONES Beggar’s Banquet which never left my turntable and the follow-up release Let It Bleed (see blog Oct. 20, 2018)

PROCUL HARUM’s “A Salty Dog” which was actually my kid brother’s record found it’s way into my room many a night, along with his SLY and The FAMILY STONE’s “Stand” and JANIS JOPLIN’s “I Got Dem Ole Kosmic Blues Again Mama” but not any of his CREEDENCE CLEARWATER REVIVAL or his “Odessa” by THE BEE GEES. Just the red felt cover on that one turned my stomach.

ROCK’S IN MY HEAD- CHAPTER 29: WOODSTOCK

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

Handsome Johnny

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:

 

Motherless Child.

Look Out

For Pete’s Sake

Day Song

What’s Wrong

Crystal Spider

Two Worlds

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)

Jennifer

The Road To Travel

I Wondered Where You’d Be

She’s Gone

Things Are Going My Way

And When It’s Over

Jeanette

America (Simon Garfunkel tune)

A Note That Read

Smile

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

Susan

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

Misty Roses

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

Momma Momma

Beautiful People

Animal Crackers

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

Amazing Grace

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

Joe Hill

Sweet Sir Galahad

Hickory Wind

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

Driftin’

Waitin’ for You

COUNTRY JOE McDONALD – solo (1:00- 1:30PM)

Janis

Donovan’s Reef

Heartaches by the Number

Ring of Fire

Tennessee Stud

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

Waiting

Evil Ways

You Just Don’t Care

Savor

Jingo

Persuasion

Soul Sacrifice

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

Younger Generation

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.

Spanish Fly

Think It Over

She’s Gone

Too Much Thinking

The Halfbred

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)

The Letter

Gather Round

This Moment

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

Stormy Monday

Theme for an Imaginary Western

Long Red

For Yasgur’s Farm (named later)

Beside the Sea

Waiting to Take You Away

Dreams of Milk and Honey > Guitar Solo

Blind Man

Dirty Shoes Blues

Southbound Train

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.

St. Stephen

Mama Tried

Dark Star

High Time

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

Green River

Ninety-Nine and a Half (Won’t Do)

Commotion

Bootleg

Bad Moon Rising

Proud Mary

I Put a Spell on You

The Night Time Is the Right Time

Keep on Chooglin’

Suzy Q

JANIS JOPLIN (2AM-3AM)$7,500

Raise Your Hand

As Good As You’ve Been To This World

To Love Somebody

Summertime

Try (Just A Little Bit Harder)

Kosmic Blues

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

M’Lady

Sing A Simple Song

You Can Make It If You Try

Everyday People

Dance To The Music

Music Lover

I Want To Take You Higher

Love City

Stand!

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

1921

Amazing Journey

Sparks

Eyesight To The Blind

Christmas

Tommy Can You Hear Me?

Acid Queen

Pinball Wizard

*Abbie Hoffmann Incident*

Fiddle About

There’s A Doctor I’ve Found

Go To The Mirror Boy

Smash The Mirror

I’m Free

Tommy’s Holiday Camp

We’re Not Gonna Take It

See Me Feel Me

Summertime Blues

Shakin’ All Over

My Generation

Naked Eye

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

Wooden Ships

Uncle Sam Blues

Volunteers

The Ballad of You & Me & Pooneil

Come Back Baby

White Rabbit

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)

Dear Landlord

Something’s Coming On

Do I Still Figure in Your Life

Feelin’ Alright

Just Like a Woman

Let’s Go Get Stoned

I Don’t Need No Doctor

I Shall Be Released

Hitchcock Railway

Something to Say

With a Little Help from My Friends

THUNDERSTORMS-DELAY

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

Summer Dresses

Friend, Lover, Woman, Wife

Silver and Gold

Maria

The Love Machine

Ever Since You Told Me That You Love Me (I’m a Nut)

Short Jam (instrumental)

Crystal Blues

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)

Spoonful

Good Morning Little Schoolgirl

Hobbit

I Can’t Keep from Crying Sometimes

Help Me

I’m Going Home

The Band 10:00 pm – 10:50 pm($7500)

Chest Fever

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

The Weight

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

Mean Mistreater

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

Spinning Wheel

Sometimes in Winter

Smilin’ Phases

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

Blackbird

Helplessly Hoping

Guinnevere

Marrakesh Express

4 + 20

Mr Soul

Wonderin’

