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Thread: 1967 April Newspaper & Magazine Articles (Text Only)

  1. #21
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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Friday 14 April 1967
    CARLISLE & CUMBERLAND JOURNAL (page?) [B&W photo of Jimi on stage, ‘Star of the live
    show at the A.BC. Theatre last week . . .
    Jimi Hendrix] ‘MOD CONTEST! . . . Says Andy Park’
    Back to Friday and the ‘A.B.C.’ theatre in Carlisle [7 April] A GROUP from the Mid-lands, a seven-
    piece outfit with the Geno Washington sound, have been booked (on behalf of the St John's
    Ambulance Cadets) to play in' the City Hall tonight.

    Their name is the Union Blue Soul Band.
    - They will play from 9 p.m. to 1a.m. (at last Carlisle has a late night dance!). There is also a Mini
    Skirt contest and a new one—a 'Mr. Mod’ contest.

    Last week you will remember I wrote that if I recovered from my illness, I would cover the Walker
    Brothers show—this i did, but the next night I was involved in a car accident, just
    out of town.
    Now I am writing this column from ward 14 of the Cumberland
    It is due to friends on the pop scene that I can do this, because everybody has been so good.
    "We’ll go there, see all the groups and bring back all the facts, Andy,” was just one of the promises.

    Meanwhile back to Friday and the A.B.C. theatre in Carlisle for the Walker Brothers /Engelbert
    Humperdinck Show.

    It was truly entertaining, but why, why, why, are the vocalists' mikes not turned up and the guitars

    The show kicked off with the "Beach Boy” sound of the Companions [sic]. Their harmony was terrific
    and you could hear every word.

    The Jimi Hendrix Experience were next and I noted: ‘Backing fantastic, but this is a bad intro. I
    cannot hear a word he is singing!

    Then Engelbert took the stage, the girls started screaming, older people clapped, and he started
    what turned out to be a really professional act He had the audience at his fingertips. Both "Release
    Me” and "Midnight Hour" brought, the house down.

    Next came Cat Stevens, again the backing was far too loud, but his reception was good.
    Finally the stars of the show, The Walker Brothers took the stage and with backing from the eleven
    piece Quotations and some clever spotlight opening, they turned in a great performance. The result:
    screams nearly raised the roof.. To sum up, a great show. CARLISLE Market Hall rolled again last
    Saturday night-. . . and attracted a large crowd to see the Merseys, Kirby's, Kooba's, The Human
    Instinct and the Informers.

    The Merseys who were backed by the Kirby’s gave their usual professional, all action performance
    which received a tremendous ovation.

    The Koobas, who had "Sally" in the lower ends of the charts recently have a new record released on
    May 1st called "Gypsy Fred" and "City Girl". This is also the date they start a 22 week series with
    B.B.C. TV, a show called "Mickey Dunne".

    The Human Instinct were a group with a difference. They have a stand-up drummer and mikes fitted
    to their guitars.

    Hailing from New Zealand, where they had three number ones, they came across here some six
    months ago "because New Zealand has no real beat scene".

    For the first months they starved, then they got a three year recording contract with a big company
    and had their first record released called "Rich Man". And that's what each one hopes to be.

    That's it for, this week— but when you are out enjoying yourselves this weekend remember, there
    are some people in bed!

    (Page?) [title?] [B&W photo (inside boutique), ‘Girl customers at Carlisle's "Fringe Boutique" howled
    with delight when into their mini-skirt emporium walked American guitarist
    Jimi Hendix and his
    Mitch Mitchell’]
    While photographer Myke Huggon took a long series of pictures, Jimi and Mitch chatted with the
    girls and
    Mitch is pictured here wearing a fur coat almost identical to that of proprietress Burni

    Friday 14 April 1967
    DERBYSHIRE TIMES (page?) ‘Release Me From This Noisy Mob!’ by ‘RFS’
    EXHIBITIONISTS had a field day on Saturday [8 April] when the Walker Brothers' Show tour came
    to its conclusion at the A.B.C. Cinema, chesterfield. Let it be said straight away, however, that the show
    was not nearly so dissipated! as last month's Roy Orbison debacle.

    Although the screaming was frenzied and occasionally reached fever pitch, it was much more under
    control. I have long since been a Walkers Brothers' fan following their first big chart buster “Make It
    Easy On Yourself," but in recent months my appreciation of their work has waned a little.

    However, if anyone was in doubt about their abilities as performers they should have seen this show. It
    was fantastic. The only trouble was I did not hear one word! of their songs due to the incredible
    clamouring for Scott, Gary and John. The stage presentation was extremely well supervized and for
    those interested in the more technical side, well worth watching.

    Fortunately, Englebert Humperdinck fans had a better deal. Owing to the complete lack of coordination
    between the various top-of-the-pop charts it is suspect whether or not this talented artist was at No. 1
    on Saturday. But that is only a minor detail, for his best seller "Release Me" has been averaging sales of
    25,000 a day and hit the top of all charts at some time or another for a long period. In some he has
    been in the coveted No 1 place for six weeks.

    During his appearance the screaming subsided sufficiently to hear the words. His ballads were
    particularly good.

    I posed the question about screaming to him and asked him if at times he wished they would quieten
    down so that people could listen. He said that it did not worry him as it boosted his ego.

    In the autumn he has his own television series and a new long-playing record will be out soon entitled,
    needless to say "Release Me."

    Also on the bill was Cat "Matthew and Son" Stevens, another idol of the teenagers, who received a
    rapturous welcome.
    Jimi Hendrix and the Experience is one experience I would rather forget.
    This volatile performer, who manages to look remarkably like a negress* on occasions, was completely
    unintelligible. Nicky Jones began his job as compere in amusing and light-hearted vein, but petered out
    towards the end and contented himself with creating “screaming drives."

    *How about a “woman” (if you must) you twat! (Ed.)
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  2. #22
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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Friday 14 (15) April 1967
    (Page 4) [B&W group photo portrait, Jimi Hendrixin his “old” military jacket (he wants people to
    know it was torn before he bought it) with
    Noel Redding (glasses) and Mitch Mitchell.]
    HendrixIS Out of This World Even his ex-Animal manager needs a split personality!’
    by Keith Altham [31 March interview]
    “Out of this world” is a much misapplied phrase, but when it’s applied to that extraordinary guitarist
    Jimi Hendrix, it’s appropriate. Looking as incredible as anything conceived by science-fiction writer
    Isaac Asimov, whose work he endlessly devours,
    Jimi is composing some numbers of equally unearthly

    There is one titled "Remember," about a manic-depressive, described as “raw nerves on
    record." another called "
    Teddy Bears Live For Ever," and a third concerning a visitor from
    another planet who decides that the human race is an unworthy animal to rule the earth and
    so destroys it, turning the world over to the chickens!

    Hendrix is managed by Chas Chandler, the ex-Animal, who has developed a kind of split
    personality to cope with the new image.

    One moment will find him the good-natured ex-pop star wearing his Lord Kitchener uniform with
    gold braid, and the next immaculately attired in black suit and tie as
    Mr. Chandler, businessman—
    complaining resignedly about having to buy a £2,000 mixing tape-machine instead of the Lincoln
    Continental his heart desires. Both
    Chas and his protégé share a newly acquired apartment off Edgware
    Road, where, together with newly acquired publicist Chris Williams. I found myself last Friday surveying
    a room dominated by a psychedelic painting (bought by
    Chas while under the "affluence of inkahol"
    [LSD more like Ed.] in New York), lt depicted a bleeding eye letting droplets fall on a naked woman.
    There was a brass scuttle from which projected a number of empty wine bottles—relics of some
    bygone happening, a book about vampires, the inevitable blind eye of the TV set, and an award for
    ' best group award, "House of the Rising Sun," on the mantelpiece, together with a model

    The rest of the Chandler war souvenirs collection is yet to be installed, and the floor was covered with
    LPs and singles from Solomon Burke to
    the Beatles.
    I was played tracks for the new LP byJimi, and after one prolonged electrical neurosis, there was a
    mind-shattering instrumental from the three musicians who comprise
    the Experience.
    As the last decibel faded into infinity, Chas produced an exercise in self-control by observing: "They
    play so well together, don't they?"

    Hendrix, together with drummer Mitch Mitchell, who looks like a young Peter Cook, and bass player
    Noel Redding, are something new in musical and visual dimensions.
    Jimiis a musical perfectionist who does not expect everyone to understand, and believes even those
    who come only to stand and gawk may eventually catch on.

    On a tour which boasts contradictions in musical terms like Engelbert and Jimi. he has come to terms
    with himself,

    "Most will come to see the Walkers,"said Jimi. "Those who come to hear Engelbert sing 'Release
    Me' may not dig me, but that's not tragic.

    "We'll play for ourselves—we've done it before, where the audience stands about with their
    mouths open and you wait ten minutes before they clap."

    Originally "Purple Haze," his current NME chart entry, was written about a dream Jimi had that he was
    able to walk under the sea. Had the lyric been changed to make it more commercial? And was he satisfied
    as with the original version?

    "Well . . ." said Jimi, and there was a significant pause, "I'm constantly fighting with myself over
    this kind of thing—but I'd never release any record I didn't like.

    "You've got to gentle people along for a while until they are clued in on the scene.
    "I worry about my music—you worry about anything that you've built your whole life around.
    "It's good to be able to cut loose occasionally—we were in Holland doing a TV show last week,
    and the equipment was the best ever.

    "They said play as loud as you like. and we were really grooving when this little fairy comes
    running in and yells. 'Stop! Stop! Stop!—the ceiling in the studio below is falling down.' And it
    was, too—plaster and all,"
    added Jimi with enthusiasm.
    "I'm getting so worried that my hair is falling out in patches." he sighed, tugging at a tuft in a
    hedge of hair which looks as if it could withstand a clip from a combine harvester.

    Trend Setter
    Jimi has noted that since he adopted his bush-look that a number of other stars have been following suit—
    Gary Leeds is the latest bristling addition on the tour. "
    I just thought it was a groovy style," grinned
    , "Now everyone is running around with these damn curls. Most of 'em are perms—but
    there's nothing wrong with perms—I used to get my hair straightened back on the block."

    There has been a hold-up in Jimi's first LP because of the switch to the Track label. and tapes have
    been damaged in the transferring of studios.

    "We're calling it Are You Experienced?." affirmed Jimi. I smiled and noted. "There's nothing
    wrong with that!"
    emphasized Jimi.
    Full of new ideas, Jimi came up with another on recording techniques. "Sometimes when I'm playing
    I make noises in my throat—almost subconsciously,"
    said Jimi. "Jazz men like Erroll Garner do it
    a lot as they improvise. I'm going to get a little radio mike, hang it around my neck and record
    them—maybe I'll incorporate some throat sounds on a disc."

    Beck Flip
    Among Jimi's favourite singles at present is the flip side of the new Jeff Beck record, a number
    called "
    "Beautiful guitar," commentedJimi.
    We talked of Mitch's new green suede boots—and how Mitch thinks high heels are coming back.
    "Y'know what I'd really like to do in the act?" said Mitch, his eyes alight with the gleam of inspiration.
    "I'd like to pour paraffin all over my drums while the guy from Premier
    [drum manufacture] is sitting in the
    audience. Then, at the end of the act, I'd set fire to 'em, and up they go in flames—just to see his face."

    That was the night Jimi's guitar accidentally caught fire on stage, and "the fireman rushes in from the
    pouring rain—very strange!"

    Who’s Where (Week commencing April 14)
    One Nighters:
    Walkers, Humperdinck, Stevens, Hendrix—Bolton Odeon (14th); Blackpool Odeon (15th); Birmingham Odeon
    (19th); Lincoln ABC (20th); Newcastle City Hall (21st).

    (Page 7) NME Top 30
    03-23-11. Purple Haze - Jimi Hendrix (Track)
    CAT STEVENS and Jimi Hendrixhave been lined-up for extensive overseas trips by their agent—Dick Katz of
    the Harold Davison Organisation—to boost their status abroad. Cat plays Scandinavian dates from May 17 to
    19, makes two Dutch TV appearances on May 1 and 27, and stars in four Belgian concerts between June 17
    and 25.
    Jimialso plays Scandinavia from May 19 to 23, followed by three days of German club dates and an
    appearance in German TVs "Beat Beat Beat".

