Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 9-1-1969, Part 10: Sly & the Family Stone

Finally, we come to the tenth and last album from the third and last day of the 1969 Texas International Pop Festival. The closing act was Sly and the Family Stone.

Like fellow festival stars Janis Joplin and Johnny Winter, Sly Stone was born in Texas. In fact, he was born quite close to the festival, on the outskirts of Dallas, just as the festival was on the outskirts of the city. However, the media didn't notice this. That's probably because he moved with his family to the San Francisco Bay area by the time he was a teenager. 

In 1969,  Sly and the Family Stone hit it big, with multiple hits that year. Even as the festival was going on, one of their songs, "Hot Fun in the Summertime," was Number Two in the U.S. charts. That was fitting, since the festival took place at the tail end of summer, and it was very hot for all three days.

Sly Stone was notorious for going on stage late, if he managed to make it at all, often due to heavy drug use. That was a problem with this festival too. The band's set started well after midnight, and over an hour after the previous musical act left the stage. But once the band started playing music, they put on an excellent performance. The next day, the Dallas Morning News reported that "because of the later hour, they could not perform nearly as long as the audience wanted them to." However, "Although the crowd was long on its feet, the mood continued to soar," with the song "Higher" being a highlight, as it usually was. 

Note also that the band the Nazz performed at the festival, and a little bit of their music has survived. However, I haven't included it for a couple of reasons. For one, the bootleg of it is an audience boot, and it sounds worse than the other audience boot sections of the festival. But also, the main singer and songwriter in the band was Todd Rundgren, and he'd left the band by the time this festival happened. But if you want to hear what they did, you can find 18 minutes of their set on YouTube. 

This album is 50 minutes long.

01 M'Lady [Edit] (Sly & the Family Stone)
02 Sing a Simple Song [Edit] (Sly & the Family Stone)
03 You Can Make It If You Try [Edit] (Sly & the Family Stone)
04 Stand - Love City (Sly & the Family Stone)
05 talk (Sly & the Family Stone)
06 Everyday People [Edit] (Sly & the Family Stone)
07 Dance to the Music - Music Lover [Edit] (Sly & the Family Stone)
08 Higher - I Wanna Take You Higher [Edit] (Sly & the Family Stone)

https://pixeldrain.com/u/E4b5oEgb

alternate: 

https://bestfile.io/en/qiYBztR8McLSotF/file 

The cover photo of Sly Stone is from this exact concert.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 9-1-1969, Part 9: Johnny Winter

Here's the ninth out of ten albums for the third day of the 1969 Texas International Pop Festival. It features blues guitarist Johnny Winter.

Johnny Winter's music career began back around 1960, when he released his first single. But he became a star in 1969, when he was signed to a major record label and released two albums that went into the charts. He also performed at the Woodstock festival prior to this festival.

However, he was not happy to perform at this festival. Like Janis Joplin, who also performed at the festival, he was born and raised in Texas. But he wasn't keen on going back. He later was quoted in a book, "Neither me nor Janis Joplin wanted to go back to Texas, man. That place was a thing of our past." There was some hoopla in the media about the festival being a "homecoming" for him and Joplin, but he called that "a bunch of crap the promoters rigged up." Furthermore, he didn't like the heavy drug use in the audience, saying that by the time he went on stage, it "seemed like everyone was blown away on acid." He personally vowed to stay clear of any drugs. But some time before going onstage, a pretty young woman run up to him and gave him a deep kiss, slipping some tabs of acid down his throat. He was not pleased by this, to say the least. "I was blown away for two days. I didn't even know my name. People like that girl thought she was doin' me a favor."

Despite all that, he played an excellent set. Even he personally declared the music of festival "unbelievable." The next day, a review in the Dallas Morning News commented, "Although its his voice that he is primarily noted for, he is a guitarist par excellence."

This recording came from a soundboard source, I think. However, there were issues. Three of the songs had missing parts. Since that includes the end of the last one, it's possible there was more music after that. I found other live recordings he did from 1969, and used them to fill in the missing sections. That's why those three songs have "[Edit]" in their names. Also, the lead vocals were low in the mix, so I boosted them using the MVSEP program. That makes me wonder if it might be an audience bootleg instead. But either way, the sound quality is pretty good, but not great.

This album is an hour and two minutes long.

01 talk (Johnny Winter)
02 Mean Town Blues (Johnny Winter)
03 Black Cat Bone (Johnny Winter)
04 Mean Mistreater (Johnny Winter)
05 Mama, Talk to Your Daughter [Edit] (Johnny Winter)
06 talk (Johnny Winter)
07 Leland Mississippi Blues (Johnny Winter)
08 talk (Johnny Winter)
09 I'm Not Sure (Johnny Winter)
10 You Done Lost Your Good Thing Now [Edit] (Johnny Winter)
11 Johnny B. Goode [Edit] (Johnny Winter)

https://pixeldrain.com/u/rt6Lnk4E

alternate:

https://bestfile.io/en/ae1dKPM4dkOB2ni/file 

The cover photo is from this exact concert.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 9-1-1969, Part 8: Sweetwater

Here's another album from the third day of the 1969 Texas International Pop Festival. It's the eighth set from that day, with two more to go. This one is a set by the band Sweetwater.

Sweetwater was a talented band with a lot of potential. They put out their debut album in 1968, simply called "Sweetwater." Their big break came when they performed at the Woodstock festival in August 1969. I've posted their performance there. Here's the link:

https://albumsthatshouldexist.blogspot.com/2020/12/sweetwater-woodstock-festival-max.html

Unfortunately, a couple of months after this concert, the band's lead singer, Nancy Nevins, was in a car crash. She was in a coma for ten days. She survived, but just barely. Her vocal chords were damaged, and her voice never fully recovered. That pretty much killed off the band's momentum. You can read more about it in the write-up I did for their Woodstock set.

Live recordings from this band are extremely rare. As far as I can tell, there's just this and the Woodstock one. Unfortunately, this one is quite short. But on the positive side, at least it's from a soundboard source. The last song was cut off, so I used a bit from the Woodstock performance to finish it off. That's why that song has "[Edit]" in the title.

I found a little bit about what happened during this set. The band delighted the crowd by throwing Frisbees and candy bars into the audience. Performing after dark, they asked the crowd to light matches or lighters and hold them up, which also had happened at Woodstock. Soon, the whole crowd was aglow.

