Various Artists - Monterey International Pop Festival, Monterey County Fairgrounds, Monterey, CA, 6-18-1967, Evening Show

This is the fifth and last album I'm posting from the 1967 Monterey International Pop Festival. As I've mentioned previously, the festival itself was divided into five parts, and one had to buy tickets for each part. This is the longest album from the festival, and probably the most important in musical history, especially due to the set by Jimi Hendrix.

With most of the previous parts from this festival, I've made reference to a Wikipedia page listing all the songs known to have been performed at the festival. Let me do that again, as I mention the missing portions:

Monterey Pop Festival set list - Wikipedia 

The Blues Project started the evening show. The two songs here are the only ones listed at the Wikipedia page, but it's known they performed more. Unfortunately, the band was in the process of breaking up when this concert happened. A key member, Al Kooper, left a couple of months prior to this. (He had his own solo set at the festival.) The band collapsed shortly thereafter, though there were later reunions.

The second set was by Big Brother and the Holding Company, starring their lead singer Janis Joplin. As I mentioned previously, they were the only act to perform twice at the festival. That's because they went over very well the first time, the day before, but the band's manager didn't allow them to be filmed at that time. (The cameras were running but pointed at the ground, which at least allowed the audio to be recorded.) By the next day, the band members were convinced that getting included in the documentary about the festival would give their career a big boost. So they played a short set of just 15 minutes, compared to 23 minutes the day before, in order to get enough film footage. It turned out to be a very smart career move indeed. When the "Monterey Pop" movie documentary came out in 1968, Joplin's performance in it helped make her a big star.

The next set is quite a mystery - even the band's name: "the Group with No Name." This band was led by Cyrus Faryar, a singer-songwriter who had previously been in the Modern Jazz Quartet. But no songs from this set have been made public, and none or the names of any of the songs performed are known, nor is the number of songs. It seems they were not well received. A Newsweek review of the festival said they "were terrible and may well not last long enough to get a name." That turned out to be accurate, because the band broke up before they released any music. 

After that came Buffalo Springfield. I'm especially excited about this, because up until 2024, only five of the songs they performed were publicly available. But that year, there was a "record store day" release of their entire set here. That release included three songs that were previously unreleased, and even unbootlegged: "Hung Upside Down," "Nobody's Fool," and "Pretty Girl Why."

Here's a review about the Buffalo Springfield set in Rolling Stone Magazine in 2024: 

First-Ever Buffalo Springfield Live Album Released on Record Store Day 

This performance is unusual in that key member Neil Young quit the band about a week before the festival, only to rejoin shortly afterwards. (He quit and rejoined multiple times.) Young was temporarily replaced by two people: lead guitarist Doug Hastings and rhythm guitarist and vocalist David Crosby. Crosby's involvement was controversial, because he was still a member of the Byrds at the time, and in fact he performed in their set at the festival as well. 

Here's a quote about the controversy by Roger McGuinn, the leader of the Byrds: "I didn't know David was going to sit in with Buffalo Springfield, and that wasn't really a big deal. What was happening was that we were not happy with each other, like a marriage breaking up. He was really upset because we didn’t do his song 'Triad.' That was the big bone. He wanted to be the lead singer of the Byrds, you know, the head Byrd. That wasn't happening. To his satisfaction, we were sharing vocals equally. At Monterey I was trying to be a trooper, like Bobby Darin taught me, and try and soldier on and do it."

I don't know how much Crosby's sitting in with Buffalo Springfield impacted his role with the Byrds, if at all. But he was kicked out of the band a few months later. And his involvement with Buffalo Springfield was key to his future music career, because he would later be a member of Crosby, Stills, Nash and Young with two members of Buffalo Springfield: Stephen Stills and Neil Young.

The next act up was the Who. Jimi Hendrix moved to Britain in late 1966 and soon found fame there. One he was living there, he and the Who had seen each other perform. They were both impressed with and intimidated by each other. Neither wanted to be upstaged by the other at this festival, especially since both had made destroying their instruments part of their acts. They decided to toss a coin. The  Who won the right to play first.

Adding to the competition between the two acts, backstage before their sets, Hendrix played his guitar while staring at the Who's lead guitarist Pete Townshend, trying to impress him with his skills. Townshend said later, "It was just Jimi on a chair playing at me. Playing at me like 'Don't fuck with me, you little shit.'" 

Here's how the Wikipedia entry about the festival describes the finale to the Who's set: "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 as the band exited the stage." 

The Who's set was relatively short, only 25 minutes, when they were allowed to play up to 40 minutes. So their set here is complete. But their performance was very impactful, especially due to the destruction of their instruments. They were a British band, and hadn't had any hits in the U.S. yet, except for "Happy Jack" in 1966, though there already was a lot of buzz about them. Their performance at the festival would raise their profile in the U.S., helping them to have two more U.S. hits later that year, "Pictures of Lily" and "I Can See for Miles."  

Eric Burdon of the Animals later commented about the Who's performance: "The American audience went: 'What the hell is this?!' The climax of the show was just like a terrorist attack, with the bombs and the smoke. It was just shocking!"

After the Who came the Grateful Dead. The band would go on to play concerts for decades, becoming one of the most popular touring bands in the U.S. But keep in mind this was very early in their career, with their debut album ("The Grateful Dead")coming out only three months prior to this festival. In a Newsweek review of the festival, music critic Michael Lydon commented: "The Grateful Dead were beautiful. They did at top volume what Shankar had done softly. They played pure music, 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.

The next act was the Jimi Hendrix Experience. This was possibly the most musically historic set of the entire festival. As an aside, Hendrix was not well known in the U.S. at the time of the festival. The main reason why he appeared at the festival, and especially at a pivotal spot near the end of the final night, was because Paul McCartney of the Beatles was a member of the board of governors for the festival, and he absolutely insisted that Hendrix had to perform there. The Wikipedia entry on the festival has a good summary of what happened during Hendrix's set, so I'll quote that here:

"Brian Jones of the Rolling Stones introduced [Hendrix]. His use of extremely high volumes, the feedback this produced, and the combination of the two along with his dive-bombing use of the vibrato bar on his guitar, produced sounds that, with the exception of the British in attendance, none of the audience had ever heard before. This, along with his look, his clothing, and his erotic antics onstage, had an enormous impact on the audience. To take things further, aware of the Who's planned explosive finale, he had asked around for a can of lighter fluid, which he'd placed behind one of his amplifier stacks before beginning his set. He ended his Monterey performance with an unpredictable version of 'Wild Thing,' which he capped by kneeling over his guitar, pouring lighter fluid over it, setting it on fire, and then smashing it onto the stage seven times before throwing its remains into the audience. This performance put Hendrix on the map and generated an enormous amount of attention in the music press and newspapers alike." 