    JIMI SAVILLE [Ho-ho-ho, geddit?. Ed.]
    Jimi headlines the Sunday concert at London's Saville Theatre on May 7, for which American visitor Garnet
    is also set. Two days later (9th), Hendrix, Cat Stevens and Lulu are the guests of honour at a gala
    Variety Club luncheon.

    Hendrix flies to America at the end of May to cut his first titles under his new Warner-Reprise deal,
    details of which were exclusively revealed in the NME four weeks ago. He will probably also undertake
    promotional appearances in the States.

    THE allegation thatJimi Hendrix' act on his current tour with the Walker Brothers is "too provocative” remains
    the subject of dispute this week. Co-promoter of the tour, Barry Clayman, told the NME: "
    The Hendrix
    have toned down their act as requested by ourselves and by the Rank and ABC circuits. The
    situation is now resolved."

    However, Jimi's manager Chas Chandler stated: The incident is closed and Jimi's act remains the same. There
    was an occasion at Carlisle last week when he cut his foot and hopped around a bit, before having four stitches
    in the wound. Maybe that prompted the suggestion that he was being too sexy." Agent
    Dick Katz commented:
    "It was all a publicity stunt—and it paid off!"

    (Page 13) ‘Visit the Uppercut And Talk With Otis Redding’, with Barry Peakes candid camera’
    ‘About the Club’ by Norrie Drummond:
    Top Names
    Since the club opened at Christmas most of the top names have played there. The Who, The Move, Small
    , Jimi Hendrix, Dave Dee and Co., Geno Washington and many more have all appeared.
    . . .
    (Page?) [title?] The first night of the Walker Brothers’ tour was when I started to worry. I knew
    where it was at when it came to specialist blues scenes, but this was in front of audiences who had
    come to see the Walker Brothers, Englebert Humperdinck, and Cat Stevens. All the sweet people follow
    us on the bill, so we have to make it hot for them. We have to hit ‘em and hit ‘em good. Although I
    wasn’t scared starting my first big tour, we did wonder how they would accept us, there being so many
    different acts and us probably the most extreme of all. In Blackpool, the police slipped
    Mitch and Noel
    in through side doors and took me around the block five times before
    helping me in. I lost some hair,
    but I might have lost the lot if they hadn’t been guarding me!”
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  3. #23
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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Friday 14 April 1967
    SCOTTISH DAILY EXPRESS (page 10) SMASH! the page for the young set
    [puff piece for a Glasgow band...] Even before their new record comes out the Studio Six have two
    weeks of dates in London from April 25, including a session at the famous Soho Marquee Club and
    appearance in the Royal Festival Hall with Jimi Hendrix and the Cream.[...etc.]
    Top 20
    . . .
    11. Purple Haze Jimi Hendrix (23)
    . . .
    (by arrangement with New Musical Express)

    Friday 14 April 1967
    England (Blackpool)
    WEST LANCASHIRE GAZETTE (page?) [B&W text ad.]
    ODEON Blackpool. Tel. 23565
    Two Performances at 5-30, 8-15
    The Fabulous
    Special Guest Star:
    Stalls 12/6, 10/6. Circle 15/-, 12/6, 10/6, 8/6
    Box Office Now Open: 10-10—8-30 weekdays.
    (4-30—8-30 SUNDAY).

    Friday 14April 1967
    WOLVERHAMPTON EXPRESS & STAR (page?) ‘Great Pop And Faint Beat’ by John Ogden
    Another, top class pop show visited Wolverhampton’s Gaumont Theatre last night. There were the
    usual screamers outside the theatre afterwards, and they had three top idols to shout for. With a
    bill including The Walker Brothers, Cat Stevens and Engelbert Humperdinck there was bound to be
    the usual emotional cataclysm.

    Yet only one fainting girl was carried out. Extraordinary! And Why? Gaumont manager Mr. Joe
    Alexander told me after the second house. “The cinema has worked out a new policy. Anyone carried
    out in a faint is revived, as usual, then shown the door. Under no circumstances are they allowed back
    in again. It started at the last concert. There were 20 fainters. This time there was one. “These girls
    are only exhibitionists,” said Mr. Alexander. “Once they know they won’t see any more when they faint
    they manage, somehow, to restrain themselves.”

    But to the show. It confirmed my suspicions that pop shows aren't what they used to be. Instead of
    relying, on one big star the promoters have finally realised that they've got to have a first-class show.

    This was one. And it was good to see Wolverhampton group, The Californians, holding their own amid
    such glittering company. This was in spite of the fact that they were even more nervous before their
    local fans than, at any other venue on the tour.

    Yet they need not have worried. They got a tremendous reception and performed well—as they have
    been doing throughout the tour.

    They told me afterwards that a member of The Quotations and Cat Stevens himself have promised to
    write numbers for them.

    The rest of the show went much as you would expect, with the exception, of Mr. Humperdinck,
    who proved himself able to do rave numbers as well as ballads and got great applause.

    The Walker Brothers were The Walker Brothers, except that they did more soul numbers than
    anything and worked their act to a fantastic climax with "Oop, Boop, Pe Doo.”

    Cat Stevens was a lively performer, while Jimi Hendrix played some great stuff which, in the
    second house was not as appreciated as it deserved.

    The Quotations were an excellent backing group and Nick Jones was compere.

    Saturday 15 (22) April 1967
    USA (Los Angeles, CA)
    BEAT (KRLA) (page 5) ‘Walker Bros. Fans Shocked’
    The Walker Brothers shocked their fans with the news that their April British tour will be their
    last. The tour with Cat Stevens,
    Jimi Hendrix and Engelbert Humperdinck opens in London
    and runs through the end of April.

    Lead singer Scott Engel said the group's touring days are over. They'll concentrate on cabaret
    performances and tours outside Britain, unless they come up with a flood of hit records.

    "I think the fact that we haven't had any big hits recently is due mainly to the fact people are
    tired of the sound," he said.

    Scott wants to change their sound by introducing a beat sound and using some Andrew
    (Page 8) ‘U.K. Pop News Round-Up’ by Tony Barrow
    . . .Watch for hefty promotion treatment from Warner-Reprise to push “Purple Haze” by JIMI
    . . .
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  4. #24
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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Friday 14 (22) April 1967
    BILLBOARD (page 18) TOP 20 Pop Spotlights
    Jonathan King—Round Round [anti-drug song] Britain’s “Everyone’s Gone To The Moon” man is back
    and this vital message lyric material with a wild dance beat should fast re-establish him on the HOT
    100. Arrangements and performance loaded with electricity.
    [They picked this cash-in nonsense from
    an obnoxious, deformed, non musician, who couldn’t sing, a hypocritical pervert that preyed on
    under-age boys, over Jimi’s Hey Joe!? Ed.]

    (Page 55) [full page B&W ad] Really Entertaining! ALAN PRICE SET Simon Smith and His Amazing
    Dancing Bear.

    (Page 56) [full page ad Red text left side, white on black on right. Left side has a Union Jack flag at
    the top, underneath has]
    “BEST OF THE BRITISH!” [under that, in small black print in a red box has]:
    “5 chart oriented singles from England-hand picked & potential from…
    [Warner/Reprise logos here]
    [Right side has]:
    The Montanas “Ciao Baby” (Warner) [note: this title was also released by Lynne Randell - on Monkees
    tour with JHE]

    Jackie Trent “Humming Bird” (Warner)
    Tony Hatch “Beautiful In The Night (Warner)
    Sandie Shaw “Puppet On A String” (Reprise) [see Jimi’s earlier review of this single Ed.]
    The Jimi Hendrix Experience “Hey Joe” (Reprise) [last but not least. Ed.]
    (Page 66) Hits Of The World (from UK’s ‘Record Retailer’ [Thursday])
    ‘Britain’ 11 32 Purple Haze — Jimi Hendrix Experience Yamata, Yamata [sic, Yameta].
    ‘France’ 03 Hey Joe Johnny Hallyday (Philips) Tati

    Saturday 15 April 1967
    BOLTON EVENING NEWS (page?) ‘Screaming Teenage Girls Raid Stage’
    “Hysterical girls fought savagely with attendants protecting the stage when the Walker Brothers
    starred in a pop concert in Bolton last night. Several managed to battle past the ring of security men
    and staff at the Odeon Theatre and get on stage, where lead singer Scott Walker had to be rescued
    when they clung desperately to him as he sang. In sensational scenes during their first-house
    performance dozens of screaming and weeping girls were carried or dragged to the door and thrown out.
    Many more had to be treated by St John Ambulance Brigade workers after they had fainted. When the
    Walkers came on stage the screams reached fever pitch and hundreds of fans surged forward to the
    stage and threw embroidered cushion, scarves, handkerchiefs and an autograph book on the stage.

    [...] [rest of text?]

    The girls, who thought they deserved to see the Walkers, but did not, were those who spent hours writing
    two petitions for a meeting with their idols. One, signed by Shirley Powell, Lynette Olsen, Andrea Olsen,
    and Christine Clare, contained the word “Please” written 70,000 times.
    [Noel later wrote that it was about
    JHE – I’m 100% he got his wires crossed]

    Friday 14 (22) April 1967
    CASH BOX (page 31) [full page B&W Reprise ad Hey Joe] Same as Billboard above except no colour.
    (Page 71) Great Britain
    ‘Great Britain’s Best Sellers’
    17 19 02 Purple Haze Jimi Hendrix (Track) Yameta

    Friday 14 (22) April 1967

    Saturday 15 (22) April 1967
    TELE 7 JOURS [‘TV 7 Days’] (page?) SUNDAY 16 April ‘youth party’
    A Plein Tube [‘Full Tube’?]
    ‘Jimmy Hendrick’ [sic]
    Report from England by Josette Barellis and Michel Taittinger
    This Black, came to Greenwich Village playing guitar with his teeth and has now been settled in England
    for some time. It was
    Johnny Halliday who first took him to France.
    Produced by Jean-Pierre Frambois & Michel Taittinger.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Sunday 16 April 1967
    RADIO LONDON {broadcast} ‘Fab Forty’ presented by Tony Blackburn
    01-NE–10. Purple Haze - Jimi Hendrix Experience

    Monday 17 April 1967
    LEICESTER MERCURY (page?) ‘Walker brothers Sing In Rain-Of Sweets’ by D.H.S.
    THE Walker Brothers returned to Leicester last night for their last concert for quite a time—as they
    are due to make a compelled return to the United Slates shortly—and were greeted by their fans
    rather like the triumphant return of a cup winning football team.

    The Walkers spent half an hour on stage dodging sweets, cushions, and dolls which rained about
    them, and trying to make themselves heard above the din.

    Long before they came on ushers were fighting pitched battles with fans at the foot of the stage.
    Two packed houses saw another excellent line-up of top personalities from the pop world, and in
    the tense atmosphere and extreme heat the ambulance teams were overworked with girls afinting

    Like Beach Boys
    The show opened with the unimpressive Quotations followed by the Californians, who were very
    like the Beach Boys. But they were good enough to avoid any suggestion that they were imitators
    of the American group.

    They were followed by the Jimi Hendrix Experience, who are surely the oddest looking group to
    appear at the De Montfort Hall. When I tried not to look, the sound they made was different and
    not unattractive.

    Engelbert Humperdinck closed the first half of the show, with songs like Summer Time and Release
    Me totally in contrast [to] that which had gone before, but the audience was no less appreciative,
    especially as he is a local success. It was curious to note that EH has marked similarities not only in
    build but in style to Tom Jones. Perhaps the influence of their joint manager, Gordon Mills.

    Fast Rhythm
    After "Cat" Stevens, who was popular, but who should stick to song writing as opposed to song
    singing came the Walkers . . . and bedlam.

    Not much could be heard of their performance, but what I could hear was decidedly better than on
    the last two occasions they came to Leicester. They have become real showmen.

    The big dynamic sound is still predominant with them, but they have managed to inject a certain
    amount of fast rhythm in their act which adds greatly to its appeal.

    The overall impression was that it was a show packed with big names, but with well-balanced
    variations. All in all, it was another night of good value at the De Montfort Hall.