On a different note, since I don't have a lot to say about this set, I want to mention something that happened at some point during this last day of the festival. 

The festival was so relatively problem-free that near the end of this day, both the Lewisville mayor and the police chief, Ralph Adams, went onstage and congratulated the audience on its good behavior. Adams gave a short speech which included this quote: "You are really teaching the older people here a lesson. Today, I can tell you that we have not made one arrest of anyone attending this festival simply because none of you has given us any reason to. Instead, our only trouble has come from the sightseers outside the festival grounds. People have asked me how I can manage to keep the peace at an event like this. I have told them the same thing that I told our police force - these people are human beings too and all you have to do is treat them that way." He even held up a peace sign, and added, "You are welcome back here anytime you want to. The town is yours."

After a standing ovation, one of the festival organizers took the microphone, and said, "There are a few bad cops in Dallas, like there are in every city. And some places like Chicago have pigs. But the Dallas police here are peace officers."

Given the culture clash between the festival crowd, largely made up of hippies, and the conservative opposition from rural Texas, it's nice to see that some people were able to rise above those differences. 

This album is 18 minutes long. 

01 What's Wrong (Sweetwater)
02 talk (Sweetwater)
03 Why Oh Why [Edit] (Sweetwater)

https://pixeldrain.com/u/yaQr3JM8

alternate:

https://bestfile.io/en/n3f2l624OaR6z9y/file

The cover photo is from this exact concert. It shows Nancy Nevins, the band's lead singer. For once for this festival, the original photo was actually in color. However, it was very blurry and low-res. I used the Krea AI program several times to sharpen it up and add detail. 

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 9-1-1969, Part 7: Spirit

Here's another album from the third day of the 1969 Texas International Pop Festival. This is a set by the band Spirit.

It so happens that there are very few live recordings of Spirit in their late 1960s prime, considering how popular they were at the time. This is one of three with excellent sound quality. I've already posted the other two on this blog (Boston Tea Party in 1969 and Fillmore West in 1970). Actually, I had posted this one already as well. But I deleted it months ago, knowing that I would repost it with different artwork and such as part of this festival. So here it finally is again.

Happily, this bootleg comes from a soundboard source. I made some edits to improve the sound. The biggest was boosting the lead vocals relative to the instruments. I think this now sounds better than the version I posted before.

In late 1968, the band released "I've Got a Line on You" as a single. It was their biggest hit, reaching Number 25 on the U.S. singles chart. So it's not surprising that was performed here, near the end of their set. In August 1969, the band released their third studio album, "Clear." Five of the songs here come from that album.

This album is 43 minutes long.

01 Trancas Fog-Out [Instrumental] (Spirit)
02 I'm Truckin' (Spirit)
03 Fresh Garbage (Spirit)
04 Poor Richard (Spirit)
05 Caught [Instrumental] (Spirit)
06 Ground Hog (Spirit)
07 Policeman's Ball (Spirit)
08 Drum Solo - Mechanical World (Spirit)
09 I've Got a Line on You (Spirit)
10 Aren't You Glad (Spirit)

https://pixeldrain.com/u/1BAgCe8K

alternate:

https://bestfile.io/en/ARVP7R4JKBw3StY/file

The cover photo is from this exact concert. It shows Jay Ferguson, one of the band's two lead vocalists. I could only find two photos of the band from this concert. The other one showed band members Mark Andes on bass and John Locke on keyboards. Both photos were in black and white. I chose this one mainly because it was a lot easier to colorize (which I did using the Kolorize program).

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 9-1-1969, Part 6: Freddie King

I'm back with more from the third day of the 1969 Texas International Pop Festival. Here's a set by blues legend Freddie King.

Freddie King was a key blues singer and guitarist, starting in the 1950s. However, he died young, in 1976, at the age of 42 years old, from a combination of stomach ulcers and acute pancreatitis. Due to his untimely death, there aren't that many concert bootlegs from him (though there are a good number of official live albums).

Most of the surviving recordings from this festival are soundboard bootlegs, but in this case, it's an audience bootleg. It's one that was only made public in the early 2020s, and it hasn't been widely shared until now. The sound quality is pretty good for an audience boot. I tried to help by doing my usual tricks, using MVSEP to reduce the crowd noise during the songs, and using UVR5 to boost the lead vocals relative to the instruments. (I don't know why so many boots have the lead vocals low in the mix, but it's a surprisingly common problem.) 

King was known for his lead guitar playing as much or more as his vocals. So three of the six songs here are instrumentals, including "Hideaway," which became a surprise pop hit in 1960.

Since this album is relatively short compared to others from the festival, I think the odds are good that there's more that didn't get recorded. The odds of that are greater because there were chunks missing from the last two songs, suggesting the taper stopped at least once. I used other live recordings from 1969 to fill in missing bits there, which is why those two have "[Edit]" in their titles. At least we do get a DJ announcing the end of the set at the end of the last song, though there could have been an encore after that. 

Many acts at the festival performed on more than one day, but this was King's only performance in the festival. 

This album is 32 minutes long.

01 San Ho Zay [Instrumental] (Freddie King)
02 I'm Tore Down (Freddie King)
03 You Got to Love Her with a Feeling (Freddie King)
04 Hideaway [Instrumental] (Freddie King)
05 Play It Cool [Edit] (Freddie King)
06 Sen Say Shun [Instrumental] [Edit] (Freddie King)

https://pixeldrain.com/u/1sHzrYcH

alternate:

https://bestfile.io/en/WM7UyxpTCTi8vlU/file

The cover is from this exact concert. It's kind of amazing to me how often I was able to find one, but just one, photo of each musical act from this festival. This is another case of that. The original of this photo was in black and white, but I used the program Kolorize to colorize it. 

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 9-1-1969, Part 5: Ten Years After

The fifth album from the third day of the 1969 Texas International Pop Festival is a set by the British blues band Ten Years After.

Like the two musical acts I just posted from this festival, Ten Years After was a band on the rise at this time in 1969. They were formed in 1967, and put out their first album that year, which didn't make the charts anywhere. They put out their second album in early 1969. It made the Top Ten in Britain, but didn't dent the U.S. charts at all. Then, in August 1969, they performed a well-received set at the Woodstock festival. That was a big breakthrough for them in the U.S., especially once the Woodstock movie and album were released. 