Actor Dennis Hopper had this to say: "Hendrix was certainly a great guitar player. He became part of the guitar, it was an extension of his, ah, his feelings and his sex and everything. He was unmatched in that."

And music critic Robert Christgau wrote this in The Village Voice decades later: "Music was a given for a Hendrix stuck with topping the Who's guitar-smashing tour de force. It's great sport to watch this outrageous scene-stealer wiggle his tongue, pick with his teeth, and set his axe on fire, but the showboating does distract from the history made that night - the dawning of an instrumental technique so effortlessly fecund and febrile that rock has yet to equal it, though hundreds of metal bands have gotten rich trying."

The final act of the evening, and thus the entire festival, was the Mamas and the Papas. They had had many big hits of their own by this time. But the band's main songwriter John Phillips had recently wrote a single meant to promote the festival, "San Francisco [Be Sure to Wear Flowers in Your Hair]." Rather than had his own band play it, he gave the song to Scott McKenzie, who was having a huge hit with it right when the festival was happening (as I detailed in the write-up in the first part of this festival). McKenzie wasn't just a random singer though. He and Phillips were friends since childhood, and played in different bands together. When Phillips created the Mamas and the Papas, he invited McKenzie to join, but McKenzie turned down the offer, wanting to try a solo career instead. In any case, towards the end of this set, McKenzie joined the band and sang his hit song with the Mamas and the Papas backing him.

Indian sitar player Ravi Shankar had this to say: "The group who really made me feel good, I can't tell you how nice, was the Mamas and the Papas. There was melody, there were lyrical moments, and beautiful - and they looked so good together." (As an aside, he enjoyed many of the other acts in the festival, but hated the destruction of instruments by the Who and Hendrix.)

Now, this is going to be an extra long write-up, because before I finish with this festival, I want to write a little bit about how it came to be in the first place. I'm putting that explanation here because it turns out the main instigators of the festival were actually the members of the Mamas and the Papas, so I think it's fitting to put this explanation after talking about their set. The festival came together rather quickly, in just a few months, but during that time the band members worked tirelessly on it, basically putting the band on hold for a while to do so.

The band put on a pretty good performance despite being too busy organizing the festival to rehearse much beforehand. But in retrospect, the fact the band spent so much time organizing the festival was probably a sign that they had grown tired of being in a band together. Phillips remembered as the apex of the band's career, saying, "There would never be anything quite like it again." The band put out a new album in October 1967. But after that, they decided to take long vacations to "get the muse going again," according to Phillips. But instead, the band fought during their vacation time, resulting in an announcement that they had broken up. They did manage to reunite for another album in 1968, only to break up again.

The festival was originally conceived as a money-making event. But the people involved didn't have the money to pay for star acts. So the organizers changed the idea to a benefit concert (although first class transportation was paid for all the acts). The profits from sales of albums drawn from the festival still help fund charities decades later, especially due to steady profits from the hit "Monterey Pop" movie documentary. Ravi Shankar was the only act to be paid, because he signed a contract early on, before it was changed to a benefit concert.

The festival had a very unusual board of governors to help organize it: John Phillips, Donovan, Mick Jagger, Paul McCartney, Roger McGuinn, Johnny Rivers, Smokey Robinson, Paul Simon, Brian Wilson, Lou Adler, Terry Melcher, Andrew Loog Oldham, and Alan Pariser. All the next except the last four were famous musicians at the time. The last four were successful music producers or managers. Some, like Phillips and Simon, were very involved, while others like Smokey Robinson basically just gave their name to the effort.

By the way, one of the last things I want to mention about this festival is all the bands that didn't play. Here are some names, plus the reasons why they didn't participate in paranetheses: the Beach Boys (internal squabbles), Donovan (couldn't get a U.S. work visa due to a drug charge), the Kinks (couldn't get a U.S. work visa due to being banned due to a union dispute), the Lovin' Spoonful (fighting a drug charge, plus internal squabbles), and Dionne Warwick (cancelled right before the festival because she had a schedule conflict). Kaleidoscope (the U.S. band, not the British one) did play at the festival, but only outside, for the crowd who didn't have tickets to get inside.

There were still more acts that were asked but declined. Producer Lou Adler later said, "There weren't a lot of tours [at the time]. We're still talking 1967. Not a lot of acts [were] working all the time. The San Francisco acts [were] playing around San Francisco. The big acts couldn't get visas to get in. The Motown acts were working, the blues acts were working, but the acts that we went after, they had time even though we had a short window [to get them]. ... Everyone jumped on very quickly. We tried for the Impressions. We got some no's, from some of the Motown acts, and Chuck Berry passed."

In my recent write-up about the 1969 Toronto Rock and Roll Revival Festival, I mentioned that legendary 1950s star Chuck Berry was notoriously cheap. This is another good example of that. John Phillips tried to invite Berry. "I told him on the phone, 'Chuck, it's for charity,' and he said to me, 'Chuck Berry has only one charity and that's Chuck Berry. $2,000.' We couldn't make an exception." 

Anyway, that's the festival. I hope you enjoy. Personally, if I could get in a time machine and see just one rock festival, I think it would be this one, even over Woodstock in 1969. Actually, the people who created the Woodstock festival came up with the idea immediately after watching the "Monterey Pop" documentary movie in 1968. Like many others, they wanted to repeat the success of Monterey, but make a lot of money from it instead of doing it as a benefit concert.

Here's an interesting quote from Chris Hillman of the Byrds, contrasting the two festivals. "I didn't do Woodstock, and I remember Gram Parsons and I were sharing a house in the San Fernando Valley, and Woodstock was on the news. The situation there. We were laughing, and I said, 'That's no Monterey.' And it wasn't! There was a sense of commaraderie at Monterey." 

This album is three hours and 35 minutes long. 