    Tuesday 18 April 1967
    Top 20
    . . .
    8. Purple Haze Jimi Hendrix (?)
    . . .
    (by arrangement with New Musical Express)

    Tuesday 18 April 1967
    WOBURN REPORTER (page?) [B&W photo of 3 Walkers, ‘Mass hysteria was reserved for the
    Walker brothers’.]
    ‘Teenage Tonsils At The Ready’ by Disc Spinner
    A ten-year-old boy was injured as the Walker Brothers scrambled for safety through a crowd of
    teenagers on their arrival at the Granada cinema [11 April] late Tuesday afternoon. The boy, 10-year
    -old Guiseppe Porcelli, of 29 Wellington Street, Bedford, was taken to hospital, but was brought back,
    complete with bandaged head, to see the second house of the stage show that evening. Sure enough
    the Granada was packed out. Some of the mums were there, some of the young ‘uns too, but for the
    most they were teenage girls with tonsils at the ready for a thorough and continuous screaming.

    Quite mad
    And scream they did, right from the Quotations (Walker Brothers backing group) through the
    Californians, who had trouble with their amplifying equipment in the first show, and going quite mad
    when three hirsute and weirdly dressed characters came on. I am referring to
    the Jimi Hendrix
    . They began with “Hey Joe.” Jimi showed that he really can play the guitar with his
    teeth, and they ended with their new record “
    Purple Haze.’
    Engelbert Humperdinck was a complete contrast. As elegant as the Experience were wild, he
    strolled on to the stage in a white satin shirt, black waistcoat and trousers and launched into a
    smooth, swinging performance, bringing off numbers such as "In the Midnight Hour", "Summertime"
    and, of course, the record that kept
    the Beatles from a Number One spot, “Release Me".
    As soon as the interval was over, a chant of "We want Scott" was set up.
    In danger
    Cat Stevens managed to make his presence felt with "Matthew and Son", "I love my dog" and "I'm
    gonna get me a gun", although his voice was a bit weak and seemed in danger of being drowned by
    the backine. But it was for the Walker Brothers that the mass hysteria was reserved.

    Gary Leeds drummed in splendour while two lean six-footers made their entrance either side of the
    stage. Shouts for both “John" and "Scott" showed that audience support was fairly evenly divided
    between the two.

    After two ravers, the well-known harmony of these two Walkers came into its own with "What now my
    love" By the time "The sun ain't gonna shine any more" came on the programme, Scott's lanky,
    hunched-up frame looked more starved and in danger of collapse than ever, but this look, coupled
    with a fringe of golden hair and expressive hands brought half the audience to fever pitch. The other
    half of the dynamic duo in white shirt, trousers and purple jacket, looked more vigorous and kept his
    side of the stage shaking and his followers screaming. And if fans stopped swooning over the good
    looks, they would have appreciated a very professional performance by the pop brothers.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Wednesday 19 April 1967
    BIRMINGHAM EVENING MAIL (page?) [B&W text ad]
    ON THE STAGE 6.30 & 8.0
    The Californians. The Quotations
    Nicky Jones compere
    [...] from 12 15
    “HAWAII” Colour (A)
    Prom Comm. 12.45 3.25 7.0

    Wednesday 19 April 1967
    England (Manchester)
    EVENING NEWS & CHRONICLE (page?) [B&W text ad]
    ODEON Cen 5441
    This Saturday 6 pm and 8.80
    Cat Stevens Jimi Hendrix
    Californians Quotations
    15/-, 12/6, 10/6, 8/6, 6/-.

    Wednesday 19 (20) April 1967
    USA (NYC, NY)
    THE BALLOON FARM has closed and the Electric Circus is moving in to that great old building that
    used to be no more
    psychedelic than a Polish polka wedding ball. This new extravaganza is a
    1250,000 William Morris talent agency package deal. I was told that some of the money was put up
    by "old-fashioned rich people," but most by the concessionaires themselves. The Coffee Council
    percolates $76,000 into the neon cup as a guarantee that no tea would be served.

    Electric Circus is more than a tacky pop name. Not only will there be a two-hour totally
    programmed and rehearsed show including electronic music, name rock 'n' roll bands, and kinetic
    light shows, but also jugglers and acrobats. The producers are looking for as many kinds of groovy
    hip young circus acts as can be found. Call TE 8-6516.

    There will be a complete change of show every month or so. There will be a boutique, restaurant,
    and something called "Game Rooms." Thirty people can play “behaviour games based on need," and
    the two winners of each game will win prizes.

    Just in case the noise doesn't attract your attention the entire outside of building will be painted in
    Dayglo green and yellow. Admission is $3 with a 50 cent discount if you're barefoot.

    "Nobody has done a really big number down here," said Nicholas Hyams, one of the three producers
    of the Electric Circus. And by big number he really means it, because the opening night (middle of
    June) will be a $50 a ticket charity benefit for the John F. Kennedy Memorial Fund. For a quick encore
    they'll have a four day dance marathon on July 4 weekend.

    (Page 16) [B&W ad] League for Spiritual Discovery
    presents Fridays 2 pm & 8 pm TIMOTHY LEARY nitely at 8
    Saturdays Jaroname Schwartz The Tao and Creativity
    Sunday Dan Korista
    Mondays Jay Barker Yoga
    Tuesdays Shyam Ba Music and Sound of India
    Wednesdays Peter Stafford L.S.D. and it’s Social Significance
    Thursdays Dr. Ralph Metzner Religious Leaders East & West.

    Thursday 20 April 1967
    BIRMINGHAM EVENING MAIL & DESPATCH (page?) “. . .and a guitar played by tooth’ by H.T.B.
    Walker Brothers Show, Odeon, New Street.
    REACHING Birmingham just past the halfway mark in their 25-stops-in-31-days tour of this country,
    the Walker Brothers showed no signs of staleness.

    Gary, on drums, was as sound a base as ever for vocalists John and Scott to operate from — if ears
    could be trusted to operate efficiently through the constant screaming of the fans.

    Cat Stevens showed why he has reached L.P. level so quickly. He sang his own brand of catchy
    songs, such as "Matthew and Son” and “I'm Gonna Get Me a Gun" with a refreshing touch of
    quizzical humour.

    Engelbert Humperdlnck did not get the reception that might have been expected for such a chart-
    topper but the zany methods of
    Jimi Hendrix had a surprising appeal — especially for those who
    like to hear a guitar played by tooth.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Thursday 20 (22) April 1967
    DISC & MUSIC ECHO (page 2) SCENE
    . . .Mitch Mitchell, drummer with Jimi Hendrix, seen wearing sweater with big black lettering on
    back: “To those of us with real understanding, music is the only pure art form."

    And Noel Redding, guitarist with Hendrix, signed an autograph for a Liverpool fan on the back of a
    £1 note!
    . . .Prince Charles failed to turn up after being invited to King George and the Harlem
    London Pickwick Club reception on Friday. Surprised?
    (Page 3) Disc Top 30
    04-10-07. Purple Haze - Jimi Hendrix, Track
    HIT TALK By Manfred Klaus
    . . .
    Jimi Hendrix Ah! Fantastic. Really fantastic! I thought his first record was a stronger song. If he’d
    done them the other way round, he’d probably have had bigger success. I like “
    Purple Haze” but
    it could have been stronger. Nice to see someone like him getting hits.

    (Page 4)STARS IN THE NEWS—1
    Hendrix hits at critics—on record’
    JIMI HENDRIX—up to seven this week with "Purple Haze"—and now recovered from the foot
    injury caused by a broken fuzz-box foot control at Chesterfield last weekend, has “hit back” at
    critics who claim he can only make "rave-up" records.

    He has specially recorded a slow number for his next single release, “The Wind Cries Mary," due
    out at the end of May. Says agent
    Dick Katz: This is a beautiful number and features some fine
    guitar by
    Jimi. He made it to prove he is not just a raver on record as some people have suggested.
    I predict it will be a tremendous hit."
    Jimi flies to Paris on May 11 for a major TV show, "Music Hall
    Of France." He then tours Germany, Denmark and Sweden. Negotiations are still proceeding for
    him to tour America, as announced in Disc last week.

    WASHINGTON and the Ram Jam Band are booked for a barbeque dance at Spalding, Lincolnshire,
    on Monday, May 29.

    friday WALKER BROTHERS—Newcastle, City Hall
    saturday WALKER BROTHERS—Manchester, Odeon
    sunday WALKER BROTHERS—Hanely, Gaumont
    tuesday WALKER BROTHERS—Bristol, Colston Hall
    wednesday WALKER BROTHERS—Cardiff, Capitol
    (Page 5) ‘Walkers, Cat, Jimi: Variety Club guests of honour’
    WALKER Brothers—together with tour companions Cat Stevens and Jimi Hendrix—will be guests
    of honour at the Variety Club Luncheon at London’s Dorchester Hotel on May 9.

    (Page 8)[dodgy B&W ‘one eyed’ photo] SCOPE series in which stars discuss their pet subjects
    ‘For Jimi Hendrix colour means his shade of music…’ by Hugh Nolan [18 April]
    BEARDING the present lion of the British pop scene, Mr. Jimi Hendrix, in his den – manager Chas
    ’s London flat with the rest of his group sprawled about while relaxing in the middle of a
    gruelling, month-long tour—is a chaotic, disconcerting
    For the ferocious Mr. Hendrix, so wild on-stage with his attacking guitar work and singing, is very
    much quieter and more easy going at home than you’d have a right to expect.

    But even so, when he’s relaxing he still expects what he says to be taken as seriously as what he says
    musically. It’s just that when he gets a guitar in his hands behind a mike he blasts listener’s minds with
    all the answers they wanted and quite a few they didn’t!

    So you’d be forgiven if you expected Jimi to be as wild and uninhibited offstage as he is on. He’s not. He
    pads around quietly, answering questions in a soft voice but firmly and with little hesitation, with an air
    “I’ve been around and I’ll tell you what I think but I’m not gonna shout about it.”
    But there is one subject in which Jimi is interested above all others and which he’ll defend any
    time: his music. As long as he can play in peace, playing what he wants to play the way he
    wants to play it, then he’s cool and nothing beyond that basic fact worries him unduly
    For instance way back before the now historic occasion when ex-Animal Chandler was persuaded to
    hear him at a New York club and promptly brought him over to Britain to push him up to his present
    unique position on the scene,
    Hendrix played an awful lot of gigs all over the States, for a long time in
    the South.

    “I was in Nashville, Tennessee, for quite a while and every afternoon we didn’t have anything
    to do, we’d go downtown and watch the fights,”
    says Jimi. “Yeah, it can get pretty bad down

    “But it’s the same thing all over the States — It’s just that in the North they are more sneaky
    about it.

    “I did have one bad time in the South, when I was in the army and got stationed in Kentucky
    ‘bout nine months. Well, Kentucky’s right on the border of North and South and in that camp
    were some of the orneriest, most boot-licking guys. . . some of the officers. Man, it was

    But out of the army again Jimi immediately started playing and could stop worrying so much about what
    it meant to be black in a white man’s country.

    Now he’s out of it completely, away from it all in Britain’s traditional free society. But is it?
    “Soon as I arrived over here I shared a flat with Chas and immediately complaints started to
    pour in. We used to get complaints about loud, late parties when we were out of town on a
    gig! Come back the next morning and hear all the complaints. . .

    Chas got real mad about it. Me? No, I didn’t let it bug me very much.”
    Apart from incidents like that Jimi finds everything groovy in England, “Sometimes some kids will
    shout something at you while you’re waiting for a taxi on the corner. Otherwise it’s okay –
    everything’s fine.

    “I guess I don’t worry much about the whole scene any more. Man, I’d even play South Africa
    as long as there wasn’t any physical violence, and if they tried to get at me in other ways I
    just wouldn’t take much of it. Anyway, they can only call you names.

    “I just don’t give a damn—as long as I have beautiful England to come back to!
    “there’s so much I want to do. I want to get colour into music – I’d like to play a note and
    have it come out in colour. In fact I’ve got an electrician
    [Roger Mayer?] working on a
    machine to do that right now.”

    For the world at large the colour problem is a frightening and apparently insoluble mess. For Jimi
    , music fanatic, it’s how to get the middle break of “Purple Haze” out of his guitar as
    something other than just sounds.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Thursday 20 (22) April 1967
    MELODY MAKER (cover) [B&W photo, Jimi bending strings up on his chest]
    A new single by the Jimi Hendrix Experience will be released next month—while “Purple Haze” is
    still in the Pop 30.