However, at this point, I imagine they still were largely unknown by the audience at this festival, though some may have heard of the buzz from the Woodstock performance. Just like at Woodstock, the audience loved their energetic jamming. When they finished, they got one of the longest standing ovations from the festival.

The recording is another "good news, bad news" situation. The good news is, this is either all of their set, or at least nearly all of it. The recording ran out partway through the last song here, so it could be they played a song or two after that. But at over an hour, they played longer than most acts, so there probably wasn't much more. The bad news though is that this comes from an audience bootleg, not a soundboard one. That means lower sound quality. And that's especially the case because their style of loud and electrified music demands good sound quality. (Acoustic recordings, for instance, are much more forgiving.) I did my best, using the MVSEP program to reduce the crowd noise during the songs, and using the UVR5 program to boost the lead vocals relative to the instruments. But still, one can tell this doesn't sound as good as the soundboards from the festival.

Also, I found a different live recording from 1969 for their last song, "Help Me," and used that to patch in the missing section. And I did more extensive editing work on the songs than usual, for instance sometimes boosting specific lines in songs when they were extra quiet. But still, I could only do so much. So beware this doesn't sound fantastic.

This album is an hour and nine minutes long. 

01 Good Morning, Little Schoolgirl (Ten Years After)
02 talk (Ten Years After)
03 I Can't Keep from Cryin' Sometimes (Ten Years After)
04 talk (Ten Years After)
05 Hobbit [Instrumental] (Ten Years After)
06 Spoonful (Ten Years After)
07 I'm Goin' Home (Ten Years After)
08 Help Me [Edit] (Ten Years After)

https://pixeldrain.com/u/XhZtux42 

alternate: 

https://bestfile.io/VaLh49Fd1WqHrZ1/file

The cover photo is from this exact concert. It shows lead guitarist and vocalist Alvin Lee. The original was in black and white. I used the Kolorize program to colorize it.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 9-1-1969, Part 3: Delaney & Bonnie

This is the third album from the third day of the 1969 Texas International Pop Festival. It features the duo Delaney and Bonnie. (Technically, they were billed, as usual, as "Delaney and Bonnie and Friends.")

The good news is, this recording is a soundboard bootleg. The bad news is, it's only 20 minutes long. I'm sure they played more than that. This wasn't the kind of concert, like Live Aid, where music acts had to be kept to short sets due to time concerns. But as we've seen with some other music acts already, for whatever reason, we often only get parts of sets. Grand Funk Railroad is a case in point, where only one song has emerged in soundboard quality. And while I was able to find more songs from an audience bootleg for that band, there is all I could find here.

At the time of this concert, Delaney and Bonnie hadn't had much success yet. They had just released their second album a couple of months earlier, but it only reached the lower rungs of the album charts. However, their albums were critically praised, and they were clearly a band on the rise. They toured the U.S. extensively in the months prior to this concert, opening for big name bands like Blind Faith (Eric Clapton's band at the time) and Led Zeppelin. To show just how hot they were, later in the year, both Clapton and George Harrison of the Beatles went on tour with them, playing lead guitar in their band! 

Here's a Wikipedia article about them: 

Delaney & Bonnie - Wikipedia 

This album is 20 minutes long. Had it been any shorter, I would have paired it with another short set.

01 We Got to Get Ourselves Together (Delaney & Bonnie)
02 The Ghetto (Delaney & Bonnie)
03 When the Battle Is Over (Delaney & Bonnie)
04 Things Get Better (Delaney & Bonnie)

https://pixeldrain.com/u/mip1LpCm

alternate:

https://bestfile.io/en/EB3SsN6tzl49ngG/file

The cover photo is from this exact concert. There are some home videos and news reports from this festival, and in one of them I was able to find a short clip of Delaney and Bonnie. I took a screenshot from that, which means this is in color. I then used the Krea AI to improve the image detail.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 9-1-1969, Part 2: B. B. King

Here's the second act from the third day of the 1969 Texas International Pop Festival: blues legend B.B. King. (Unfortunately, I'm mostly just guessing on the performance order for this and most albums on this day.)

1969 was a pivotal year for B.B. King. He'd been releasing albums since 1956. However, they pretty much had only appealed to fans of blues music. But in the late 1960s, electric blues got to be very popular, thanks mostly to British bands like Cream and Fleetwood Mac. So King's popularity rose. He released two albums in 1969, and both of them rose higher on the pop charts (about Top Forty) and R&B charts (about the Top Ten) than any of his previous albums.

One of those albums, "Completely Well," contained the song "The Thrill Is Gone." That would become his biggest hit and his signature song. Unfortunately, that song wasn't released a single until December, a few months after this. So it's not performed here.

A bunch of acts performed twice over the course of the three days of the festival. Few performed three times, but King was one of them. Apparently, his set caused some amusement, because he didn't realize that most of the audience stayed for all three sets, and he played the same songs with most of the same banter between songs. But despite that glitch, his music went over very well. A review in the "Times Herald" newspaper said that King "seemed to improve with each performance, flawless, hitting those low blues-filled notes and proving his birthright to the title of King of the Blues." 

King also was more savvy than most blues musicians of his generation by playing festivals full of hippies like this. In between songs, he King told the audience, "Now you can go let everyone know that we can get together outside of Woodstock and have a good time." 

This album is 43 minutes long.

01 talk (B. B. King)
02 Sweet Sixteen (B. B. King)
03 Please Accept My Love (B. B. King)
04 talk (B. B. King)
05 Everybody Wants to Know Why I Sing the Blues (B. B. King)
06 Don't Want a Soul Hanging Around (B. B. King)
07 What's Wrong Little Mama (B. B. King)
08 How Blue Can You Get (B. B. King)
09 Whole Lot of Lovin' (B. B. King)
10 Everyday I Have the Blues (B. B. King) 

https://pixeldrain.com/u/R9fc7uBt

alternate:

https://bestfile.io/DhmPBDoFFQauK9K/file

The cover photo is from this exact concert. The original was in black and white, and quite blurry in places. I used Kolorize to colorize. I tried to use Krea AI to reduce the blurriness, but you still see that with his hand and guitar.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 9-1-1969, Part 1: Grand Funk Railroad

It's time for more music for the 1969 Texas International Pop Festival. With this album, I'm starting to post albums from the third and final day of the festival, September 1, 1969. So we're back to "Part 1" again. This time, it's Grand Funk Railroad.