01 talk (Tommy Smothers)
02 talk (Paul Simon)
03 The Flute Thing [Instrumental] (Blues Project)
04 talk (Blues Project)
05 Wake Me, Shake Me (Blues Project)
06 talk (Tommy Smothers)
07 Combination of the Two (Big Brother & the Holding Company)
08 Harry (Big Brother & the Holding Company)
09 Ball and Chain (Big Brother & the Holding Company)
10 talk (Peter Tork)
11 For What It's Worth (Buffalo Springfield)
12 Nowadays Clancy Can't Even Sing (Buffalo Springfield)
13 talk (Buffalo Springfield)
14 Hung Upside Down (Buffalo Springfield)
15 talk (Buffalo Springfield)
16 A Child's Claim to Fame (Buffalo Springfield)
17 talk (Buffalo Springfield)
18 Nobody's Fool (Buffalo Springfield)
19 talk (Buffalo Springfield)
20 Pretty Girl Why (Buffalo Springfield)
21 talk (Buffalo Springfield)
22 Rock and Roll Woman (Buffalo Springfield)
23 Bluebird (Buffalo Springfield)
24 talk (Eric Burdon)
25 Substitute (Who)
26 talk (Who)
27 Summertime Blues (Who)
28 talk (Who)
29 Pictures of Lily (Who)
30 talk (Who)
31 A Quick One while He's Away (Who)
32 talk (Who)
33 Happy Jack (Who)
34 talk (Who)
35 My Generation (Who)
36 talk (Bill Graham)
37 talk (Bill Graham)
38 Viola Lee Blues (Grateful Dead)
39 talk by emcee (Grateful Dead)
40 talk (Grateful Dead)
41 Cold Rain and Snow (Grateful Dead)
42 talk (Jimi Hendrix)
43 Alligator (Grateful Dead)
44 Caution [Do Not Stop on Tracks] (Grateful Dead)
45 talk (Bill Graham)
46 talk (emcee)
47 talk (Brian Jones)
48 Killing Floor (Jimi Hendrix)
49 talk (Jimi Hendrix)
50 Foxy Lady (Jimi Hendrix)
51 talk (Jimi Hendrix)
52 Like a Rolling Stone (Jimi Hendrix)
53 talk (Jimi Hendrix)
54 Rock Me Baby (Jimi Hendrix)
55 talk (Jimi Hendrix)
56 Hey Joe (Jimi Hendrix)
57 talk (Jimi Hendrix)
58 Can You See Me (Jimi Hendrix)
59 talk (Jimi Hendrix)
60 The Wind Cries Mary (Jimi Hendrix)
61 talk (Jimi Hendrix)
62 Purple Haze (Jimi Hendrix)
63 talk (Jimi Hendrix)
64 Wild Thing (Jimi Hendrix)
65 talk (Paul Simon)
66 Straight Shooter (Mamas & the Papas)
67 talk (Mamas & the Papas)
68 Got a Feelin' (Mamas & the Papas)
69 talk (Mamas & the Papas)
70 California Dreamin' (Mamas & the Papas)
71 talk (Mamas & the Papas)
72 Spanish Harlem (Mamas & the Papas)
73 Somebody Groovy (Mamas & the Papas)
74 talk (Mamas & the Papas)
75 I Call Your Name (Mamas & the Papas)
76 talk (Mamas & the Papas)
77 Monday, Monday (Mamas & the Papas)
78 talk (Mamas & the Papas)
79 San Francisco [Be Sure to Wear Flowers in Your Hair] (Mamas & the Papas & Scott McKenzie)
80 talk (Mamas & the Papas)
81 Dancing in the Street (Mamas & the Papas)

https://pixeldrain.com/u/8vU9t776

alternate:

https://bestfile.io/en/3WanaF2nlZaXyl8/file

Like most of the cover art I've made for this festival, I had too many good options to choose from, so I broke the image into four smaller ones. From top left clockwise: David Crosby (with hat), Richie Furray (with glasses) and Stephen Stills of Buffalo Springfield, Roger Daltrey and Pete Townshend (smashing his guitar) of the Who, the Mamas and the Papas, and Jimi Hendrix.

Various Artists - Monterey International Pop Festival, Monterey County Fairgrounds, Monterey, CA, 6-18-1967, Afternoon Show - Ravi Shankar

Here's the fourth part out of five of the 1967 Monterey International Pop Festival. The fourth part was not like the others. For all the other four parts, many different musical acts were featured, with each one getting a maximum of 40 minutes to perform. But for this part, there was just one performer: Indian sitar player Ravi Shankar. His set of instrumental music lasted close to two hours.

To understand the importance of this performance, one has to keep in mind the state of popular music at the time. There was virtually nothing in Western countries like what is called "world music." There had been some hints, especially in the last year or so with George Harrison of the Beatles dabbling with Indian music, especially with the song "Love You To" on the Revolver album. But those were a mixture of Western and non-Western musical styles. This festival was really the first mass cultural event in the U.S. to go all out with authentic music from India in the form of Ravi Shankar. On top of that, the previous day featured a set by Hugh Masekela, a South African who performed jazz influenced by South African musical styles. (Unfortunately, his impact was lessened by the fact that only one of the songs from his set has become publicly available.)

As a result, many if not most of the people in the audience were blown away to experience something so different and interesting for the first time. That included most of the stars of the other musical acts, who were very curious after knowing a little bit about Harrison being recently tutored in sitar playing by Shankar. For the recording I have of this performance, I was surprised that the cheering at the end went on and on and on, much longer than any other in the festival that I came across. And you can see some of that rapturous response from the "Monterey Pop" movie documentary, which chose to make about 12 minutes of Shankar's performance the finale of the movie. 

Instead of explaining more, I've found some interesting quotes about this performance from famous people who were there at the festival. 

Mickey Dolenz, drummer and vocalist for the Monkees: "Ravi Shankar was the most moving, spiritual experience, and it allowed you to get into the pulse and the rhythm and into the deepest meditation. If you opened your eyes, you saw people with their eyes closed just listening and being and swaying. No one was smoking, no cell phones [laughs]. It was two hours of uninterrupted meditation. In the afternoon. It probably had a great effect, but first of all it was dark in the sense most people had their eyes closed... It was just being in the presence of those musicians [Shankar, Ustad Alla Rakha, and Kamala Chakravarty] and experiencing a form of music not yet really known. The Beatles had sort of introduced [Indian music] to us, but we had never heard Ravi Shankar do a concert. This was something new to the entire audience. It was as close to a kind of 'born again' experience that anybody could have had in that audience. But to be honest, it wasn't just him. It was the tabla player, Rakha. Of course being into drumming, those rhythms I was very unfamiliar with, as were most people of those Indian rhythms. So it wasn't just Ravi, it was the whole thing, Rakha, along with the third performer Kamala (Chakravarty) on tamboura."