You Don’t Have To Cry

(Set Two – Electric)

Pre-road Downs

Long Time Gone

Bluebird

Sea Of Madness

Wooden Ships

(Encores)

Find The Cost Of Freedom

49 Bye-Byes

Paul Butterfield Blues Band 6:00 am – 6:45 am (fee unknown)

Born Under a Bad Sign

No Amount of Loving

Driftin’ and Driftin’

Morning Sunrise

All in a Day

Love March

Everything’s Gonna Be Alright

Sha Na Na 7:30 am – 8:00 am($700)

Get A Job

Come Go With Me

Silhuettes

Teen Angel

Jailhouse Rock

Wipe Out

(Who Wrote) The Book of Love

Little Darling

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

Red House

Mastermind

Lover Man

Foxy Lady

Beginnings

Izabella

Gypsy Woman/Aware of Love

Fire

Voodoo Child- slight return

Stepping Stone

The Star Spangled Banner

Purple Haze

Woodstock Improv

Villanova Junction

Hey Joe

 

 

FEES:

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.)

TICKETS TORN IN HALF July 17,1970: NY POP FESTIVAL @RANDALLS ISLAND

TICKETS TORN IN HALF July 17,1970: NY POP FESTIVAL @RANDALLS ISLAND

JULY 17: NY POP FESTIVAL @ RANDALL’S ISLAND The promoters of this event, as crooked as they were, thought they could recreate the Woodstock festival on Randall’s Island, an island in the middle of the East River. Many of the “scheduled” acts did NOT show up and the local radical groups made the atmosphere worse by encouraging gate crashing. One saving grace about this weekend was that at least there wasn’t any mud like Woodstock but this was a disaster nonetheless. Delaney Bonnie and Friends did not show, No Richie Havens, no Ravi Shankar (Thank goodness) and the band I was anticipating, one of the head liners for Saturday night, TONY WILLIAMS LIFETIME WITH MILES DAVIS AND ERIC CLAPTON was nowhere to be found, actually the band did not exist, shows you how crooked these promoters were. Joe Cocker cancelled but Sly and The Family Stone was to be his replacement. Sly, as usual was late, so late that the crowd would still be waiting.They didn’t show either. That was a sham and a scam. The bands that did show played quick, mostly uninspiring sets, knowing they were NOT getting the promised big paydays or paid at all. Many bands felt a kinship to the audience which got angrier at every announcement canceling the next act. It was getting real nasty fast.  Grand Funk played a few recognizable tunes then a drum solo which seemed to last for days. John Sebastian was well….John Sebastian. Cactus showed some promise, Ten Years After (yes again) did their usual set, and the NY Rock ENSEMBLE closed out the evening.  Bottles were thrown at the stage, a garbage can set afire, etc, etc. We were supposed to camp out with our group of friends but heeded the warning in the crowd to GET OUT, so home we all went.

NOTE: My remaining ticket, the Jimi Hendrix night, was sold on eBay years later for $250.00 cash.

IN THE HOUSE: June 11, 1971: LONG JOHN BALDRY@The RockPile, Island Park

IN THE HOUSE: June 11, 1971: LONG JOHN BALDRY@The RockPile, Island Park

June 11: Long John Baldry /Illusion/Grease Band@ Rock Pile formerly The Action House: The night before I had a date for ELTON JOHN at Carnegie Hall cancel out at the last minute. I guess she heard an earful about how pissed I was from the couple who drove me to the Carnegie show. So the phone rings and it is her asking me out, to see LONG JOHN BALDRY in Island Park, and she is driving. Hey, I know this is one way she is making it up and I’m no fool so away I go, even with absolutely no interest in seeing this show. We are joined by the couple from the previous evening.

The Grease Band, without Joe Cocker is, well, not particularly good, as a matter of fact they were pretty bad. The ILLUSION is some local cats, sorta like the house band at this venue and were passable. Then, LONG JOHN BALDRY at 6 foot seven inches except for his size was forgettable, but he had MICKY WALLER(Jeff Beck’s TRUTH) on drums. Mr. Baldry did his schtick, his signature tune

“Don’t Try to Lay No Boogie Woogie on the King of Rock and Roll”, again, forgettable.