Grand Funk Railroad were one of the best-selling music acts in the early 1970s. In fact, although their debut album "On Time" had been released two months earlier, they were pretty much complete unknowns. In fact, the band had only been together for a few months already. They did play the Atlanta International Pop Festival about a month earlier, and got a good response to that. But still, they weren't well known enough to be invited to perform at the festival. 

However, they agreed to play for free, and even covered their own expenses. The first day of the festival began relatively late, at 4 P.M. So they warmed up the crowd for about an hour prior to the official start time. That performance went over so well that they were asked to be the opening act for the remaining two days of the festival. They ended up performing all three days. They went over well with the crowd all three times, which gave the band a lot of positive buzz, making this a pivotal moment in their music career. 

As it so happens, even though they performed three times during the festival (like many other acts that performed multiple times during it), we only have recordings from this day (or mainly from this day - see below). I often don't know the exact order of the acts on each day. But in this case I do, since all accounts say Grand Funk Railroad was the first act of the day. 

One twist though was that the concert started earlier than expected. The two previous days, the concert began at 4 P.M. But one of the promoters was quoted in a newspaper saying they changed it to 11 A.M. on this day because "We just didn't want another ending as late as we got Saturday." Unfortunately, word of the change didn't get out to everyone. So Grand Funk Railroad played to probably the smallest crowd of the entire festival.

This recording has two sources. The intro talk plus the first song, "Are You Ready," is from a soundboard bootleg. One can also find a video of that song's performance on YouTube. I'm not entirely sure which day that is from. Everything else is from an audience bootleg, which is labeled as being from this date, September 1st. Thus, the sound quality for that part is poorer. To help out, I used my usual editing tricks for this kind of circumstance. I used MVSEP to lower the amount of crowd noise during songs, and I used UVR5 to boost the lead vocals in the mix. Overall, it's a good audience bootleg as far as such things go, but it's still an audience bootleg, so beware.

Note also that the first part of the first song and last part of the last song of the audience tape were both cut off. So clearly this is only part of their set. We don't know how many more songs they played. I found other live versions from 1970 and used those to fill in the missing parts of those songs. That's why those two have "[Edit]" in their titles.

By the way, I'm pretty sure this is the only known bootleg recording of the band from 1969. 

This album is 47 minutes long.

01 talk (Grand Funk Railroad)
02 Are You Ready (Grand Funk Railroad)
03 In Need [Edit] (Grand Funk Railroad)
04 talk (Grand Funk Railroad)
05 Heartbreaker (Grand Funk Railroad)
06 talk (Grand Funk Railroad)
07 Inside Looking Out (Grand Funk Railroad)
08 Ups and Downs (Grand Funk Railroad)
09 Into the Sun [Edit] (Grand Funk Railroad)

https://pixeldrain.com/u/KAx3LXPv

alternate:

https://bestfile.io/en/2OporCnq1NASJp8/file

The cover image is from this exact concert. It shows lead guitarist Mark Farner. This was the only decent photo I could find of the band from the concert. The original was in black and white, but I colorized it using the Kolorize program, as well as some tinkering in Photoshop.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 8-31-1969, Part 4: Led Zeppelin

Here is the fourth and last album I have of music from the second day of the 1969 Texas International Pop Festival. This time, it's Led Zeppelin. According to die-hard fans, this often ranks in the top five in polls of their best live recordings, due to both sound quality and performance.

Led Zeppelin had only released their debut album at this point (in January 1969), but it was such a smash that they were one of the biggest stars of the festival. The two music acts that were paid the most, $10,000 each, were Janis Joplin and Led Zeppelin, so that's a good sign they were the two most anticipated performances. That can also be seen in the fact that they had the prized closing spot on the second day. (I think they went on right after B.B. King, but I'm not sure.)

In 2024, the band's lead guitarist Jimmy Page posted some photos of himself at this festival. He also wrote a little bit about it, which I include here: 

"Festivals were starting to become well-established in the US and the Texas Pop Festival offered a substantial bill of performing artists. I watched Sam & Dave perform and hung out with Janis Joplin, whom I had hung out with at Steve Paul's Scene Club in New York in the Yardbirds days. Led Zeppelin played a good set on this day."

There also is an interesting story about events that led up to this performance. They played Fair Park Coliseum, in Dallas, Texas, on August 4th, a mere three weeks before the festival. Angus Wynne III, promoter for this festival, saw a chance for some publicity. Wynne later said, "We found [Led Zeppelin's] road manager, and we said we wanted to make sure the band recognized the festival from the stage. And he said, 'Well, the fellows think they're going to be on vacation then. They don't know about it.' The band gets on stage, and after a couple of songs, [lead singer] Robert Plant says, 'Anyone heard of the Texas International Pop Festival? We got into town today and saw the posters with our name on them. We've never heard of it. It's a classic ripoff, and if you have tickets, you need to get your money back.'"

Wynne had recently signed the band to perform at his festival, so he was furious. He found the road manager locked inside a limousine. He and some friends pounded on the windows and almost tipped the car over before the manager emerged. Wynne said, "He ran out there [on stage] and he pulls Plant over to the side and whispers in his ear. Then Plant grabs him by the lapels and starts shaking him. At the end of the song, Plant goes to the microphone and says, 'Yeah, we're going to play [at the festival]. Our weasel road manager just told us.'"

So that's why, if you listen to the banter between songs in this album, Plant says: "It's very nice to be back in Texas. Last time we were here, it was a near disaster when we said we weren’t doing the festival and everything. We'd like to, this is the last date before we go back to England. So we really want it to be, have a nice time."

It seems likely to me that the band was supposed to be back in England by the time of this festival, but the band's management couldn't resist the $10,000 prize for doing this festival, so they signed a contract for it without consulting the band members first. The band members were pissed because it meant their trip back home was cut short. Happily though, it all worked out in the end, and the band happened to perform one of their best concerts.

This performance was professionally filmed. Unfortunately, nothing was done with it, and it seems most of it was lost or destroyed. There are some short clips you can find on YouTube. Also, in the 2025 documentary "Becoming Led Zeppelin," a minute or two of "Dazed and Confused" can be seen from this film. But that supports the suggestion that most of the film no longer exists, because most of that song cuts to a different performance at a different concert. (One can tell by a sudden change in the clothes, and other factors.) 

