The Monterey International Pop Music Festival was a three-day concert event held June 16 to June 18, 1967 at the Monterey County Fairgrounds in Monterey, California. The festival is remembered for the first major American appearances by the Jimi Hendrix Experience, the Who and Ravi Shankar, the first large-scale public performance of Janis Joplin and the introduction of Otis Redding to a mass American audience; the Monterey Pop Festival embodied the theme of California as a focal point for the counterculture and is regarded as one of the beginnings of the "Summer of Love" in 1967. Because Monterey was promoted and attended, featured historic performances, was the subject of a popular theatrical documentary film, it became an inspiration and a template for future music festivals, including the Woodstock Festival two years later. Rolling Stone publisher Jann Wenner said "Monterey was the nexus – it sprang from what the Beatles began, from it sprang what followed." The festival was planned in seven weeks by John Phillips of the Mamas & the Papas, record producer Lou Adler, Alan Pariser and publicist Derek Taylor.
Monterey and Big Sur had been known as the site for the long-running Monterey Jazz Festival and Big Sur Folk Festival. The organizers succeeded beyond all expectations; the artists performed for free, with all revenue donated to charity, except for Ravi Shankar, paid $3,000 for his afternoon-long performance on the sitar. Country Joe and the Fish were paid $5,000, not by the festival, but from revenue generated from the D. A. Pennebaker documentary; the artists did. Apart from Shankar, each act was given up to 40 minutes for their performance. Several ended their sets earlier, including the Who. Lou Adler reflected: ur idea for Monterey was to provide the best of everything – sound equipment and eating accommodations, transportation – services that had never been provided for the artist before Monterey... We set up an on-site first aid clinic because we knew there would be a need for medical supervision and that we would encounter drug-related problems. We didn't want people who needed medical attention to go untreated.
Nor did we want their problems to ruin or in any way disturb other people or disrupt the music... Our security worked with the Monterey police; the local law enforcement authorities never expected to like the people they came in contact with as much as they did. They never expected the spirit of'Music and Flowers' to take over to the point where they'd allow themselves to be festooned with flowers. Monterey's bill boasted a lineup that put established stars like the Mamas and the Papas, Simon & Garfunkel and the Byrds alongside groundbreaking new acts from the UK and the U. S. Crowd estimates for the festival have ranged from 25,000 to 90,000 people, which congregated in and around the festival grounds; the fairgrounds' enclosed performance arena, where the music took place, had an approved festival capacity of 7,000, but it was estimated that 8,500 jammed into it for Saturday night's show, with many extra attendees standing around the sides of the arena. Festival-goers who wanted to see the musical performances were required to have either an'all-festival' ticket or a separate ticket for each of the five scheduled concert events they wanted to attend in the arena: Friday night, Saturday afternoon and night, Sunday afternoon and night.
Ticket prices varied by seating area, ranged from $3 to $6.50. The song "San Francisco" was written by Phillips and sung by Scott McKenzie, released in May 1967, to promote the event. With two huge singles behind them, Jefferson Airplane was one of the major attractions of the festival, having built a large following on the West Coast. Although a big act in the UK, now gaining some attention in the U. S. after playing some New York dates two months earlier, the Who were propelled into the American mainstream at Monterey. The band used rented Vox amps for their set, which were not as powerful as their regular Sound City amps which they had left in England to save shipping costs. At the end of their frenetic performance of "My Generation", the audience was stunned as guitarist Pete Townshend smashed his guitar and slammed the neck against the amps and speakers. Smoke bombs exploded behind the amps and frightened concert staff rushed onstage to retrieve expensive microphones. At the end of the mayhem, drummer Keith Moon kicked over his drum kit.
During Jimi Hendrix's stay in England, he and the Who had seen each other perform. They decided to toss a coin, with the. Michael Lydon, author of Flashbacks commented: "The Grateful Dead were beautiful, they did at top volume. They played some of the best music of the concert. I have never heard anything in music that could be said to be qualitatively better than the performance of the Dead, Sunday night. Jerry Garcia commented on the. I mean, they did it so well, it looked so great. It was like,'Wow, beautiful.' We went on. We played our little music, and it seemed so lame at the time. And was beautiful and incredible and sounded great an
Live and Rare is a Faster Pussycat EP. All tracks on the album appeared on the band's first 2 albums, but are featured here in alternate remixed, edited, or live versions. "Bathroom Wall" "Poison Ivy" "Pulling Weeds" "Slip of the Tongue" "Babylon" "House of Pain" Taime Downe – lead vocals Greg Steele – guitar Brent Muscat – guitar Eric Stacy – bass guitar Mark Michals – drums
Charlie Parker Memorial, Vol. 1 is an LP record by Charlie Parker, released posthumously by Savoy Records. Several tracks on this album had been released on other formats, but is the first 12-inch release of these master takes, it contains selections from four sessions recorded in 1947 and 1948, contains several unreleased alternate takes from these sessions. Charlie Parker recorded seven studio sessions for Savoy Records between 1944 and 1948. Twenty-nine tracks from these sessions were released by Savoy on 78 rpm records. Twenty-seven of these tracks were reissued on 10 inch LPs under Parker's name; the longer playing 12 inch LP became popular in the mid-1950s and Savoy inaugurated its 12-inch LP series with two albums which reissued released master takes along with unreleased alternate takes. Savoy released three more 12 inch albums completing the reissue of the released master takes, the original issue of most of the unreleased takes from these seven sessions. Parker's entire Savoy ouvre was issued on Charlie Parker: The Complete Savoy Studio Sessions in 1978.
Multiple takes may be combined into a single LP track, these are reflected in the listings below. Names of the takes are as listed in the liner notes of the album. Released takes are shown in boldface. All music is composed by Charlie Parker. Charlie Parker – alto saxophone Miles Davis – trumpet Bud Powell – piano Duke Jordan – piano John Lewis – piano Tommy Potter – double bass Curley Russell – double bass Max Roach – drums