Al Kooper, keyboardist for the Blues Project, as well as Blood, Sweat and Tears: "Great set. I was sitting in the audience with another artist. And I'm getting an education because I don't know much about [Indian music]. Didn't know much about him, just picked up on him through the Beatles, like everybody else. Watching the musicianship between Alla Rakha and Ravi Shankar killed me. I thought that was amazing when they were trading passages."

Singer, model, and actress Peggy Lipton: "Monterey reached its climax for me when we took [some drugs] in the early afternoon and there was a light drizzle and we went to hear Ravi Shankar. I remember I left my body. That was it for me. It was beautiful, peaceful, and chilled everybody out. Ravi transported me. It was gently raining, and he transported everybody. We were all taken there. It was like we were put on a spaceship and driven to another planet."

I've read in places that the performance lasted three hours, which would mean this isn't complete. But the quote from Dolenz says it was two hours. I think this was the full thing. Part of the set was released as the live album "Live: Ravi Shankar at the Monterey International Pop Festival." That came out before the end of 1967, and it peaked at Number 43 on the U.S. album chart, a remarkable result for this type of music. But it was only 53 minutes long, far from the full performance here.

Personally, I found listening to this interesting, but it's not for everyone. I think of a lot of the rapturous response had to do with the exact circumstances of what was happening musically in 1967. One can easily find "world music" of many varieties these days, so the context is very different.

Here's another interesting quote, Shankar's own impressions of the performance: "In the afternoon, we set up a special section between 1:00-3:00 p.m. where there would be no one in front of me and after me. It was cloudy, cool, it had rained a little and that's when I played, and it was like magic. Jimi Hendrix was sitting there. [Jerry] Garcia was there. I remember a few names. All of them were there, and you can see on the [Monterey Pop documentary] film what magic it had. I was so impressed and it is one of my memorable performances. I didn't plan for this. I was grateful to God that I was sitting in the atmosphere without anyone disturbing me. It drizzled for a few minutes and then it stopped. So, it was was cloudy and there were flowers from Hawaii and you know, what atmosphere! After my set, it was crazy. I have never felt such a commotion of this sort. It was so pure, in spite of the fact that there were many people who were also strong. But it didn't matter, because the whole atmosphere was so clean and beautiful and I could give my best. That's all I can say."

I found all the quotes included in this write-up at this webpage. I highly recommend it if you want to know more about the festival, since it mainly consists of many more quotes from famous people who were there:

The 1967 Monterey International Pop Festival | Cave Hollywood 

As with the vast majority of everything else I'm posting from this festival, I got this music from Simon, a person who put together a collection of all the music from the festival he could find in 2022. There are more details in the PDF included in this download zip, written by Simon. This full version has excellent sound quality, despite being unreleased. 

Also, for once, I didn't do any audio editing. Since this was all instrumental, there were no vocals possibly needing adjusting. I did break the banter into their own tracks, however.

This album is an hour and 39 minutes long. 

01 talk (Ravi Shankar)
02 Raga Todi-Rupak Tal [Instrumental] (Ravi Shankar)
03 talk (Ravi Shankar)
04 Tabla Solo in Ektal [Instrumental] (Ravi Shankar)
05 talk (Ravi Shankar)
06 Raga Shuddha Sarang-Tintal [Instrumental] (Ravi Shankar)
07 talk (Ravi Shankar)
08 Raga Bhimpalasi [Instrumental] (Ravi Shankar)
09 talk (Ravi Shankar)
10 Dhun [Dadra and Fast Teental] [Instrumental] (Ravi Shankar)

https://pixeldrain.com/u/bErdoe6Q

alternate:

https://bestfile.io/en/6wIafIITkDSptke/file

The cover photo is from this exact concert.

Various Artists - Monterey International Pop Festival, Monterey County Fairgrounds, Monterey, CA, 6-17-1967, Evening Show

Here's the third part of the 1967 Monterey International Pop Festival. As I mentioned previously, the festival was broken into five parts, and one had to buy separate tickets for each part. This one took place on the evening of the second day of the festival.

I've previously discussed where this material comes from. Basically, this collection was put together by someone named Simon in 2022. There's a PDF included in the download that shows the source material Simon used for each song here. For this part, I've only added in a version of the set by the Byrds, which was released as a "record store day" album in 2024.

In my write-ups to the previous parts of the festival, I've mentioned there's a Wikipedia page listing all the known songs performed at the festival. Here's that link again:

Monterey Pop Festival set list - Wikipedia 

Let's look at what's here compared to what's still missing. The first band up was Moby Grape. I have five of their songs here. They also played at least "Fall on You" and "Lazy Me." The Simon-made version actually had about seven seconds of "Lazy Me," but since it was so damn short, I didn't bother to include that. 

Here's an interesting quote about the festival from Peter Lewis of Moby Grape: "I'm not sure I thought about the night we played as a chance to prove anything. But our old manager did and had an argument with [producer] Lou Adler about it. Adler decided not to put us in the film. The band didn't know about this until after the fact. When we did find out what our manager had done, we fired him. But the real damage was undoable, and in retaliation, instead of playing in a prime Saturday night slot, Adler had us open the show on Friday night. ... As I recall, we had a good set anyway and it went by real fast. The vibe at Monterey just got better all weekend, and by the time it was over I really felt like I was part of something bigger than the sum of its parts. This all had to get worked out. But to me it really seemed like when it was over, all the bands left with a sense of renewal. It was as if the days of trying to out play each other were over and in its place was a common cause." 

There's just one song here performed by Hugh Masekela. The Wikipedia page lists two more, but says that other unknown songs were played as well.

The Byrds set is finally complete, I'm happy to say. The 2024 record store day release mentioned above included "I Know My Rider" (usually known as "I Know You Rider"), which previously was unreleased and even unbootlegged. So that's exciting, and it gives me hope that even after all these years (writing this in 2025), there's more in the vaults that can be released someday.

Next up was a set by Laura Nyro. At the time, she was an up and coming singer-songwriter, with her debut album "More than a New Discovery" released earlier in 1967. Unfortunately, the set was not well received. Music critic Michael Lydon wrote a review of the whole festival that appeared in Newsweek just a couple of days after the festival ended, and wrote that "the evening hit bottom with Laura Nyro," adding that her set was a disaster. In actual fact, if you listen to the performance, there's nothing wrong with it, and it doesn't sound like she was booed. But she probably didn't come off well mostly due to poor visuals. She wore a black evening gown dress and was backed by two female dancers, which would have fit in with a New York City supper club audience, but it didn't fit with the hippie vibe of the festival. 