If you want to know more about this performance, the website ledzeppelin.com has a webpage about it. It includes excepts from reviews in newspaper articles, as well as photos of the band, memorabilia, and photos of more newspaper articles about the whole festival. Here's a link:

Texas International Pop Festival - August 31, 1969 / Lewisville | Led Zeppelin Official Website 

Although this is the last of only four albums from the second day of the festival, I have ten albums for the third and final day of the festival. Those will be coming soon.

This album is an hour and four minutes long. 

01 talk (Led Zeppelin)
02 Train Kept A-Rollin' (Led Zeppelin)
03 I Can't Quit You Babe (Led Zeppelin)
04 talk (Led Zeppelin)
05 Dazed and Confused (Led Zeppelin)
06 talk (Led Zeppelin)
07 You Shook Me - Rock Me Baby - You Shook Me (Led Zeppelin)
08 How Many More Times (Led Zeppelin)
09 The Hunter - The Lemon Song - Bye Bye Baby (Led Zeppelin)
10 How Many More Times [Reprise] (Led Zeppelin)
11 talk (Led Zeppelin)
12 Communication Breakdown (Led Zeppelin)

https://pixeldrain.com/u/1kXJhtqa 

alternate: 

https://bestfile.io/oyVob9ClcUWrBAx/file 

I found two photos from this concert that I really liked, one of Jimmy Page and one of Robert Plant. Instead of picking one over the other, I used Photoshop to include both of them. Page is the one in the purple shirt.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 8-31-1969, Part 3: Santana

The third album from the second day of the 1969 Texas International Pop Festival is a set by Santana.

A key thing to keep in mind here is that at the time of this concert, almost nobody in the audience would have known the music of Santana. Their first album, "Santana," was released on August 22, 1969, only about ten days prior to this performance. The first single from it, "Jingo," didn't make much of an impact on the charts. They also performed at the Woodstock festival earlier in August, and that was their big break that put them on the road to stardom. But most of the impact of that would come later, for instance after the Woodstock album and concert came out. Later in 1969, the single "Evil Ways" would be released from their first album and go on to be a big hit, resulting in them getting on prominent TV shows, like "The Ed Sullivan Show." But all that was still in the future. Maybe some people at this festival had also been at the Woodstock festival and spread some word-of-mouth news about them, but that was probably it.

The set list was very similar to their Woodstock set list, except even shorter. Their Woodstock set was 48 minutes long, and this one is only 33. I don't know if that's because this one is incomplete, or if it was just a rather short set. Since they weren't well known yet, it's possible this is the whole thing.

This album is 33 minutes long. 

01 Evil Ways (Santana)
02 talk (Santana)
03 You Just Don't Care (Santana)
04 talk (Santana)
05 Shades of Time [Instrumental] (Santana)
06 Jingo (Santana)
07 talk (Santana)
08 Treat (Santana)
09 talk (Santana)
10 Soul Sacrifice [Instrumental] (Santana)

https://pixeldrain.com/u/1FQz8Dbp

alternate:

https://bestfile.io/en/qDf1JWX5REJCBDj/file

The cover photo of Carlos Santana is from this exact concert. It was the only photo of the band I could find from this concert, and I had to do a lot of work on it to make it look good. It was in black and white, so I converted it to color using Kolorize, plus I did some work in Photoshop, like making the colors of the flags in the background match other pictures from the festival. Santana's face was blurry, so I had to do some extra work to make that look better, using Krea AI and Photoshop.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 8-31-1969, Part 2: Sam & Dave

Here's the second album of the second day of the 1969 Texas International Pop Festival. It's a set by soul music duo Sam and Dave.

Note, by the way, that I don't know the exact order of the performances on the second day, with a couple of exceptions. So this order is just a guess.

We're very lucky to have this album, because there are very few recordings of Sam and Dave performing live in the 1960s prime (at least that are publicly available). They never released a live album, and there are virtually no bootlegs. The only partial exception with bootlegs is a 1967 concert in Norway that I've posted, which includes a Sam and Dave set that lasts only 20 minutes. You can find that here:

https://albumsthatshouldexist.blogspot.com/2023/07/various-artists-stax-volt-revue.html 

Sam and Dave had lots of hits from 1965 to 1969. But they had a change of record companies and producers, and lost the use of some key songwriters who had been working them, and the hits suddenly dried up. They broke up in early 1970, ending their peak era. They got back together multiple times, starting in 1971, but the magic was gone. They basically became an oldies act, doing it to make a living. They typically would show up separately for shows, require separate dressing rooms, not look at each other onstage, and communicate through intermediaries. So it's good to have this recording from the tail end of their peak era, right before everything went to hell for them.

For some reason, a common bootleg of this festival only includes two songs by Sam and Dave, "I've Been Loving You Too Long" and "May I, Baby." But in fact, there are all these songs, with soundboard quality.

This album is 35 minutes long.

01 Sing a Simple Song [Instrumental Version] (Sam & Dave)
02 I Take What I Want (Sam & Dave)
03 talk (Sam & Dave)
04 I've Been Loving You Too Long (Sam & Dave)
05 May I, Baby (Sam & Dave)
06 Soul Man (Sam & Dave)

https://pixeldrain.com/u/QrRRwprE

alternate:

https://bestfile.io/en/YOnN14e4yEbDzrI/file 

The cover photo is from this exact concert. As with many of the acts for this festival, I was lucky to find just one photo actually from the festival. The original was in black and white, but I colorized it using the Kolorize program. I also improved the detail with the use of the Krea AI program.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 8-31-1969, Part 1: Incredible String Band - Herbie Mann

It's time for me to tackle more of the 1969 Texas International Pop Festival. With this album, I'm beginning the second day of the festival. So note in the album title this is "8-31-1969" instead of the 30th, and thus Part 1 (again). 

I really wanted to have one musical act per album, but this is the one exception. I was only able to find 11 minutes of the performance by the Incredible String Band, and 14 minutes of the performance by Herbie Mann, so I put them together. I don't know if they played back to back, but the odds are low that they did. At least it's known they both performed on the second day.