    The title is “The Wind Cries Mary,” written by Jimi, which is released on May 5.
    Hendrix’ manager Chas Chandler told the MM on Monday: “The new single is different from anything
    people would expect him to do. It is so distinctive and the demand for him is so great at the moment
    that there is no reason why both singles should not be in the chart at the same time.”

    The groups first LP “Are You Experienced?” will be released at the end of May. The Jimi Hendrix
    will spend most of May on a series of major promotion trips to the Continent, visiting
    France, Germany, Sweden, Denmark and Finland.

    On Sunday, the Experience was mobbed as they went into the Odeon, Blackpool [14 April]. Jim
    [sic] lost a lot of hair to girls with scissors and drummer Mitch Mitchell received leg injuries.
    [Ha-ha – football terminology Ed.]
    An incredibly frank interviewMICK JAGGER on the end of an era. See centre pages.
    MONKEES-2 more dates
    (Page 2) Melody Maker Pop 30
    04-10-08. Purple Haze - Jimi Hendrix, Track
    The RAVER’S weekly tonic
    . . .How did Mitch Mitchell get his back scratched? . . .The Jimi Hendrix Experience refused entry
    to a Blackpool hotel where they had booked in advance, and were forced to spend the night walking
    around Blackpool.

    (Page 4) ‘MONTEREY STARS
    THE Mama's and Papa's, Simon and Garfunkel, the Beach Boys [cancelled], the Byrds, the
    Buffalo Springfield
    and Jefferson Airplane have already been fixed to appear at the three-day
    Monterey Intern
    ational Pop Festival in California on June.
    The organisers have also invited Bob Dylan [no way!],Donovan [couldn’t make it], the Four Tops
    [declined], Martha and Vandellas [declined] and many other groups to appear
    (Page 11) ‘the end of a group era’ Mick Jagger talks to the MM’s Mike Hennessey
    . . . Since the peak of the Beatles and the Stones there have been a lot of big groups but none with
    any real flair - except for
    the Who and Jimi Hendrix and the Experience. . .

    Thursday 20 (22) April 1967
    RECORD MIRROR (cover) [½ page top, colour photo of JHE backstage at BBC Playhouse, lower
    half Jeff Beck.]

    (Page 10)Readers Club [B&W photo of guy with long ‘page-boy’ do]
    Mick Wever, 19, from Herscheid, Germany. [Favourite] Stars: Walkers, Jimi Hendrix, Rufus
    Thomas, Beatles, Animals, C. Adderly

    (Page 11)Britain’s Top [20] R&B Singles:
    9 Purple Haze 9 Jimi Hendrix (Track 604001)
    Britain’s Top 50[not credited to Record Retailer yet]
    6 Purple Haze 11 (5) Jimi Hendrix(Track)
    (Page 12) The Face
    . . . jam session at London’s ‘Speakeasy’ club featured Georgie Fame on organ,
    Ben R. King on drums, Ben’s guitarist on rhythm guitar and
    Jimi Hendrix on bass . . .

    Thursday 20 (22) April 1967
    RECORD RETAILER (page13) Best Selling Specialist Singles
    9 (9) Purple Haze - Jimi Hendrix Experience Track 604001
    (page15) Britain’s Top 50
    6 (11) (5) Purple Haze - Jimi Hendrix Experience Track 604-001 [Pub.] Yameta, [Prod.] (Yameta)
    42 (-) (1) Guns Of Navarone - Skatalites [ie in addition to ‘black’ R&B and ‘Soul’, Ska (and ‘Bluebeat’)
    was very popular with UK ‘white’ youth, as
    was, later, Reggae – a later Jamaican musical
    development. There was not enough of a ‘Black’ UK market alone to make these songs UK chart hits.
    Radios: London (10), Caroline (11), 270 (6), Scotland (*), BBC Top Tunes (16)
    *Info unavailable that week

    Friday 21 April 1967
    ALDERSHOT NEWS (page?) [B&W text ad]
    ABC Aldershot. Tel. 20355
    (X) (Technicolor)
    Sunday: 4.35, 7.55. Doors open 2.40.
    Daily: 2.10, 5.30, 8.50. Doors open 1.40.
    (X) (Technicolor) Sunday: 2.30. 6.10. Daily: 3.45, 7.05.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Friday 21 April 1967
    JAMAICA (Kingston)
    DAILY GLEANER (page 7) British top ten
    The top ten, as charted by the Melody Maker, with last week’s position in brackets
    10 (15) Purple Haze—Jimi Hendrix (Track)

    Friday 21 April 1967
    England (Newcastle)
    EVENING CHRONICLE (page?) [B&W text ad for that night’s Walker Bros tour]

    Friday 21 April 1967
    LINCOLNSHIRE ECHO (page?) ‘Pop Tours Played Out’—Walker brothers’:
    LINCOLN has seen the last of the fabulous Walker Brothers as they are making their final tour
    together in this country.

    The Walkers told the Echo that they think tours and shows like last night's spectacular at the
    A.B.C., Lincoln, are "about played out".

    They think that in about six to eight months the tour scene will be absolutely dead, and the
    teenagers will want to see people, like the American ballad singer Tony Bennett, writes Robert

    On stage the Walkers certainly went down well with every ballad type number they did, and
    would certainly take last night's prize for being able to create mass hysteria. The screams were
    deafening every time one of them moved.

    Proving their great versatility, they were equally at home with a beat number such as "Barefootin’”
    popularised over here by Robert Parker.

    Backstage, the Walkers dispelled all ideas that the fans may have about groups being dirty—they
    were busy washing their hair between the two houses.

    A great guy on and off stage, Jimi Hendrix was in a very bouncy mood. His opening remark was:
    "I am going to put a curse on everyone so that all their babies are born naked." A remark
    which he obviously thought had some deep significance.

    He was wearing turquoise trousers and an old fashioned military jacket trimmed with silver braid
    and fur.
    "When I was six my grandmother gave me a Spanish jacket covered with
    baubles, and ever since I have loved 'funky’ clothes,"
    he explained.
    He described his clothes as "freak and funky" and his wild music as "a touch of blues, jazz and
    ". He also agreed that some of his music was psychedelic—no real beat and sound in which
    the imagination of the audience plays a large part.

    Jimi said he had a new L.P. coming out in May called: "Are You Experienced?"
    Cat Stevens brought the house down singing "Matthew and Son" and his latest release, "I'm going
    to get me a gun," for which he wore a revolver and a cowboy hat.

    Backstage Cat, minus hat and gun and sipping mineral denied that the song was about a juvenile
    delinquent, "It's about a cowboy who hits back," said Cat. He added that he had designed all his
    stage clothes himself — he looked rather like Wyatt Earp, with a frock coat.

    Although Engelbert Humperdinck stopped the Beatles from getting to number one with his record,
    "Release Me", and won himself a Gold Disc, he did not win my respect at all.

    Engelbert should stick to ballads, as when he tried the beat number "In the Midnight Hour" he was
    substandard, to put it politely.

    However, he certainly went down well with the young audience and, after all, they are the people
    who buy records today.

    Backing the solo artistes was a group called "The Quotations". These boys provided great big-band
    [sic] backing to Cat Stevens, Engelberl Humperdinck and the Walker Brothers.

    An up and coming group, "The Californians," with the surfing sound of the early Beach Boys, kicked
    off the show in great style and got the audience clapping.

    Compere for the show was Nick Jones, who had an unenviable task. All the fans wanted him to do
    was leave the stage.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Friday 21 (22) April 1967
    Special reports from Tracy Thomas
    PAUL McCARTNEY made more friends during his recent Hollywood visit — particularly with Jefferson
    , one of the best-known groups who have still to make the national charts.
    They flew in to Los Angeles to perform at the new Cheetah Club and while rehearsing one afternoon
    Paul walked in, listened attentively for a while, and then started complimenting. They told me
    afterwards it was one of the most pleasant shocks they ever experienced.

    McCartney, who flew to San Francisco (the Airplane’s home town, incidentally) to see Jane Asher

    with the Bristol Old Vic Repertory company there, spent the evening in Hollywood with Airplane bass
    Jack Casady, who reports :
    “He brought a bunch of demonstration records front the next Beatle album and played them for me. I
    couldn’t believe that they were that good!

    “This next Beatle album will be as much an improvement over the last as “Rubber Soul” was over the
    one before it.”

    While McCartney was in California, the Monterey Pop Festival convinced him to join Paul Simon, Art
    Garfunkel, John Phillips and Lou Adler on their advisory board.

    Others agreeing to serve on the board are Donovan, Andrew Oldham, and record producer Terry

    Already set to appear during the three-day Festival are the Mama’s and Papa's, the Beach Boys,
    Simon and Garfunkel, Johnny Rivers, the Byrds, the Buffalo Springfield and Jefferson Airplane,
    [the Who!] with Ravi Shankar heading a special Sunday afternoon concert.
    Donations from Simon, Garfunkel, the Mama’s and Papa’s, Rivers and Adler total $40,000. These funds
    will enable the Festival to be run as a non-profit organisation, with the profits from the concerts going
    to a Pop Foundation, the purpose of which has not yet been defined, but will aid youth in some fashion.

    (Page 7)NME Top 30
    04-11–07. Purple Haze - Jimi Hendrix (Track)(Page 8) New Releases
    ‘Star singles bonanza’
    AN unparalleled number of big-name chart stars will have new single releases early next month. Discs by
    the Beach Boys Engelbert Humperdinck, Elvis Presley, the New Vaudeville Band, Vince Hill and the Kinks
    are all set for May 5 issue—plus yet another single from
    Jimi Hendrix. [...etc.]
    Track Records issue Jimi Hendrix’ “The Wind Cries Mary” on May 5, even though his “PurpleHaze” is
    still climbing the NME Chart. His manager
    Chas. Chandler explained: "It is so radically different in
    concept and performance, we see no reason why both discs should not be in the chart at the same time."
    Meanwhile, release of
    Jimi's first LP, "Are You Experienced" has been delayed until the end of June.

    (Page 16) Who’s Where(Week commencing April 21)
    One Nighters:
    Walkers, Humperdinck, Stevens, Hendrix—Newcastle City Hall (21st); Manchester Odeon (22nd); Hanley
    Gaumont (23rd); Bristol Colston (25th); Cardiff Capitol (26th); Aldershot ABC (27th).

    [B&W text ad] ADVANCE WARNING — BARBEQUE '67
    Tulip Bulb Auction Hall, Spalding, Lincs.
    Spring Bank Holiday Monday, May 29th
    Jimi Hendrix Experience • CREAM • Geno Washington The Ram Jam Band
    MOVE • PINK FLOYD • ZOOT MONEY & His Big Roll Band
    Licensed Bar Applied For — Hot Dogs
    U.V. Soft Lights. Discotheque from 4.0 p.m.
    Admission £1

    [Day?] April 1967
    [UNKNOWN paper possibly above?] (page ?) [article?]
    [B&W photo of Jimi on stage: ‘HENDRIX: “D[ynamite?] [...]’
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Friday 21 April 1967
    SCOTTISH DAILY EXPRESS (page?) SMASH The page for the young set
    ‘Top 20’
    . . .
    7. PURPLE HAZE Jimi Hendrix (11)
    . . .
    Jimi's out for a double hit’:
    WHILE “Purple Haze” rides triumphant at No. 7, Jimi Hendrix is making yet another bid for chart
    conquest—with a self-penned number called "
    The Wind Cries Mary," due for release in two weeks.
    It's pretty rare for an artist to follow up a hit so quickly, but Jimi's manager, ex-Animal Chas
    , is confident of a double victory.
    This new number is completely different to anything else around at the moment,” he says. "And
    demand for
    Jimi's work is so great that we believe both records could feature simultaneously in the

    Jimi, 21, is one of the most controversial figures on the pop scene today. He was told to "clean up
    his act” before he appeared in Glasgow this month. And a Blackpool hotel turned him away

    [14 April]
    , denying that any booking had been made.
    But in the same city, 1,000 screaming fans took a sizeable chunk out of his luxuriant hairstyle when
    they pursued him after a show
    [see MM, Thur 20, above].

    Friday 21 (29) April 1967
    LOS ANGELES—Monterey, scene of jazz and folk festivals, will host the first international pop
    music festival
    at the Fairgrounds, June 16-18. A unique aspect of the bash is that it is being
    developed by a non-profit corporation which hopes to establish music scholarships with the box-office

    On the artistic side, such contemporary names as Johnny Rivers, the Mamas and Papas, Simon and
    Garfunkel, the Beach Boys, Byrds, Jefferson Airplane and Buffalo Springfield, are among the first acts
    mentioned as performers.