Michelle Phillips of the Mamas and the Papas helped console Nyro after her performance. "After she came off the stage, I could see that she was really, really upset and in tears. I just grabbed her by the hand, I put her in one of the limousines in the back, and said to the driver 'let's go for a ride' so I could calm her down. And I think we were smoking a joint and I was telling her that 'she was great,' and she said, 'No, they hated me and I looked like an idiot up there.' I was just trying to do the sisterly thing."  

In any case, Nyro played at least four songs, but only one and a half are publicly available. By half, what I mean is only the second half of "Wedding Bell Blues" could be found. I didn't want just half of that song hanging there, so I found another version from that era. Unfortunately, there aren't many live recordings by her from then, and it seems she didn't play that song very often. The best thing I could find was a version from an audience bootleg of a concert in Berkeley in 1970, three years later. I used that to patch in the missing first half. But the sound quality difference is pretty great; it's easy to tell when the switch to the better sounding second half happens. Still, I figure that's better than only having part of the song.

Here's the link to the Newsweek review. Despite being too harsh about Nyro, in my opinion, there's a lot of interesting information and perspective in it.

Monterey Pop: The First Rock Festival | Current | The Criterion Collection 

After Nyro was Jefferson Airplane. This is their full set. That was followed by a set that started out with a few instrumentals from Booker T. & the MG's. Then Booker T. & the MG's backed Otis Redding. This is the full set for that as well. By the way, three songs into his five-song set, representatives from a musician's union demanded the show be stopped due to a curfew time limit, but the producers of the festival managed to fend that off until Redding's set was finished. (Thank God!)

At the time, Redding was a big soul star for the Black community in the U.S., but was little known to the larger white public. His Monterey Pop set changed that, drastically. Steve Cropper, who played lead guitar in Booker T. & the MG's at the festival, said, "Otis had found his audience. Monterey helped him cross over to a wider white pop market."

Redding's performance got a ton of good press at the time. For instance, that Newsweek review mentioned above summed up his set with these words: "ecstasy, madness, loss, total, screaming, fantastic." In 1968, two songs from his performance would be one of the highlights of the hit "Monterey Pop" movie documentary. Still later, in 1970, the whole performance would be released on a hit album (split with some songs by Jimi Hendrix from the festival). Unfortunately though, Redding didn't get to live long enough to enjoy this popularity breakthrough, since he died in a plane crash at the end of 1967.

By the way, here's a fun quote from Bob Weir of the Grateful Dead about Redding's performance: "I was pretty sure that I'd seen God onstage. Otis looked to be 12 or 14 feet tall, stalking the lip of the stage like a caged tiger, just shooting lightning and sparks. He was amazing!" And here's a quote from Lou Adler, who was the producer of the Mamas and the Papas, Johnny Rivers, and many more: "Otis just transported the entire audience to church. They became the congregation, and he was the preacher." 

And here's another fun quote from Roger McGuinn of the Byrds: "I remember watching Otis Redding and he really blew my mind. I had never seen anything like him before. I remember I was backstage listening to Otis and Paul Simon and I were talking. I said, 'Man, this guy is scary!' And Paul replied, 'He's not scary. He's great!' 'That was what I meant, Paul.'" 

That brings up an interesting aspect of the festival. The Wikipedia article on the festival explains it well: "Monterey was also the first high-profile event to mix acts from major regional music centers in the U.S. – San Francisco, Los Angeles, Chicago, Memphis, Tennessee, and New York City – and it was the first time many of these bands had met each other in person." That also was true for British bands meeting American ones for the first time, and vice versa.

So that's part of the reason why Redding was such a revelation, because most people in the largely white audience, even the other musicians, had never seen any soul music performance like his before. By the time the Woodstock Festival happened in 1969 it was very different, with many of these musical acts crossing the paths of the other acts many times over, and often becoming friends. 

The other performances here were all excellent too, even the Nyro one (now that the "hippie" vs. "square" dynamic no longer matters). For instance, here's what that Newsweek review had to say about Jefferson Airplane. "[They] were fantastically good. Backed with the light show put on by Headlights, who do the lights at the Fillmore, they created a special magic. Before they came on, the question hung: is the Airplane as good as its reputation? They thoroughly proved themselves."

As I mentioned in the write-ups for the previous two parts, the sound quality is excellent throughout, especially for a 1967 live recording. That said, the lead vocals were often low in the mix. I managed to fix that when it was needed, using the UVR5 audio editing program. I did that for about half the songs. For instance, Redding's booming voice didn't need any boosting, but the Moby Grape and Byrds sets benefited a lot from louder vocals relative to the instruments. 

This album is an hour and 55 minutes long. 

01 talk (Tommy Smothers)
02 Indifference (Moby Grape)
03 talk (Moby Grape)
04 Mr. Blues (Moby Grape)
05 Sitting by the Window (Moby Grape)
06 Omaha (Moby Grape)
07 Hey Grandma (Moby Grape)
08 Bajabula Bonke [Healing Song] (Hugh Masekela)
09 talk (Mike Bloomfield)
10 Renaissance Fair (Byrds)
11 talk (Byrds)
12 Have You Seen Her Face (Byrds)
13 talk (Byrds)
14 Hey Joe (Byrds)
15 talk (Byrds)
16 He Was a Friend of Mine (Byrds)
17 talk (Byrds)
18 Lady Friend (Byrds)
19 talk (Byrds)
20 Chimes of Freedom (Byrds)
21 I Know My Rider [I Know You Rider] (Byrds)
22 talk (Byrds)
23 So You Want to Be a Rock 'n' Roll Star (Byrds with Hugh Masekela)
24 Wedding Bell Blues [Edit] (Laura Nyro)
25 Poverty Train (Laura Nyro)
26 talk (Jerry Garcia)
27 Somebody to Love (Jefferson Airplane)
28 talk (Jefferson Airplane)
29 The Other Side of This Life (Jefferson Airplane)
30 White Rabbit (Jefferson Airplane)
31 High Flying Bird (Jefferson Airplane)
32 Today (Jefferson Airplane)
33 She Has Funny Cars (Jefferson Airplane)
34 Young Girl Sunday Blues (Jefferson Airplane)
35 talk (Jefferson Airplane)
36 The Ballad of You and Me and Pooneil (Jefferson Airplane)
37 Booker-Loo [Instrumental] (Booker T. & the MG's)
38 Hip Hug-Her [Instrumental] (Booker T. & the MG's)
39 Philly Dog [Instrumental] (Booker T. & the MG's & the Mar Keys)
40 Shake (Otis Redding)
41 talk (Otis Redding)
42 Respect (Otis Redding)
43 I've Been Loving You Too Long (Otis Redding)
44 [I Can't Get No] Satisfaction (Otis Redding)
45 talk (Otis Redding)
46 Try a Little Tenderness (Otis Redding)

https://pixeldrain.com/u/Q28eTp32

alternate:

https://bestfile.io/en/0b13fTWg6oxVOK2/file

Like most of the cover art I've made for this festival, I had too many good options to choose from, so I broke the image into four smaller ones. From top left clockwise: Moby Grape, David Crosby and Roger McGuinn of the Byrds, Otis Redding, and Grace Slick and Marty Balin of Jefferson Airplane.