All the music on this album is from a soundboard bootleg source. I'd guess maybe half or less of the total music from the festival has been made public with soundboard sound quality, but it's very strange how it sometimes is only parts of sets, as is the case both times here. In some cases, I've found an audience bootleg to fill in missing pieces, but not here. So something is better than nothing, I guess.

I've already posted some Incredible String Band albums at this blog, so I don't need to introduce them. Obviously, they must have played more than two songs, but I couldn't find any complete set list for them.

Herbie Mann (who died in 2009 at the age of 73) had an unusual career. He was a jazz flutist. What was unusual was that he managed to have some pop hits, and got enough of a following to be invited to a rock festival like this one. No doubt, he wouldn't have been invited had it not been for his album "Memphis Underground," released in April 1969. Recorded in Memphis with soul musicians, it fused jazz and soul, and went on to become of the best selling jazz albums of all time. 

In this concert, all his songs were instrumentals, with his jazz flute being the lead instrument. Just like the Incredible String Band, he must have played more than two songs, but these are all we have. Here's his Wikipedia entry:

Herbie Mann - Wikipedia  

Regarding the festival in general, the attendance dropped about in half on the second day. That was largely due to the negative media coverage. The front-page headline on the morning of the second day in the Dallas Morning News was "Drugs Mar Pop Fest!" The article told of "freak-outs" and "bad trips" suffered by at least thirty youthful "hippies" who'd taken mescaline or LSD, requiring treatment in the festival's first aid tent. One of the festival's promoters later told Rolling Stone Magazine, "The press hurt us bad. I could just see parents looking up from their papers at breakfast and telling their kids, 'You're not going out there.'" In actual fact, the percentage of people having bad trips was extremely low compared to the overall size of the crowd, something that Dallas Morning News article even acknowledged deeper in the article. But one has to keep in mind the cultural conservatism in Texas at the time. It's a wonder the festival was allowed to happen at all. In fact, a similar festival planned to take place that same summer in Oklahoma City was cancelled by the authorities at the last minute.

A bigger problem was that the festival was really hot. Many people were treated for heat exhaustion, and also for cut feet, due to going barefooted. Another problem was outsiders who continued to go to the lake next to the venue to ogle at naked people skinny dipping there. But other than that, the festival ran quite smoothly compared to other festivals of similar size in that era.

Here's the list of all the music acts on the second day, in alphabetical order, since I don't know the actual order they appeared:

Chicago
James Cotton Blues Band
Delaney & Bonnie
Grand Funk Railroad
The Incredible String Band    
B.B. King
Led Zeppelin
Herbie Mann
Sam & Dave
Santana 

In addition to this album, I'm posting the sets from Led Zeppelin, Sam & Dave, and Santana. For all the others, they also performed on either the first day and/or third day as well, and I have albums from all of them on those days. So, very luckily, nothing really important is missed from this day.

This album is 26 minutes long. 

01 talk (Incredible String Band)
02 Waiting for You (Incredible String Band)
03 Black Jack Davy (Incredible String Band)
04 Tangier [Instrumental] (Herbie Mann)
05 Improvisation [Instrumental] (Herbie Mann)
06 talk (Herbie Mann)

https://pixeldrain.com/u/Qcq67t43

alternate:

https://bestfile.io/en/m59CqMvUzhl3F6i/file

Both photos are from this exact concert. On the left, that's Robin Williamson, one of the two lead singers for the Incredible String Band. On the right, that's Herbie Mann. Both of the original pictures were in black and white. I used the Kolorize program to colorize them.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 8-30-1969, Part 4: Janis Joplin

Here's the fourth album from the first day of the 1969 Texas International Pop Festival. It's a set by Janis Joplin. This time, I'm more sure about the order, since I know this was the second to last set of the day. 

Janis Joplin was the star of the first day of the festival, and probably the most anticipated act of the entire festival. She had been one of the standout acts at Woodstock two weeks earlier, and she was well known for her on-stage charisma. She had been a part of the band Big Brother and the Holding Company, but she went solo at the end of 1968. At the time of this concert, she hadn't yet released her first solo album, "I Got Dem Ol' Kozmic Blues Again Mama!" But it was due to come out less than two weeks after this concert, so many of the songs she played were from that album.

Even though Joplin was a big star, her set started late into the night. That's because the organizers of the festival screwed up with the timing. The audience was let in shortly before noon, but the first act didn't began playing until about four P.M. Then there were big delays between acts. As a result, Joplin took to the stage close to one in the morning. The set here seems short, at a little over half an hour, but that's because it's incomplete. It's known that the last song she performed was "Piece of My Heart," and she also played "Work Me, Lord," and neither of them are included here. So it's possible some other songs are missing as well. Just two weeks earlier, her set at the Woodstock festival lasted slightly over an hour, so it's likely she played a similar amount of time at this festival.

Her performance lived up to expectations, and she left the stage to a long standing ovation. 

The concert was a particularly emotional one for Joplin, because she had been born and raised in Texas. Growing up in Port Arthur, off the Gulf of Mexico about three hundred miles away, she had been very unhappy because she already was a hippie of sorts in the early 1960s and she didn't know anyone else unconventional like her. After performing "Work Me, Lord," which I mentioned isn't included here, she reportedly happily told the crowd, "You're looking great! Texas never looked like this when I lived here, man. But man, look at you now!" 

She moved from Texas to California in 1966. After the concert, she told reporters that this was only the second time she'd been back to Texas after moving. She said, ""I had to get out man, they were fuc*ing me over." She also said that she planned to visit her family in Port Arthur in the days after the concert.

The recording is a soundboard that sounds excellent. The only problem, as mentioned above, is that it's incomplete. At least none of the songs here got cut off.  

This album is 32 minutes long. 

01 talk (Janis Joplin)
02 Raise Your Hand (Janis Joplin)
03 As Good as You Been to This World (Janis Joplin)
04 talk (Janis Joplin)
05 Try [Just a Little Bit Harder] (Janis Joplin)
06 talk (Janis Joplin)
07 Maybe (Janis Joplin)
08 To Love Somebody (Janis Joplin)
09 Summertime (Janis Joplin)

https://pixeldrain.com/u/HzzKCy8p

alternate: 

https://bestfile.io/en/2GAZ3CYz1CpjVQ0/file

The cover photo is from this exact concert. It was in black and white, so I used the Kolorize program to colorize it. I also used the Krea AI program to improve the detail. 