    On the business end, Ben Shapiro as director and Alan Parisier as production supervisor, have formed
    the Monterey International Pop Festival/67
    organization to develop the three-day event.
    Producer Lou Adler is heavily involved in the event which is also considering seminars on various
    aspects of the music business to round out the activities.

    A steering committee of young people associated with big-beat music hopes to attract other successful
    acts to the festival. Working capital reportedly totaling $40,000 has been provided to launch the

    (Page 16) CHART Spotlight—Predicted to reach the Hot 100 Chart
    Lynne Randell—Ciao Baby (Epic) [etc— several others]
    R&B Spotlights
    Bo Diddley—Wrecking My Love Life (Checker)
    B.B. King—I Don’t Want You to Cut Off Your Hair (Bluesway)
    Lee Moses—Bad Girl (Musicor) [Lee was used in bogus posthumous JH releases]
    Bar Kays—Soul Finger (Volt) [etc]
    (Page 21) [full page B&W ad] ‘Jonathan King’
    “TODAY YOU’RE JUST HIGH… TOMORROW - YOU’RE DEAD” An open letter to America
    I have stepped away from my studies at Cambridge University,
    England because I can see a frightening new evolution. Acceptance of drug taking. Teenagers,
    adults… grass, acid, pills, heroin, etc. Drugs are to anarchy as food is to a starving man… etc.

    [a convicted sex offender against minors, what a creep! Ed.]
    (Page 23) [full page B&W ad] 'Jimi Hendrix'[in a semi-circle above the ‘3 floating heads’ photo,
    and below this in ‘vibrating’ text]
    'EXPERIENCE'. ‘Becomes the Psychedelic single of this year…
    ANY YEAR!’
    “Hey Joe. #0572 Another singles chart imperative from [Reprise logo]’
    (Page 56) Hits Of The World (from UK’s ‘Record Retailer’ [Thursday])
    11 Purple Haze — Jimi Hendrix Experience Yamata, Yamata [sic, Yameta].
    @ 3 Hey Joe —Johnny Hallyday
    (Philips) Tati
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Friday 21 (29) April 1967
    CASH BOX (page 20) [full page B&W & red pic. logo ad]
    How full the moon-light sleeps upon this bank!
    Here will we sit, and let the sounds of music
    Creep in our ears; soft stillness, and the night,
    Become the touches of sweet harmony.
    Shakespeare. THE MERCHANT OF VENICE.

    Lou Adler / Donovan / Mick Jagger / Paul McCartney / Terry Melcher / Andrew
    Oldham / Alan Pariser / John Phillips / Johnny Rivers / Smokey Robinson / Paul Simon /
    Abraham Somer / Brian Wilson

    (Page 30) Record Reviews
    ‘Best Bets’
    Jimi Hendrix Experience
    (Reprise 0572)
    Hey Joe (3:23) [Third Story, BMI—Valenti] [Billy Roberts was the actual composer &
    Third Story upheld his claim against Valenti. Early UK Polydor copies had ‘Trad. Arr. Hendrix’, as
    scam artist Rose had claimed ‘Trad. Arr.’ Ed.]
    Could be a sizeable amount of airplay in store for this soul-filled R&B rocker. Scan it with

    (B+) 51st Anniversary (3:17) [Yameta, BMI—Hendrix]
    Same here
    (Page 31) [full page B&W ad Hey Joe - same as Billboard (29th) above]
    (Page 69) Great Britain
    ‘Great Britain’s Best Sellers’
    11 17 03 Purple Haze Jimi Hendrix (Track) Yameta

    Friday 21 (29) April 1967

    Sunday 23 April 1967
    RADIO LONDON {broadcast} ‘Fab Forty’ presented by Ed [‘Stewpot’] Stewart
    10-02. Purple Haze - Jimi Hendrix Experience [top entry]
    NE–06. Pictures Of Lily - Who
    NE–15. Little Games - Yardbirds
    NE–38. Get Me To The World On Time - Electric Prunes

    Tuesday 25 April 1967
    The second Rheingold Central Park Music Festival will again be presented at the Wollman
    Memorial Skating Rink this summer.

    It will begin on June 23 and end on Aug. 27, and will offer 60 programs, 13 more than last
    year. Performance days are Monday, Wednesday and Friday through Sunday. On many
    nights there will be two concerts. Admission will be $1 a ticket

    Rheingold Breweries will again underwrite the festival. It is expected to cost between
    $300,000 and $400,000, according to
    Ron Delsener, the producer.
    August Heckscher, Administrator of Recreation and Cultural Affairs, announced some of the
    details of the festival yesterday In his office in the Arsenal In Central Park. Louis
    Armstrong will open the series.

    Among the other artists to appear are Judy Collins, Nina Simone, Dave Brubeck, Duke
    , Mel Torme, the Four Seasons, Pete Seeger, Theodore Bikel, Dionne Warwick,
    Stan Getz, Flatt and Scruggs,
    the Young Rascals [JHE later added to their bill, late show
    and the United States Military Academy Band.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    Tuesday 25 April 1967
    Top 20
    . . .
    5. Purple Haze Jimi Hendrix (7)
    . . .
    (by arrangement with New Musical Express)

    Wednesday 26 April 1967
    BRISTOL EVENING POST (page?) ‘Brotherly act by a friendly Walker’by James Belsey
    Colston Hall: Walker Brothers Show.
    The Walker Brothers and Colston Hall officials made friends again last night.
    At the peak of last night's hysteria-packed show, Walker John Maus leant down from the stage to shake
    hands with a dinner-jacketed official barring the idol from fans.

    And with the handshake everyone could forget the previous Walker Brothers act at the Hall when the
    stars walked off stage after a dispute with organisers.

    This time, there were no walk-offs and even the fans managed to keep in their seats.
    When it comes to slickness the American boys have few rivals. They put over a thoroughly professional
    show, and everyone loved it.

    During their 30-minute spot they trotted out their hits and fitted in some rockers like “Hold On — I'm

    Engelbert "Release Me" Humperdinck looked natty in a "South of the Border" get up and performed
    several belters like "Good News", before bowling over the older fans with a lugubrious "Release Me'.

    The Jimi Hendrix Experience were completely out of place on this particular package show
    Hendrix played well with the guitar behind his back, better with his teeth, and was a maestro playing

    The group's music was weird, exciting and inventive, but it was too way out for the Walkers fans.
    Cat Stevens was also on the bill. His tiny voice couldn't be heard, but he jerked and jiggled away merrily
    — and everyone seemed perfectly happy.

    Bristol compere Nick Jones was funny and quick, and kept the whole show nicely under control.
    *‘Natty’ was used in Jamaican patois to mean ‘stylish’ too. Ed.

    Thursday 27 (29) April 1967
    DISC & MUSIC ECHO (page 2) SCENE
    . . .Jimi Hendrix manager Chas Chandler contemplating marriage soon? . . .Roy Wood, lead
    guitarist/singer with
    the Move, now has a Jimi Hendrix (or should it be Bob Dylan? Hairstyle . . .
    Jimi Hendrix thinks Jeff Beck is Britain’s best guitarist. For what should be the best pop show of all
    time, visit the
    Monterey Pop Festival this June. It’s only 6,000 miles . . . Jimi Hendrix is going to
    get bigger and bigger on the strength of his TV showings and his records. His latest is reviewed on
    page 15.

    (Page 3) Disc Top 30
    05-07-06. Purple Haze - Jimi Hendrix, Track
    HIT TALK by ‘Sandie Shaw’
    . . .Jimi Hendrix is good as background music. I think he looks sweet. . .
    (Page 4) Stars In The News-1
    Who For Monterey Pop Show
    WHO—they appear on tonight's "Top Of The Pops" to promote their new single "Pictures Of Lily"—have
    accepted an invitation to appear at the Star-studded three-day
    Monterey International Pop Festival
    opening on June 16.

    The trip means a break in work on their next album, provisionally titled "Who's Lily," for release at the
    end of June. Eight Pete Townshend compositions will be included together with six tracks written by the
    rest of the group.

    Who start a six-week coast-to- coast American tour with [ie ‘support act to’] Herman's Hermits [UK
    teenybop Monkees type act. Ed.]
    on July 7, and are featured mainly on the Continent until the tour.
    They fly to Helsinki this weekend for TV and stay in Sweden until May 7. They appear on Frankfurt TV
    (18), Brussels concert (20), then return for Oxford Pembroke College Ball (21) and an Irish tour
    (June 1-4).

    Walkers package - Aldershot, ABC
    Walkers package - Slough, Adelphi
    Walkers package - Bournemouth, Winter Gardens
    Walkers package - Tooting, Granada
    (Page 5)Stars In The News-2
    JIMI HENDRIX, controversial coloured star in trouble recently after allegations about
    his act on the Walker Brothers tour, has now been banned from Spanish TV—because of his long hair!

    Jimi was due to fly to Madrid and Barcelona in June, but plans were cancelled after Spanish authorities
    had seen photographs of the group.

    Said manager Chas Chandler on Tuesday: "It's stupid. I thought we were living in 1967. I didn't know
    people still behaved like this.

    "Jimi was booked for Spain by his agent, Dick Katz, but after we sent out photos for Spanish TV
    magazines we were told they weren't allowed to have long-haired people on TV."

    Added ex-Animal Chas: "I thought people were used to pop stars long hair by now. But when the
    and I were on holiday in Majorca last year we were forever being stopped and questioned by
    the police."

    Jimiends his tour with the Walker Brothers, Cat Stevens and Engelbert Humperdinck at Tooting
    Granada on Sunday.

    (Page 6)Stars In The News-3
    ‘Starfighter CAT in £100,000 trip’
    CAT STEVENS will be jet-propelled to Belgium in a supersonic Starfighter ‘plane on June 17 for a special
    TV show. . .

    Since his highly successful tour with the Walker Brothers, Engelbert Humperdinck and Jimi Hendrix -
    which ends this weekend, Cat has received many offers for cabaret. . .

    ‘Denny joins Hendrix, Mimms’
    DENNY LAINE appears on his first West End concert date at London's Saville Theatre on May 7. Bill
    toppers are Garnet Mimms and
    Jimi Hendrix.
    Denny does two one-man concerts in Paris on June 7 and 8 and record producer, Denny Cordell, is
    hoping to tape the shows for an LP.

    He appears on ATV's “Today" (May 2) and goes to Brussels (May 9) for concerts.
    Viv Prince, ex-drummer with the Pretty Things, joins Denny's backing group next week.
    (Page 15) [B&W photo of Jimi at Bag O’ Nails, ‘Hendrix sounds like Dylan’]
    Britain’s Top Singles Reviewer Penny Valentine Spins This Week’s New Discs
    Wind Cries Mary (Track) – As popular as Jimi Hendrix is it seems odd to suddenly issue another
    record so quickly after his last – as good even though it is. But ours not to reason why, and certainly
    the record is superb.

    Let us look at the record in the light ofHendrix becoming something of legend in his field. He wrote
    the song himself and sings it clearly and strongly sounding oddly like Dylan. It is very slow and more
    gentle than past efforts. His guitar sounds prettier, the ugly lurching has gone. It is a very careful record
    and one rather to listen to with satisfaction than to jump about raving to. It is a record of understatement.
    As such it may not have immediate commercial success, but as such it is a good indication of how this man
    is going to expand musically.”

    (Page 16) [B&W photo of CW with crazy stoned grin, STONE CHARLIE Hendrix should be up number
    . He’s my scene. . .”]
    ‘Sad CHARLIE WATTS says: Don’t compare me with Ringo’
    . . .Jimi Hendrix should be up there at No.1. He’s my scene. But artists don’t sell on their names.
    It’s been proved with Sandie’s record.”. . .
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Thursday 27 (29) April 1967
    MELODY MAKER(page 2) Melody Maker Pop 30
    05-08-05. Purple Haze - Jimi Hendrix, Track
    The RAVER’S weekly tonic
    . . .Who and Hendrix influenced Jack’s Union have smashing time at Kew’s Boathouse Disco-Dine. . .
    (Page 13)CLUBS
    Friday BLUESVILLE ’67 Friday May 12
    BARBEQUE '67
    Spring Bank Holiday Monday, May 29th
    CREAM • GENO WASHINGTON & The Ram jam Band
    Licensed Bar Applied For—Hot Dogs
    U.V. SOFT LIGHTS DISCOTHEQUE from 4.0 p.m.
    Pay at door. Or for tickets in advance send S.A E. to :
    ADMISSION £1Rivonia, 2 Conery Gardens, Whatton, Notts.