Various Artists - Monterey International Pop Festival, Monterey County Fairgrounds, Monterey, CA, 6-17-1967, Afternoon Show

Here's the second out of five albums I'm posting that make up the 1967 Monterey International Pop Festival. As I mentioned in the first album, the festival was broken up into five parts, and one had to buy tickets for each part. This part consisted of the afternoon show on June 17th, the second day of the festival.

Generally speaking, the different parts didn't really have musical themes, except for this one, because most of the musical acts in this part were heavily influenced by the blues.

As I mentioned in the write-up for the first part, I'm mostly just posting what a person named Simon put together in 2022, with some additions based on material made available since then. As with all the parts, I'm including a PDF Simon made that explains the different sourcing for each of the songs.

Also in my write-up for the first part, I mentioned a Wikipedia link that lists the known songs from the festival, including the ones where there's no publicly available recording. It's worth mentioning that link again:

Monterey Pop Festival set list - Wikipedia 

Let's review what's still missing. Canned Heat is known to have played the three songs included here, but also an unknown number of additional songs. The Big Brother and the Holding Company set is complete. This was the concert that turned that band's main lead singer, Janis Joplin, into a big star. In fact, they're the only band to play two sets in the festival. That's because their set here was one of the highlights, but a documentary film crew headed by D.A. Pennebaker failed to record any good footage of the band. So they were brought back to play a few songs on the third and final day.

Al Kooper had been a keyboardist for the Blues Project since 1965, but he quit that band shortly before this festival. The Blues Project got their own spot later in the festival, but Kooper got a solo spot too. (He would go on to form Blood, Sweat and Tears a year later.) According to the Wikipedia set list above, he only played two songs, and one of them is here. But according to a Newsweek article I linked to in the first part, Kooper's set lasted about half an hour, so he probably played more.

There are eight songs here performed by the Butterfield Blues Band, led by Paul Butterfield. Apparently there did more songs. But each act was allowed to up to 40 minutes, and their set already totaled 33 minutes, so there's probably just one or two missing songs. There are just two songs here by the Quicksilver Messenger Service, and they played five. One of the missing ones is a cover of "Who Do You Love," which they usually ended with a long jam.  There are two Steve Miller Band songs here, but they played at least one more, "Living in the U.S.A." 

The last act for this part of the festival was the Electric Flag. This band was formed in the spring of 1967 by guitarist Mike Bloomfield, and it was led by him, Barry Goldberg, and Buddy Miles. This actually was their very first concert. They would put out a studio album in early 1968 called "A Long Time Comin'," but by then the band's sound had already changed, with founder Bloomfield having less of a role. In fact, he left the band just a couple of months after the album was released. This concert is truer to the original vision he had for the band. There are six songs by them here, which actually is two more than the ones on the Wikipedia set list, so I don't know if there are still more missing ones.

I could say a lot more about all the different performances, but I think the music is all good and generally speaks for itself. The sound quality is excellent throughout, especially considering the time period. A lot of that quality is due to the unusually good sound system. Here's what the Wikipedia article on the festival has to say about that:

"Also notable was the festival's innovative sound system, designed and built by audio engineer Abe Jacob, who started his career doing live sound for San Francisco bands and went on to become a leading sound designer for the American theater. Jacob's groundbreaking Monterey sound system was the progenitor of all the large-scale PAs that followed. It was a key factor in the festival's success and it was greatly appreciated by the artists. For instance, in the 'Monterey Pop' film, David Crosby can clearly be seen saying 'Great sound system!' to band mate Chris Hillman at the start of the Byrds' soundcheck."

Note that that, like all the parts from this festival, this sounds even better than what Simon put together, because I boosted the vocals for the songs that needed that, using the UVR5 audio editing program. About half of the songs needed the boost, though there didn't seem to be much rhyme or reason to it. Some musical acts had low vocals across the board, or not, but often that was only the case for certain songs. Perhaps that's because this is a patchwork, put together from many different sources, both released and unreleased. 

By the way, here's a quote about the festival by Steve Miller: "I remember being really happy to be at Monterey, really excited. It was the first event I attended that was organized in such a really first-class way from top to bottom." 

And here are some quotes about the Big Brother and the Holding Company set, since that was the clear highlight of this part of the festival. Rock critic Keith Altham: "Janis Joplin was the staggering thing I saw on the whole show to me. Because I had never heard a woman sing like that. 'I told her afterwards, "you're the best female rock singer I've ever heard in my life.' She looked me up and down, smiled, and said, 'You get out much, honey?' I thought it was funny. She was very friendly. I liked her."

Record company executive Clive Davis: "When Janis (Joplin) took the stage, it was an unknown group to me totally, Big Brother and the Holding Company, and right from the outset it was something you could never forget. She took the stage, dominated, and was absolutely breathtaking, hypnotic, compelling, and soul shaking. You saw someone who was not only the goods but was doing something that no one else was doing. With that fervor, that intensity, and impact. So yes, that in effect, coupled with everything around me, the way people were dressing, what was going on in Haight Ashbury [the hippie district in San Francisco], the spirit in the air, and the feeling... I just said, 'You know, I am here at a very unique time. I'm feeling it. I'm feeling it in my spine. I'm feeling it in my sense of excitement. I'm feeling it in the impact. It's not only musical changes, but in societal changes.'" 

Davis immediately had the record company he was working for, Columbia Records, sign the band to a record contract, even though they had to buy out the band's existing contract with another company to do so.  

This album is two hours and 27 minutes long. 