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 8-30-1969, Part 3: Rotary Connection

Here's the third album from the first day of the 1969 Texas International Pop Festival. As is typical of this festival, I don't know the exact order of the acts, so I'm making an educated guess. This is a set of the band Rotary Connection.

Rotary Connection was an American psychedelic soul band that existed from 1966 to 1973. They had some critical acclaim, but they never had any hit singles or big selling albums. In retrospect, probably the best known thing about this band is that Minnie Riperton was one of its two lead singers. She had a Number One single in the U.S. in 1974 with the song "Lovin' You," then died of cancer at a young age in 1979. 

Riperton was known for her voice, which had a truly incredible five-octave range. The band's other main lead singer, Sidney Barnes, had a good soulful voice as well. However, they didn't do a lot of original material. Their two studio albums released prior to this concert consisted entirely of cover versions, and their set here mostly consisted of covers. The concert was probably the pinnacle of their career, and the largest crowd they played for, by far. 

This recording is from an excellent soundboard source. That's a lucky thing, because no official live album was ever released by them, and this seems to be their one and only bootleg recording.

Here's their Wikipedia entry:

Rotary Connection - Wikipedia 

This album is 53 minutes long. 

01 Lady Jane (Rotary Connection)
02 talk (Rotary Connection)
03 Ruby Tuesday (Rotary Connection)
04 talk (Rotary Connection)
05 Call It Stormy Monday (Rotary Connection)
06 talk (Rotary Connection)
07 The Whole Creation - Call It Stormy Monday [Reprise] (Rotary Connection)
08 Sunshine of Your Love (Rotary Connection)
09 talk (Rotary Connection)
10 Let the People Talk (Rotary Connection)

https://pixeldrain.com/u/izPE66n4

alternate:

https://bestfile.io/en/4CjV5Bq6OpiH3RT/file

The cover image is from this exact concert. I was only able to find this one black and white photo, so I colorized it using the Kolorize program. Then I improved it with the use of the Photoshop and Krea AI programs.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 8-30-1969, Part 2: James Cotton

Here's the second album from the first day of the 1969 Texas International Pop Festival. It features blues musician James Cotton. (Technically speaking, the act was called the James Cotton Blues Band.)

As I mentioned with the first album I posted from this festival, I don't actually know the exact order of the sets. One problem is that only some of the sets from the festival survive. Here are all the sets from the first day, in alphabetical order:

Canned Heat
Chicago
James Cotton
Grand Funk Railroad
Janis Joplin
B.B. King
Herbie Mann
Rotary Connection
Sam & Dave 

Out of those, I don't have Grand Funk Railroad, B.B. King, Herbie Mann, and Sam and Dave. However, luckily, many acts at the festival performed more than one set, and I have at least some of the sets from everyone in that list. I do know a few things, such as the fact that Janis Joplin was second to last, and Canned Heat was last. So this spot is an educated guess.

One nice thing about this festival compared to Woodstock and other 1969 rock festivals is that there was more musical variety, especially the inclusion of blues, jazz, and soul acts. This album is a good example. Cotton didn't perform at Woodstock.

This is the first album I've posted from James Cotton. He first came to attention playing harmonica in Howlin' Wolf's band, then Muddy Waters' band. He was the bandleader for Waters from 1955 to 1965, when he left for a solo career. As you can guess from his links to Howlin' Wolf and Muddy Waters, he was one of the best harmonica players in the blues scene, as well as singing lead vocals. 

Here's the Wikipedia entry, if you want to know more about him: 

James Cotton - Wikipedia 

The entire set is from a soundboard source. I edited it a bit, boosting the lead vocals relative to the instruments, using the UVR5 program. In this festival, Cotton generally played blues classics, with a couple of soul classics, along with a few originals.

Cotton also played a set on August 31st, but no recording of that one seems to have survived. 

This album is an hour and one minute long. 

01 Cut You Loose [Instrumental] (James Cotton)
02 Fallin' Rain [Instrumental] (James Cotton)
03 Heart Attack (James Cotton)
04 Knock On Wood (James Cotton)
05 talk (James Cotton)
06 Nine Below Zero (James Cotton)
07 talk (James Cotton)
08 Dust My Broom (James Cotton)
09 The Creeper (James Cotton)
10 Turn On Your Lovelight (James Cotton)
11 Please, Please, Please (James Cotton) 

https://pixeldrain.com/u/4n85myW6

alternate: 

https://bestfile.io/en/0qC27AO3taKh1mX/file

The cover photo of Cotton is from this exact concert. I could only find a black and white photo of him. However, I also found a very low-res video of a bit of his performance. It was enough for me to figure out the color of his shirt. I used the Kolorize program to colorize the image, then I used the Krea AI program to improve the image quality.

Texas International Pop Festival, Dallas International Motor Speedway, Lewisville, TX, 8-30-1969, Part 1: Chicago

Many months ago, in late 2024, I got everything ready to post the 1969 Texas International Pop Festival here at this blog. But I've been putting it off and putting it off, because it's a lot to deal with. I have no less than 19 albums to post from the festival! So rather than keep delaying, I've finally decided to post it in chunks, to make it a more manageable task. This first chunk starts with a set by Chicago.

1969 was the first big year of large rock festivals, and it was arguably the best year, before problems with hard drugs and commercialism crept in. One 1969 festival overshadows all others: Woodstock. Certainly, that had the biggest cultural impact. But in terms of the actual music, there were some other festivals that were almost as good. The problem is, most of these other festivals weren't recorded, or if they were the recordings either are poor audience bootlegs or they're sitting in some record company vault. The Texas International Pop Festival is the one big exception to this. For some reason, soundboard bootlegs exist for much of the festival (though certainly not all of it), and high quality audience bootlegs can fill in some of the important missing bits. Between the sheer number of quality acts in the festival, and the quality of the recordings, this is a "must have" for anyone interested in the music from the era, in my opinion.

Since this is the first album I'm posting from the festival, let me give some background to the festival as a whole. There were over 40 rock festivals in 1969, most of them in the summer, but there were only a handful of really big ones. The first really big one took place in Atlanta in July, the Atlanta International Pop Festival. A 25 year old Texan named Angus G. Wayne III attended. He was the son Angus G. Wayne, the founder of the Six Flags Over Texas amusement park, so he had some money, and he wanted to get into the music promotion business. He loved the Atlanta festival and decided Texas needed one. So he immediately joined with Alex Cooley, the main promoter of the Atlanta festival, to quickly put one together before the summer ended. 