    Thursday 27 (29) April 1967
    RECORD MIRROR (page 4) Pop Shorts
    . . . VIV PRINCE now a member of new DENNY LAINE group. Denny appears on the Saville Theatre
    with GARNETT MIMMS and the
    JIMI HENDRIX EXPERIENCE on May 7th . . .
    (Page 10) My Scene Tony Hall
    Another independent that’s doing fantastically well is the Kit LambertChris Stamp outfit,
    Track Records. Their very first single —Jimi Hendrix's "PurpleHaze” — made the Top Ten.
    Their second — The Who's latest and best-ever — should be even more successful, I hear rumours
    of other Track signings. The way they're going, they'll soon be a very important major minor (Which
    reminds me, although I throw up — or switch over — every time I hear that ghastly Dubliners disc,
    congratulations to Phil Solomon and my former colleague Pat Campbell on their first chart success).

    Names and Faces[B&W photo of KG in top hat and gold cape]
    Now touring Britain: King George and the Harlem Kiddies, who also have their record “Drive On
    James” out on the RCA label. They’ve been knocking ‘em cold in Sweden for quite a while with their
    mixture of jazz and R and B and “soul” and pure pop.
    The King himself pictured here, has played
    many times at the
    Apollo Theatre, New York, was a member of the Goodtimers who made
    Mercy, Mercy” with Don Covay. Others in the outfit: Girl organist Billie Jo Thomas; tenor saxist
    Jesse Wilkes; Scottish-born tenorist Dave Turnbull; guitarist Paul Weeden, who has played with

    Jimmy Smith
    and Jack McDuff; drummer Grave Hansen is Danish born and actually founded the
    Harlem Kiddies.

    (Page 11)Britain’s Top [20] R&B Singles:
    7 Purple Haze 9 Jimi Hendrix Experience (Track 604001)
    Britain’s Top 50 ‘National Chart Compiled by the Record Retailer’ [1st time RR is credited]:
    5 Purple Haze 6 (6) Jimi Hendrix Experience (Track)

    Thursday 27 (29) April 1967
    RECORD RETAILER (page13) Best Selling Specialist Singles
    7 (9) Purple Haze - Jimi Hendrix Experience Track 604001
    (Page14) Britain’s Top 50
    5 (6) (6) Purple Haze - Jimi Hendrix Experience Track 604-001 [Pub.] Yameta, [Prod.] (Yameta)
    Radios: London (2), Caroline (7), BBC Top Tunes (16)
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Friday 28 April 1967
    England (London)
    THE GAZETTE (page?) [B&W text ad]
    GRANADA Tooting Bal 6601
    open 1.25MAY 1 WEEKlast show 7.5
    Rock Hudson
    George Peppard
    Guy Stockwell
    1.40 5.15 8.40 a
    3.30 7.5 u
    Fri. & Sat. MAROC 7(a) & IPCRESS FILE (a)
    Stage Sun April 30 at a o'c A L3S
    Cat Stevens | Jimi Hendrix Experience
    Californians | Nicky Jones | Quotations [note: very small text]
    Engelbert Humperdinck [note: same size text as Cat & Jimi]
    Book Now 7/6, 8/6, 12/6, 15/-

    Friday 28 April 1967
    LINCOLNSHIRE CHRONICLE (page ?) 67 SOUND [3 B&W photos, ‘Three of the pop stars
    who appeared at Lincoln’s ABC last week: from the left, Cat Stevens,
    Jimi Hendrix (arm
    raised vertical pose), & Englebert Humperdinck.— ‘Chronicle photo.]

    ‘A Stage Full Of Pop Stars’ by ‘G-Man’
    I wasn’t impressed with the performance of singer Jimi Hendrix in the Walker Brothers'
    Show at Lincoln's ABC
    His movements were far too suggestive for an audience mostly in the 14-18 age group.
    I didn't like his music either, although the sound he made, taken with his movements, had
    some of the girls in hysterics.

    Jimi Hendrix opened with “Hey Joe” and finished with his latest record "Purple Haze."
    The “Cat” — fantastic! A superb artist and a brilliant songwriter. Cat Stevens really deserved
    the applause he received.

    But like many, his voice did not compare with the sound on record. Nevertheless, a great act.
    Wearing a cowboy hat and toting a colt .45, he shot into “I'm gonna get me a gun" with such
    zest that you could almost smell the gun-smoke.

    Cat sang his first hit "Love my Dog" and his huge success “Mathew and Son.” The tempo was
    slowed down a little for “Here comes my baby." Although he penned the song, the Tremeloes
    do a much finer job with it — more distinct, more bouncy.

    If ever there was a song made for anyone, "Release me" was made for Engelbert Humperdink.
    He's got the song and timing absolutely taped. But sing anything else and the "Hump" really
    sets in. He sang ''Midnight Hour" — and, oh boy, I hope he doesn't sing it too many times.

    "The Sun Ain't Gonna Shine Any More." And it may not do, because the Walkers are sliding
    down the popularity charts. They haven't had a big hit for quite a while now. This present tour
    is the last they will make. Agreed they topped the bill and agreed they were the cause of most
    of the screams, but compared to the "Cat” — they missed out.

    Quote from Mick Jagger of the Rolling Stones in last week's "Melody Maker": "Everyone knows
    that Britain is short of police — but they send big groups of them raiding clubs and even barns
    in Lincolnshire. It's madness."

    * * *
    Two years ago Boston group The Red Squares were scratching a living, playing the rounds of
    Lincoln venues, Drill Hall, Huston's Club and Monks Road Club at £15 a night.

    Today, they are called "Britain's luckiest group," and are reputed to fee earning £1,000 a NIGHT
    and TAX FREE at that, in Denmark and Sweden.

    The Red Squares — Ronnie Martin Geordie Garriock and Pete Mason (original members) and Mick
    Rothwell and Rik Maloney — have had three number one records in Denmark and one in Sweden.
    But so far they have failed to crack the British market.

    But there are signs that success at home might be on the way. The Pirate Radio stations
    have been playing their latest disc — "Mountain! High" — extensively, and two national musical
    magazines have taken the trouble to send someone to Denmark to interview the quintet.

    The pop business is an expensive one, claim Australian group, the Easybeats who attracted a
    capacity house at R.A.F. Waddington's Haven Club on Saturday. The Easybeats claim they have to
    earn at least £120 a week to pay for their Wembley house, food, lighting, telephone, heating and

    On top of this they have to pay their manager, agents and road manager.
    * * * *
    Next week we open the pages of 'The Storybook.’
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Friday 28 (29) April 1967
    (Week commencing April 28)
    ‘One Nighters’
    Walker Brothers, Cat Stevens, Engelbert Humperdinck, Jimi Hendrix - Bournemouth Winter Gardens
    th); Chesterfield ABC (8th); Liverpool Empire (9th); Bedford Granada (11th); Southampton Gaumont
    (29th); Slough Granada (30th).

    (Page 5) NME Top 30
    05-07-05 Purple Haze - Jimi Hendrix (Track)
    (Page 7)Who America tour with Herman, Monterey date’
    THE Who’s first major tour of America has now been confirmed. They will co-star with Herman’s
    Hermits in a six-week schedule of one-nighters, commencing the third week in July. As reported last
    week, the Who visit America for three days in mid-June to appear at the
    Monterey International Pop
    . . .
    ‘Hendrix, Cream, Geno, Move, Pink, Zoot at one dance’
    Jimi Hendrix tops the bill at a dance to be held al Spalding Auction Halt on holiday Monday (May 29).
    Also set are the Cream, Geno Washington’s Ram Jam Band, the Move, the Pink Floyd and Zoot Money.

    (Page 12) [B&W text ad] BARBEQUE '67
    Spring Bank Holiday Monday, May 29th
    CREAM • GENO WASHINGTON & The Ram jam Band
    Licensed Bar Applied For—Hot Dogs
    U.V. SOFT LIGHTS DISCOTHEQUE from 4.0 p.m.
    Pay at door. Or for tickets in advance send S.A E. to :
    ADMISSION £1Rivonia, 2 Conery Gardens, Whatton, Notts.

    Friday 28 April 1967
    Canada (ON)
    OTTAWA JOURNAL (page 43) The Youth Beat
    ‘Britain’s Top Ten’
    1. Puppet On A String (2).................... ..Sandie Shaw
    2. Somethin’ Stupid (1)..............Frank, Nancy Sinatra
    3. A Little Bit Me (4)..............................The Monkees
    4. Ha! Ha! Said The Clown....................Manfred Mann
    5. Release Me (3)....................Engelbert Humperdinck
    6. This Is My Song (3)........................Harry Secombe
    7. Purple Haze (11)...........................Jimi Hendrix
    8. Bernadette (12)............................. The Four Tops
    9. It’s All Over (8).............................. ...Cliff Richard
    10. Simon Smith & his Dancing Bear (7).. Alan Price Set.

    Friday 28 April 1967
    SCOTTISH DAILY EXPRESS (page 8) SMASH! the page for the young set
    Top 20
    . . .
    5. Purple Haze Jimi Hendrix (5)
    . . .(by arrangement with New Musical Express)

    Saturday 29 April (6 May) 1967
    USA (Los Angeles, CA)
    BEAT (KRLA) [no mention in the paper of Jimi . . . yet. Ed.] (page 3) ‘Pop Festival For Monterey’:
    Many of the big names in contemporary music, including Paul McCartney have joined together to
    launch a three day pop festival in Monterey, California.

    The Monterey International Pop Festival 1967 will be held June 16, 17 and 18 on the beachside

    Simon and Garfunkel, the Mamas and Papas, Johnny Rivers, the Beach Boys, the Byrds, the Buffalo
    Springfield and Jefferson Airplane
    [& the Who!] will perform without fee.
    Paul McCartney, along with Donovan, Andrew Oldham, John Phillips, Paul Simon, Johnny Rivers and
    producer Terry Melcher, is on the Board of Governors.

    McCartney has spent part of his time in the U.S. in telephone conversation about the Festival with
    Ben Shapiro, director of the event.

    A total of $40,000 has been invested so far by the Mamas and Papas, Simon and Garfunkel. Johnny
    Rivers and producer Lou Adler to give the Festival working capital.

    The event will be a non-profit corporation with proceeds going towards a pop foundation. The board
    of governors, which Paul serves on, will decide how to use the money for the advancement of pop.
    The board will also decide which groups will perform on the concert bill.

    The festival will open with a show on Friday night. Two more will be held on Saturday and on Sunday
    afternoon, Ravi Shankar will perform. The festival will close Sunday night with a concert by the big
    names in the business. Seminars and workshops will also be held.

    LOS ANGELES-Dick Clark Productions has announced that they will promote a series of three
    concerts by the Monkees at the Forest Hills Tennis Station in New York.
    Dick Clark will host the shows which are set for July 14, 15 and 16. The Monkees will do one show
    per night in the open-air 14,000-plus seat arena
    [supported by JHE. Ed.], which will be scaled to
    gross over $300,000 for the three days.

    Just in case of rain. Clark has also rented the Stadium on the nights of July 17, 18 and 19.
    (Page 13)By ‘Pen’
    You've heard of the Monterey Jazz Festival, and soon you'll be hearing about the Monterey
    International Pop Festival '67
    presented by KRLA. Scheduled in Monterey. California, June 16,
    17 and 18, this three-day entertainment fair will include continuous afternoon and evening
    sessions featuring the world's top artists in the pop field.

    Ravi Shankar, the Buffalo Springfield, the Jefferson Airplane, The Byrds, Hugh Masekela, the Nitty
    Gritty Dirt Band
    [shame they didn’t appear – there were no ‘country’ acts, unless you count the
    Byrds? (pre ‘Sweet Hearts’) Ed.]
    , the Grateful Dead-these are just a few of the stars looking
    forward to the June happening. Being the first event of its kind, this will be the only time top
    name artists from all over the world
    [ie some English speakers only eg India (based in US for
    years), South Africa (based in US), Canada, UK, USA, ie not so ‘all over the world’ at all Ed.]

    will have a chance to meet and work with each other.