01 talk (John Phillips)
02 talk (Canned Heat)
03 Rollin' and Tumblin' (Canned Heat)
04 talk (Canned Heat)
05 Dust My Broom (Canned Heat)
06 talk (Canned Heat)
07 Bullfrog Blues (Canned Heat)
08 talk (Chet Helms)
09 Down on Me (Big Brother & the Holding Company)
10 Combination of the Two (Big Brother & the Holding Company)
11 Harry (Big Brother & the Holding Company)
12 Roadblock (Big Brother & the Holding Company)
13 Ball and Chain (Big Brother & the Holding Company)
14 talk (Country Joe & the Fish)
15 Not So Sweet Martha Lorraine (Country Joe & the Fish)
16 talk (Country Joe & the Fish)
17 I-Feel-like-I'm-Fixin'-to Die Rag (Country Joe & the Fish)
18 talk (Country Joe & the Fish)
19 The Bomb Song (Country Joe & the Fish)
20 Section 43 [Instrumental] (Country Joe & the Fish)
21 Wake Me, Shake Me (Al Kooper)
22 Look Over Yonders Wall (Butterfield Blues Band)
23 Mystery Train (Butterfield Blues Band)
24 Born in Chicago (Butterfield Blues Band)
25 Double Trouble (Butterfield Blues Band)
26 Mary Ann (Butterfield Blues Band)
27 Driftin' Blues (Butterfield Blues Band)
28 One More Heartache (Butterfield Blues Band)
29 Droppin' Out (Butterfield Blues Band)
30 Dino's Song [All I Ever Wanted to Do] (Quicksilver Messenger Service)
31 If You Live (Quicksilver Messenger Service)
32 Mercury Blues (Steve Miller Band)
33 Super Shuffle [Instrumental] (Steve Miller Band)
34 talk (David Crosby)
35 Groovin' Is Easy (Electric Flag)
36 I'm Sick Y'All (Electric Flag)
37 Texas (Electric Flag)
38 talk (Electric Flag)
39 Over-Lovin' You (Electric Flag)
40 Night Time Is the Right Time (Electric Flag)
41 Wine [Drinkin' Wine, Spo-Dee-O-Dee] (Electric Flag)

https://pixeldrain.com/u/1mXxvn3Y

alternate:

https://bestfile.io/en/hpdZuZUHcB1hh9t/file

Like most of the cover art I've made for this festival, I had too many good options to choose from, so I broke the image into four smaller ones. From top left clockwise: Janis Joplin of Big Brother and the Holding Company, Country Joe McDonald of Country Joe and the Fish, Mike Bloomfield of the Electric Flag, and Paul Butterfield of the Butterfield Blues Band.

Various Artists - Monterey International Pop Festival, Monterey County Fairgrounds, Monterey, CA, 6-16-1967

The 1967 Monterey International Pop Festival was the first famous rock festival. In my opinion, it was one of the best, if not the very best, in terms of the quality of all the musical acts involved. 

Here's what the beginning of the Wikipedia entry about the festival has to say: "The festival embodied the theme of California as a focal point for the counterculture and generally is regarded as one of the beginnings of the 'Summer of Love' in 1967 and the public debut of the hippie, flower power, and flower children movements and era. Because Monterey was widely promoted and heavily attended, featured historic performances, and 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, and from it sprang what followed.'"

Here's the link to the full entry, if you're interested:

Monterey International Pop Festival - Wikipedia

I had no plans to post this festival at this blog, because there a four CD box set of festival highlights was released in 1992. I had that for ages, and added some other songs to it as I found them. But I changed my mind a few days ago. I happened to notice that the complete performances by Buffalo Springfield and the Byrds were released last year, but obscurely, as "record store day" limited releases. Each of those contained extra songs that I'd never heard before, at great sound quality. That inspired me to dig further, and I found a project someone named Simon put together in 2022, gathering everything he could find from the festival that was publicly available up until that time. This is basically what Simon did, plus a few more recent releases, especially the Buffalo Springfield and Byrds ones mentioned above. 

The 1992 box set contains five hours of music. But thanks mostly to Simon's work, I'm able to present eleven hours of music from the festival! That's more than double! And all of it is in fantastic sound quality, despite the fact that a big chunk of it is from unreleased sources. There's no audience bootleg sourcing here, except for half of one song later in the festival. So this is a must have, in my opinion, for anyone who enjoys music from this era. 

It is now accepted fact that something very special happened in the San Francisco Bay Area in the summer of 1967, a time which is now widely known as "The Summer of Love." I don't want to go into it too much, but there's a very big Wikipedia article about that as well:

Summer of Love - Wikipedia

In short, young people from all over the U.S., and even the world, were drawn to the Bay Area to experience the rising counter-culture there. The Monterey Pop Festival was a big part of that. There was one rock festival that took place a week before that in my opinion sounds even MORE musically amazing, the Fantasy Fair and Magic Mountain Music Festival. You can read about that here:

https://en.wikipedia.org/wiki/Fantasy_Fair_and_Magic_Mountain_Music_Festival 

Rolling Stone Magazine wrote a great article about it in 2014, which you can find here:

Fantasy Fair & Magic Mountain Music Fest: Story of 1st U.S. Rock Fest 

Unfortunately though, very little audio from that festival has survived (even though it seems there was an attempt to record it all). So it has pretty much been forgotten. But Monterey Pop was the opposite in that a popular documentary movie about it, "Monterey Pop," was released in 1968, and had a huge influence. Here's a quote from Wikipedia: "The screening of Monterey Pop in theaters helped raise the festival to mythic status, rapidly swelled the ranks of would-be festival-goers looking for the next festival, and inspired new entrepreneurs to stage more and more of them around the country." 

Another factor to consider is the song "San Francisco (Be Sure to Wear Flowers in Your Hair)," written by John Phillips, the main songwriter for the Mamas and the Papas, and recorded by Scott McKenzie. According to an NPR report, "local authorities in Monterey were starting to get cold feet over the prospect of their town being overrun by hippies" attending the festival. Phillips specifically wrote it "to smooth things over." It succeeded beyond all expectations. The single "only" reached Number Four in the U.S. singles charts. But it had a long staying power, ultimately selling over seven million copies worldwide. It had a very real impact, like a pied piper call, drawing people to the Bay Area, and specifically to the Monterey Pop Festival. It's estimated 30,000 people attended the first night of the festival, but that grew to 60,000 by the third and last night. This was the very first big rock festival anywhere, with the exception of the somewhat smaller Fantasy Fair and Magic Mountain Music Festival the week previously.

Monterey, California, an hour or more drive from the Bay Area, was chosen as the location because there had been a popular Monterey Jazz Festival taking place there annually since the 1950s, as well as a similar Monterey Folk Festival. It was thought that by giving this festival a similar name in the same location, it would help give rock more credibility as an art form, like jazz or folk music, both of which were much more respected at the time. Even the same stage manager and sound company were hired. That resulted in the festival having truly exceptional sound quality for rock concerts at the time, which resulted in excellent sounding recordings as well.