Wayne and Cooley didn't have much time, and they didn't have much money. They only had $120,000 to pay for the music acts. But that much money went a long way back then, apparently, because they were able to put together a stellar line-up of 26 different acts for a three-day festival, while spending no more than $10,000 on any one act. For the location, they chose a racetrack in Huntsville, a town of only 8,000 people on the outskirts of the Dallas-Ft. Worth area.

As chance would have it, another big festival took place two weeks before the Lewisville one: Woodstock! At the time the Lewisville festival was planned, the planners had no idea what a big deal Woodstock would be. It definitely increased interest in their festival too. Many people who missed out on Woodstock came from all over the U.S. and beyond to at least attend this similar festival.

But at the same time, Woodstock increased negative publicity on what they were trying to do. Keep in mind that Texas was a very politically and cultural conservative state back then, even more than it is now. That went doubly so for rural towns like Lewisville. The promoters got all the necessary permits before the Woodstock festival. Once the conservative leadership of Lewisville heard the news coming out of Woodstock, they tried to stop it, but there were too late. However, there was a concerted push to at least bad-mouth the festival, especially in the media. For instance, the Dallas Morning News published an editorial before the festival, titled "Nausea at Lewisville." 

Here's just a short except from that editorial, which reads today almost like an over-the-top parody of intolerant conservatism: 

"Young people assembling to hear music is one thing. Young people assembling in unspeakable costumes, half-naked, bare-footed, defying propriety, and scorning morality is another. ... Who and where are their parents? Where do these young people get the money to loaf around the country in their smelly regalia? ... The great majority of youngsters in this area are at home where they ought to be, mowing yards, working part-time jobs, and preparing for useful lives. In the meantime, the lewd and loose in Lewisville will swing and sway. They are to be pitied."

Due to that sort of backlash, many people were scared off from attending, especially due to parents who wouldn't let them go. The promoters were hoping for 200,000 or more to attend, but the real attendance was more like 120,000. Tickets were $6 per day, which was cheap even for the era. The promoters ultimately lost money, mostly due to increased insurance and security costs due to fears generated by the conservative backlash. 

But still, it was widely seen as a successful festival. The weather was sunny all three days, which meant no mud, and the crowd was cheery and peaceful. Only one person died (due to heat exhaustion, not drug use). The police were overwhelmed by the sheer numbers and generally stayed outside the venue. That meant drug use inside the venue was rampant, but mostly just pot and psychedelics, because hard core drugs like heroin hadn't become a big problem with hippies yet.

The main "problem" was that some men and women went skinny dipping in an adjacent lake each day of the festival. This drew lots of curious outsiders, who rushed to the lake to see naked people. The police actually spent most of their time and energy trying to keep reactionary onlookers away from the nude bathers, who probably only numbered a couple dozen at most.

So that's the basic gist about the festival. If you want to know more, here's the Wikipedia page:

Texas International Pop Festival - Wikipedia 

But I found a fan site about the festival that's more interesting: 

https://www.austinnewsstory.com/TIPF/pop.htm

That had links to a longer essay about the festival. The links are dead, but I found an archived version. Most of the information I'll be writing about the festival comes from this multiple-page account, which starts here: 

https://web.archive.org/web/20160831184630/http://www.watermelon-kid.com/history/dallas/features/sonbeth/SixtiesDallas-sonbeth2.htm

Now, let's get to this album, and the surviving recording of it. Chicago released their first album, called "Chicago Transit Authority," in 1969. (The band was also called "Chicago Transit Authority" at the time, but I'm choosing to ignore that because they quickly changed their name when the real Chicago Transit Authority, a government entity, threatened to sue them.) At first, the band was unknown, but they began to slowly grow in popularity due to lots of touring, especially at festivals like this one. In fact, their first album wouldn't peak in the album charts until 1971, two years after it was released! So it's a safe bet that few people in the audience knew of the band beforehand, but they were well received.

The recording for this album is rather unusual for the festival because it comes from three different sources. Some acts played twice, or even occasionally three times, over the three days of the festival. Chicago was one of these acts, playing sets on both the first day, August 30, and the second day, August 31. The first eight tracks here are from a soundboard of the August 30th set. Tracks nine and ten are from a soundboard of the August 31st set. The last three tracks are from an audience bootleg, also from August 31st. (There were a few more songs from the audience boot that I didn't include since there are soundboard versions from August 30th.) 

Those last three tracks don't sound as good as the others, but they still sound fairly good. The audience boot was a pretty good one for the era. But also, I used some tricks to make them sound better. I used the MVSEP program to reduce the crowd noise during the songs. I also used the UVR5 program to boost the lead vocals relative to the instruments.

Note that I'm not entirely sure of the order of music acts at the festival, but I have a rough idea, thanks to that longer essay linked to above, and other sources. Chicago didn't open the festival; Grand Funk Railroad did. However, their set from this day isn't available (though a later one is). But Chicago was one of the first, I think. If anyone knows the exact order of the musical acts, please let me know (especially before I post the rest of the festival). It probably was late in the day by the time the band got on stage though, since the first act, Grand Funk Railroad, didn't start until about four in the afternoon.

This album is 53 minutes long.

01 talk (Chicago)
02 Introduction (Chicago)
03 Does Anybody Really Know What Time It Is (Chicago)
04 South California Purples (Chicago)
05 talk (Chicago)
06 Beginnings (Chicago)
07 talk (Chicago)
08 25 or 6 to 4 [Edit] (Chicago)
09 talk (Chicago)
10 I'm a Man (Chicago)
11 talk (Chicago)
12 Questions 67 and 68 (Chicago)
13 Poem 58 (Chicago) 

https://pixeldrain.com/u/zyQpygBQ

alternate: 

https://bestfile.io/en/17ZYS81wzAIujz2/file

I had a hard time finding a good photo of Chicago. It's not easy finding good photos of them because they have so many band members, scattered all over the stage. So instead of using a really crappy photo of just one or two band members, I chose a shot of the audience. I think it's a good introduction to showing what the festival looked like as a whole. I used the Krea AI program to improve the details.

As for the text, the top part is taken directly from a concert poster for the festival. I then tried to match that style with the text at the bottom.