    These three days will mean a lot to them and to you. Tickets will go on sale in May, and
    packaged tours including transportation, food accommodation and tickets, leaving Los Angeles
    will be available. Listen to KRLA for further details.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Friday 28 April (6 May) 1967
    BILLBOARD (page 20) R&B Spotlights
    ‘CHART Spotlights’—Predicted R&B Singles chart.
    [ie marketing Jimi as a “soul” artist. Ed.]
    Robert McLure—Don’t Get Your Signals Crossed (Checker)
    Volumes—A Way To Leave You (Inferno)
    Jimi Hendrix Experience—Hey Joe(Reprise)
    Bill Black’s Combo—Son Of Smokie (Hi)
    Benny Gordon and the Soul Brothers—What Is Soul (RCA Victor)
    Oscar Toney Jr.—For Your Precious Love (Bell)
    Dave Turner—Who Can I Turn To (Dynovoice)
    Roy Redmond—Ain’t That Terrible (Loma)
    Eddie Bo—Skate It Out (Seven)
    J.J. Barnes—Baby Please Come Back Home (Groovesville)
    Sharon Redd—Half As Much (Veep)
    The Dells—Inspiration (Cadet)
    Leon Austin—Two Sided Love (King)
    The Tail Feathers—Now Ain’t That Love (Uptite)
    Dramatics—All Because of You (Sport)
    (Page 27) [full page B&W ad] ‘Already No. 3 In England… Destined To Become 67’s Foremost Soul
    Exponent’. ‘
    Jimi Hendrix[in a semi-circle above the ‘floating heads’ photo, and below this in
    ‘vibrating’ text]
    Hey Joe”. #0572 Another singles chart imperative from [reprise logo]’ [They’ve
    changed their minds since last week the same ad had ‘Psychedelic’ instead of ‘Soul’ in the text.

    See above chart prediction Ed.]
    (Page 28) ‘Shapiro Exits Fest’
    LOS ANGELES—Ben Shapiro, originally listed as director of the new Monterey pop music festival in
    June, is no longer with the organization. Shapiro had asked for a producer’s fee. The rock ‘n’ roll festival
    at the Monterey Fairgrounds is listed as a non-profit event, with acts working gratis.

    (Page 49)From The Music Capitals of the World
    LOS ANGELES. The Monterey Pop Festival’s array of artists for it’s June 16-18 bonanza lists: the
    Beach Boys
    , Mike Bloomfield Thing[soon to be ‘Electric Flag’], Buffalo Springfield, Paul
    Butterfield Blues Band
    , Byrds, Jefferson Airplane, Mamas and Papas, Hugh Masakela, Laura
    , Johnny Rivers, Ravi Shanker,Simon and Garfunkel, [the Who?] and Dionne Warwick
    … Paul
    [UK bands (inc. JHE) yet to be announced (considered?), the Who disappeared from lists? Ed.]
    (Page 52)Hits Of The World
    ‘Britain’ (from UK’s ‘Record Retailer’ [Thursday])
    05 06 Purple Haze - Jimi Hendrix Experience Yamata, Yamata [sic, Yameta].

    (Page SF-1)AMERICA’S TURNED ON CITY’. [colour panorama photo of SF] ‘Spotlight on San
    [a special ‘psychedelic’ colour feature]
    (Pages SF-2 & 3) ‘SAN FRANCISCO, A CAULDRON OF CREATIVE ACTIVITY’ ‘Can the expanding pop/
    hippie movement turn the city into a major music centre?’ by Eliot Tiegel: DIXIELAND, folk music,
    poetry and modern jazz, the largest opera company outside of New York’s Metropolitan, a powerful
    symphony orchestra, satirical and probing humorists—they have all helped create an artistic environment
    in San Francisco, sometimes labeled
    “The Paris of the West.”
    Today, the city stands on the threshold of its most powerful surge forward to become an
    influence in popular music. A revolution is brewing in the 191-year-old city which is
    preoccupied with its old ways, yet offers its artisans freedom to experiment and go as far out
    as they wish.

    A visit to the City by the Bay leaves one with the impression that indeed some of its younger citizens
    are going out as far as they wish in pioneering new musical and visual forms
    . This creativity
    could conceivably influence other musical patterns and even spread to other parts of the country.

    San Francisco’s current revolution, which has snared the majority of the city’s national publicity,
    focuses on its new, alive and thriving pop musical scene, whose participants and devotees have embroiled
    themselves in vitriolic confrontations with city government.

    Sure, San Francisco has had its share of off-beat developments, the North Beach beatniks, for one,
    were a headache to the “straight folks” but great for tourism. Now the city has spawned
    the 1967
    beatnik, the hippie
    , who comprises the melting pot, the nucleus, the creative environment for the
    young upstarts who are carrying the city’s pop music banner. And here, in this
    caldron of creativity, the
    city and the people who play the rock ‘n’ roll of the ‘60’s and their arch supporters, are all enmeshed in
    psychological, emotional and philosophical battles. The music-recording industries have a vested interest in
    how the battle concludes between the pop
    /hippies versus the “Establishment” which is everything
    from the Mayor, the fuzz and any three-buttoned record company executive who flies up from Los Angeles,
    his eyes agog with merchandising ideas once he’s grabbed up several of these here local rock groups.

    San Francisco is flirting with full initiation as a major musical center as a result of the pop hippie
    , which has already resulted in a few rock groups being signed and promoted to chartsville. If
    it were just a case of young people developing a new
    musical form, one could say that time and confidence
    between the creators and the packagers would help the maturation process along. Unfortunately, that’s not
    ail that’s involved. Whereas the beatniks were the local legions for jazz and poetry reading. and the area’s
    collegians, the progenitors for folk music, the
    LSD-prone, irreverent hippie movement is the spawning
    ground-supportive shoulder for a majority of the new pop/ rock groups, which casually
    “trip out” on LSD
    with the rest of the
    Haight-Ashbury hippie community. A recent State law prohibits the sale of this
    hallucinatory drug
    , but everywhere you go, people freely talk about the strong association between
    LSD—and marijuana— and the long-haired groups groping to find their own identity in their early stages
    of development. The jargon of the
    “acid set” as the LSD devotees are called, permeates all phases of the
    music scene here, one learns in talking to enough people who tell you how they were
    “turned on” by a
    group, or someone’s performance
    “blew their mind.” One key talent booker’s policies are labeled
    “his trip” by an associate.
    The long-haired, bizarre appearing groups, whose names are wildly freakie (many with
    relationships to drugs
    , insiders whisper), have become the ripe apple in many a record company’s menu.
    Unfortunately, many of these pop groups aren’t giving themselves up for

    cooking yet. They have adopted the “freedom now, love us for our inherent talents” concept in their dealings
    with the Establishment (substitute record company official if you wish). Probably for the first time, untested,
    unproven acts are standing up to record labels and saying: “Baby, if you want to sign us up, there are a
    couple of things we have to get straight. Like, we want artistic control of our product, control of our album
    covers and we want to name the a&r man. Dig?

    “Where is the awe for the giant record company with its greased and oiled a&r. sales, merchandising and
    promotion departments? In San Francisco among the pop/hippies, it’s not too overpoweringly evident.

    Thus, the San Francisco scene is dominated with a growing concern among the populace for the
    ascendency of the hippies with their love not work philosophy and predictions that some
    100,000 people will migrate to the city this summer to live among the “love people.”
    In this
    environment many of the “give me creative control” groups are flourishing.

    There is no denying that San Francisco has a healthy talent pool, as it has had in the past when jazz and
    folk were in vogue. But can the city emerge as a full-rounded musical-recording center of any magnitude in
    spite of: -

    • The emotional turmoil and negative feeling much of the city has for the hippies, with which many of the
    musicians are associated by

    dint of their disheveled bizarre appearance;
    An early attitude among the young players that the record companies are not to be trusted;
    A lack of recording studios, sharp contemporary music-tuned engineers, understanding local producers,
    musician side
    -men tuned-in to electronic amplified music, resident recording companies, resident talent
    agencies, and music business attorneys.
    To be sure, there are several recording studios and a 6,000-member musician’s union local and a handful of
    disk labels. But the consensus among people associated with talent, is that more of these things need
    spring up before the city can call itself a complete recording force. In the city’s current pop musical state
    of development, there
    has not yet come a demand which would necessitate opening massive recording
    But that State is quickly nearing.
    What’s all the hollering about you might ask in New York, Nashville and Chicago? Simple. It’s about:
    Jefferson Airplane
    , Mojo Men, Harpers Bizarre, Beau Brummels, Sopwith Carmel, Grateful Dead,
    Quicksilver Messenger Service
    , Big Brother and the Holding Company, Yellow Brick Road, Congress
    of Wonders, Morning Glory, Moby Grape,
    Love, Blue Cheer, Sparrows. Tombstones, Five Amigos, Wheel,
    Nimitz Freeway,
    Country Joe and the Fish, Charlatans, Johnny Hammond’s Screamin’ Night Hawks,
    Purple Earthquake, Baltimore Steam
    Packet, Hobbits, Harbinger Complex, Baytovens, Sly and the Family
    . Butch Engel and the Styx, Spyders, Cheaters, William Penn, Jet Six, Third Half, Weeds,
    Wild Flowers, Staton Brothers, California Girls, Morning Glory, Watch Band, Mystery Trend, Sons of
    Champlin, Flying Circus, Trans Atlantic
    Train, Graduates. Variations, Scavengers, Tow Away Zone, U. S. Mail,
    Madalions, Living Children,
    Jaguars, Incorporates, Walter Wart and the Pickle Dish, Pacifist Choir, Assn. of
    Anonymous Artists, Golliwogs, Tears, Casanova Two,
    Justice League, CIA, Living Impulse and Immediate
    Family. In case you can’t tell, the majority of these groups are male-dominated. Solo performers, in the
    main, just don’t happen in the Bay Area.
    Is San Francisco heading for a new role as a music center? Allow its Citizens concerned with the dollars and
    cents aspects of the community to analyze their town:
    Max Weiss, 40. is one of four brothers who own 16-year-old Fantasy Records, the city’s longest running disk
    company. His casual
    dress would put him in good stead in Los Angeles. Says Max: Mainly we need more
    labels and producers here if we are to develop at all.
    Look at it real¡stically. We’re a label. Frank Werber’s a producer. We’ve had some good winners. In comes a
    guy from New York or L.A and paints a beautiful picture for an artist: movies. TV things we can’t offer here.

    . . . But there’s a lot of work available for a new group here because there are the dance promoters. The
    police here are not as upset about teens being out at night (than in LA). They’re kids. let ‘em have fun;
    soon they’ll be drafted.
    . . . Some of the new groups are good but a little crazy. They are absolutely
    (at first) and have to be shown they have to conform a little to make money. As part of the
    contemporary scene you have to accept people who take drugs, are turned
    on or involved in it. The problem
    is that the groups all play loud and they never hear themselves. When they get into the studio they realize
    what they’re
    fighting. ... I don’t know one group l’d want to invite home and watch ‘em eat. It’s a badge
    here to be freaky.” Fantasy
    has not had any success in recording any of the locai groups. a fact significant
    when one realizes that it’s been the New York and LA-based
    labels which have done the recording and
    achieved commercial success.
    To wit: Jefferson Airplane. Harpers Bizarre, Sopwith Carmel, Mojo Men and
    the newest commercial entry, theGrateful Dead. RCA’s Neely Plumb out-dealed several labels in snaring
    the Airplane in
    September, 1965.
    “We’re waiting for a hippie label to be formed,” laments a relative newcomer to show business, Ron Polle,
    the commercialized Bohemian manager of the
    Quicksilver Messenger Service, which has eschewed
    signing with any
    “regular” record company. “We’re looking for a company which will allow us to go into the
    studio, record
    our work unedited and not change our naturai image. We’re all waiting for an honest record
    that we can talk with.
    \Jules Karpen, another short-timer in the managerial ranks, concurs with the hippie label concept. His act,
    Big Brother and the Holding Company, was still a holdout in March. Tom Donahue, personal manager
    several newly emerging acts and a former record label owner, radio and night club participant, voices
    dissent over the formation of a hippie label. “I think the hippie label attitude is unrealistic,” he says.
    while sipping a cocktail at Enrico’s
    on Broadway. “I’m also a little skeptical about San Francisco developing as
    a recording center when a $2 plane ride takes you to LA where the facilities are so superior.” Donahue says
    the city’s
    talent pool is deep. with the groups “working very hard, living communally and gelting in a lot of

    The manufacturers have created a demand for acts by competitive bidding, the heavyset former co-owner of
    Autumn Records continues. “As a result. some groups may have signed some of the best contracts ever
    by commercially untested acts. Most groups, according to Donahue, are signing for 5 to 8 per cent
    minimums, with substantial side advances. “The Airplanes advance is said to be about $20,000. The Grateful
    received an advance related to the success of their first album in the area and the Moby Grape received
    a cash bonus and an advance sum of money to draw from.” Donahue offered.