I'll write more about the festival as a whole later. But for now, I want to explain how I split up the eleven hours of available music. The festival itself was split up into five separate tickets: one for June 16th, then another for the afternoon of June 17th, another for the evening of June 18th, then afternoon and evening tickets for June 18th as well. So I'm splitting this up in a similar way. This one, containing all the available music from June 16th, is the shortest by far. I'm guessing that each of those five time periods contained roughly the same amount of music, give or take. But this is the shortest because it's the one with the most missing music.

Here's yet another useful Wikipedia link. It shows all the songs known to be played by all the performers at the festival:

Monterey Pop Festival set list - Wikipedia 

Each act was allowed to play for 40 minutes, but is possible some of the lesser known acts got less than that. The Association performed first. But two songs are missing, and there were an unknown number of other songs missing as well. The second act was the Paupers. Their entire performance is missing. (Simon did find a couple of songs, but they were of such poor sound quality that I couldn't even include them as bonus tracks.) Next was Lou Rawls. We have three songs from him, but two more are missing, plus an unknown number additionally missing. Next up was British folk singer Beverly Martyn. She just played three songs, all missing. 

After that was Johnny Rivers. He was a big star at the time. Interestingly, his keyboard player at the festival was the great songwriter Jimmy Webb. He played eleven songs, which must have been right at the full allowed 40 minutes, but only one song from his set is publicly available. Here's an interesting quote from Rivers about the festival: "Driving north on Highway 101, I had never seen so many VW buses pained with paisley and flowers, cars, trucks, and lots of out of state license plates. People were from everywhere. The vibe was very mellow and kind of the theme of the whole thing. It was a gathering of tribes and hadn’t really gotten to the wild hippie stage yet. The 'Summer of Love' was [really more] the summer that came after that. It wasn't going to be frantic, out of control, but everyone digging on the music. Because there was such a variety of music."

It seems we only have the full performances of the two final acts, Eric Burdon and the Animals, and Simon and Garfunkel. The Animals played for 27 minutes. As an aside, lead singer Burdon was so moved by the festival that he wrote a song praising it, "Monterey." It became a Top Ten hit.

Simon and Garfunkel played for only 22 minutes, despite the fact that they had to be the most popular act of the evening, by far. It appears they wanted to play longer, but they couldn't due to some kind of curfew for the evening as a whole. We know this because you can hear Paul Simon talking about how he chose the last song played, an unusual (and at the time still unreleased) final choice of "Punky's Dilemma," because he'd just been told they only had two minutes left and that song was two minutes long.

Normally, I put all the source material details in the mp3 tags of each song. But for this festival instead, I'm just including a PDF made by Simon, since that contains a great chart showing the sources. Hopefully, more music from this day in particular will come out in recent years. It seems at least one set from the festival has been released each year as part of "record store day" releases for the past few years. So far, most of those have been big-name performers where all or most all of the set was already available. But if that keeps going, maybe they'll get to things like Johnny Rivers' set, where 90 percent of it is missing.

Note that although the sound quality was already excellent in general, one problem I've often noticed with concert recordings is the vocals being too low in the mix. I checked every song in this festival for that, and I'd estimate about half of them had that problem. So for all those songs, I remixed them using the UVR5 audio editing program. So this should now sound even better than before. 

Oh, one last thing. I had so many other things to write about that I didn't really get to discussing the quality of the music. I'd say it's excellent across the board. But in case you're curious, here's the link to an article written by music critic Michael Lydon, which came out in Newsweek just two days after the festival. (Disregard the 2009 date shown at the top.) He was overly critical sometimes, as critics usually are, but still it's interesting to see a fresh take from that time. Plus, he has a lot of interesting information about how the festival came to be, and what happened behind the scenes. For instance, there's mention of a private jam at the end of the festival that lasted four hours consisting of Jefferson Airplane, the Grateful Dead, and Jimi Hendrix. Wouldn't it have been amazing to have been a fly on the wall for that?

Monterey Pop: The First Rock Festival | Current | The Criterion Collection 

Here's a couple of relevant quotes about the festival. Art Garfunkel: "Monterey was the cherry on top of the sundae that was the 1960s. It was unprecedented, and the audience was unprecedented in their joy." And Tommy Smothers, who was one of the festival emcees: "There were no problems. The only problem was, just how happy could you get without hurting yourself?"

This album is an hour and 15 minutes long. Each section of the concert reportedly lasted about five hours. No doubt a lot of that was down time between acts. But still, I would imagine a full version of this part of the festival would consist of at least three hours of music. If more gets released in the future, I will try to add it in and revise this.

01 talk (John Phillips)
02 The Machine (Association)
03 Along Comes Mary (Association)
04 Windy (Association)
05 talk (Peter Tork)
06 Love Is a Hurtin' Thing (Lou Rawls)
07 Dead End Street (Lou Rawls)
08 talk (Lou Rawls)
09 Tobacco Road (Lou Rawls)
10 Memphis (Johnny Rivers)
11 talk (Chet Helms)
12 talk (Eric Burdon & the Animals)
13 San Franciscan Nights (Eric Burdon & the Animals)
14 talk (Eric Burdon & the Animals)
15 Gin House Blues (Eric Burdon & the Animals)
16 talk (Eric Burdon & the Animals)
17 Hey Gyp (Eric Burdon & the Animals)
18 talk (Eric Burdon & the Animals)
19 Paint It, Black (Eric Burdon & the Animals)
20 talk (John Phillips)
21 Homeward Bound (Simon & Garfunkel)
22 At the Zoo (Simon & Garfunkel)
23 talk (Simon & Garfunkel)
24 Feelin' Groovy (Simon & Garfunkel)
25 talk (Simon & Garfunkel)
26 For Emily, Whenever I May Find Her (Simon & Garfunkel)
27 The Sound of Silence (Simon & Garfunkel)
28 talk (Simon & Garfunkel)
29 Benedictus (Simon & Garfunkel)
30 talk (Simon & Garfunkel)
31 Punky's Dilemma (Simon & Garfunkel)

https://pixeldrain.com/u/JdvDszNw

alternate:

https://bestfile.io/en/user/files/POFIfnCamxiHogl/edit

It was too hard for me to pick just one picture for the cover, so I chose four, just like I did with the "Live Aid" albums I've posted. From top left clockwise, that's the Association, Lou Rawls, Simon and Garfunkel, and Eric Burdon of the Animals. All of them are from this exact concert.