    For Bill Graham, who leases the Fillmore Auditorium for rock dances with psychedelic light shows and
    confronts hippies all the time, ‘”there is no validity to a hippie label. The players forget about reality. You can’t
    be a hippie and survive as a businessman and be liked by your hippie friends.” Graham’s shows during the
    past year have caught the fancy of the city’s teens and adults. In a major expansion move he has begun
    booking other forms of music besides the local long-hairs and this development bears watching.

    His counterpart across town. Chet Helms, who promotes dances at the Avalon with a religious fervor, calls
    his evenings “love participations by the audience.”
    “Within the next five years all the major pop acts
    will be cut live here. Within two years or less, someone will have established an 8-track studio here.”
    Recording studio owner
    Leo De Gar Kulka claims that with 4-track equipment, his first month’s gross in San
    Francisco was better than his best gross in 10 years in Hollywood. Kulka’s business pitch to record companies
    is that it’s financially easier to fly one producer up than the groups down to LA. which is the way it’s been
    happening. “In Hollywood you had to look for songs for groups. Here they all write,” he says in his best
    promotional style.

    The growth of local pop groups has not gone unnoticed by Chris Strachwitz, owner of Arhoolie Records in
    Berkeley. He plans getting in on the action on both the pop and jazz levels. To music consultant Bill Gavin,
    a 32-year resident of the city, there is a “vast gap” between the live performances which dot the city on
    weekends and the group’s abilities to produce national hit recordings.

    As a “died-in-the-wool jazz fan,” KSFO’s Al Collins admits he first thought the new pop music was just
    loudness. “Now I can hear a lot of things. Why are all the record company people coming here? Because it’s
    happening here!”

    Personal manager Frank Werber, with the financial security of past successes ringing his impressive Trident
    operations, feels summer visitors
    will make the city “the focal point for the world. The city will explode this
    summer. We’re
    bubbling under the Hot 100!“
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    (Pages SF-4 & 5) ‘Bill Graham Presents In San Francisco’ [photo feature - dance concert
    with light show]
    The Fillmore’ [photo caption: The dance scene a sensorial assault] “There is
    no question that the
    civil rights movement, the anti HUAC demonstrations, the Berkeley
    free speech controversy and the anti-Vietnam organizations
    , all combined to make the
    San Francisco area a place ‘where the action is’ for tens of thousands of young libertarians.”

    (Pages SF-6 & 9) ‘Psychedelic Rockers: Musical Revolutionaries’ by Philip Elwood: San
    Francisco has become the “Liverpool of the West” in pop-rock because of its cultural heritage
    and peculiar geographical position.

    Although it is hard to believe, and still far too early to properly chronicle or evaluate, as
    recently as New Year’s-1966 there were as yet no public rock-dances in San
    Francisco; the
    Family Dog, Bill Graham, a “happening” or Haight-Ashbury. Fillmore
    Auditorium, hippies, the Grateful Dead, Jefferson Airplane and psychedelic
    were still
    esoteric references.

    The socio-musical revolution of 1966 finds its roots in a century of San Franciscana,
    Even as early as the Civil War a hundred years ago. San Francisco was known as The City
    throughout a substantial portion of the American West. Through expositions, fires, corrupt
    politics, earthquakes, racial, labor, and international conflict. The City survived, prospered and
    dug in.

    It was a commercial center, a cultural center, an entertainment center . . . and for travelers and
    wanderers a first-chance, last-chance, and end of the line.

    As Southern California and its own Bay Area suburbs have sprawled and flooded over miles of
    hinterland, San Francisco’s population in the last 20 years has remained about the same
    (current city population 750,000). It has been a relatively rich and varied cosmopolitan center
    in the midst of the lackluster monotony presented by tens of thousands of suburban little-boxes
    made of “ticky-tacky.”

    As Easterners always have to learn, San Franciscans don’t have a surfing movement because
    there is little beach swimming, don’t know any movie stars, don’t have summer tans because
    it’s foggy most of July and August.

    But San Francisco does have an opera, ballet, symphony, legitimate theater tradition, dozens of
    ambitious creative arts groups.

    The biggest thrill for any school kids in Northern California has always been a trip to The City, not
    the capital at Sacramento. San Francisco represented a break from the monotony of smaller
    towns, a split, if for only a day or two, from the Establishment of home and school and church
    and suburbia.

    It is no accident that the hungry i and Purple Onion, plus a dozen coffee houses, produced
    artists in the 1950’s who went on to fame in folk and pop-folk styles: the Kingston Trio, Glenn
    Yarbrough, Barbara Dane, Stan Wilson, the Limeliters; in many ways the rock groups like

    Jefferson Airplane, Grateful Dead, Big Brother & the Holding Company
    , Moby Grape,
    Country Joe & the Fish and others, are a continuation of that San Francisco folk-cult of an
    earlier era.

    The underground culture of a dozen years ago was as off-beat as that of today; the “beat
    generation” was the spiritual predecessor of today’s “love generation” or hippies.

    The schools and colleges, the institutes, poetry centers, dance studios and experimental film
    makers all attracted youngsters to the Bay Area: kids seeking something different and creative.
    The strongest connecting links in the creative-arts chain reaction ran from San Francisco State
    College, out by the ocean, through North Beach
    (pre-topless still in the 1950’s) and across the
    Bay to Berkeley’s University of California campus.

    Hardcore folk music and protest poetry often jelled to become locally oriented-protest
    songs with a blues flavor:
    an extension ofGreenwich Village, Pete Seager and the Weavers.
    Whereas the 1950’s beatnik community was an ex-tension of relatively familiar American social
    radicalism, t
    ied in with political liberalism, avant-garde poetry, literary magazines and the like, the
    newer hippie movement in San Francisco is much larger, less academically oriented (although
    more middle class), not liberal but radical (or anarchistic), and consumed with curiosity about
    exotic, particularly Oriental
    cultural and spiritual values.
    Running through the strata of the San Francisco underground arts revolution a decade ago was a
    feeling of frustration with the Establishment; this feeling was perhaps best expressed by Mort Sahl,
    Lenny Bruce, and a number of poets. Allen Ginsberg among them. But the inherent
    political orientation of traditional American liberalism didn’t make much sense to the young
    newcomers to
    the scene by 1960: this was the first wave of the post-World War II generation, and
    they constitute today’s San Francisco hippies.

    There is no question that the civil rights movement, the anti-HUAC demonstrations, the
    Berkeley free speech controversy and the anti-Vietnam organizations, all combined to
    the San Francisco area a place “where the action is” for tens of thousands of young

    The protest songs, which had once reflected older liberal attitudes, became oriented to new
    problems and with
    such artists as Joan Baez (following in the Seeger and Guthrie footsteps of old)
    them, new structures appeared in the songs of social significance.
    Both the Berkeley campus and S. F. State College have annual folk music festivals, and both. by
    962-1963. were reflecting the new wave of youthful protest: unconventional songs.
    unconventional dress, and interesting new combinations of
    country music and the blues. Old Negro
    Mississippi Delta singers mingled with pimply-faced kids playing Blue Grass; city blues singers,
    electronic instruments, shared the stage with granny-dressed autoharp performers.
    By the time Bob Dylan made the first of histriumphant appearances in the Bay Area, the
    was set, the revolution was at hand. Dylan helped spark it.
    Gradually former jazz and/or folk clubs heard more and more electronic instrumentationand more
    blues beat. The rock ‘n’
    roll radio stations promoted concerts, first modestly then in the giant Cow
    Palace [Last ever gig of The Beatles Ed.], with 18,000 seats sold out. But this was not yet a
    purely local scene; it
    was one in transition.
    By early 1966, two public ballrooms, the Fillmore and the Avalon, virtually forgotten by even
    native San Franciscans, began weekend dances featuring some local and some imported r&r groups.

    Paul Butterfield’s Chicago Blues Band
    made a strong impression, playing opposite the local
    Quicksilver Messenger Service
    . Later on last spring, the Blues Project, in town for the S F State
    Folk Festival, played
    on a bill with the Great Society, a defunct group whose singer was Grace
    Slick, now with the Airplane
    In the midst of the early rumblings of revolution there was a Trips Festival, bringing into a smokey
    Longshoreman’s Hall
    the jargon of the LSD acid heads led by Ken Kesey. There were more
    10,000 people in and out of the place over the weekend: rock bands played, all manner of
    went on, poets read, there were skits and shows, black light, strobe light, full-wall liquid
    ... the works. Poorly organized, it was a taste of things to come and the kids dug it.
    By last summer, four public SF halls were in use almost every weekend, to say nothing of dozens of
    other arenas in and out of the immediate city.
    Veterans’ halls, roller rinks, movie theater stages,
    park band-stands, college gyms and roped-off streets became rock dance sites.
    Into the city poured ambitious electronic bands from throughout the country. About 30 of them
    could expect
    jobs on a good weekend in the Bay Area and some had the chance to make it up to
    $2,000 a night (or more) category enjoyed by the Dead and the Airplane by year’s end.’
    It was a wonderful and enervating experience for those in the Bay Area who paid attention. The
    scene here is folk-based music with virtually no connections with old-fashioned show business.
    It has become a part of the lives of thousands of people, mostly in their 20’s. without being an
    of nightclubs or other booze joints, although the Rock Garden, a nightclub presenting rock
    and light shows opened in March.
    The Family Dog operation (front name for Chet Helms, who started at the Fillmore and moved
    to the
    Avalon) and Bill Graham’s Fillmore-Winterland productionsare now used to chartered
    -loads of suburban kids pouring into their halls, especially on Friday night. Parents and politicians
    regularly rise up in civic meetings or in the press to object to what they have heard about the rock
    actions which (naturally) encourage even more kids to turn out, or on.
    Now included in most of the dance-concerts are not only rock and blues bands of relative youngsters,
    also revered blues specialists from older eras such as Chuck Berry, Big Mama Thornton, Otis
    Muddy Waters or Lightnin’ Hopkins. [All with connections to Jimi. Ed.] Jazz groups
    like Charles Lloyd’s quartet and the trio of Brazilian guitarist Boia Sete have appeared with rock bands,
    at both the Fillmore and
    Avalon. Everything from Count Basie to Indian sitar bands are scheduled in
    the months ahead.

    The San Francisco rock sounds, as anyone connected with the record industry knows, are much harder
    than most, although some, like the Sopwith Carmel or Harpers
    Bizarre lean toward soft rock. There is
    a strong blues
    influence and as more blues and jazz are combined with the public rock performances,
    it seems likely that the three forms will be even further amalgamated. A distinct characteristic of the
    rock style is the length of the tunes which explode like “concert miniatures.”
    Hand-in-hand with the growth of the pop music scene has developed a two-phase visual art structure.
    part is the wild pop-op-art nouveau announcement posters for the dances, some of which have
    been poorly reproduced in
    national magazines.
    The other visual art of the hippie-rock world are the huge dance hall wall abstractions,
    sometimes misnamed “psychedelic lighting.” Splashing their lights usually from floor to ceiling,
    some of the
    best San Francisco visualists employ teams of assistants to keep projectors going, jiggle
    the big watch-glasses
    on the overhead projectors and control panels of multicolored stage lights.
    It isn’t just the music, or the dancers, or the visuals, or black and strobe special effects. It’s all of
    Everything has to go on at once: loud. brash, bold, bright.
    That’s the San Francisco scene.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    (Page SF-7) [Dayglo Psychedelic poster ad] Family Dog productions, 639 Gough St, San Francisco!
    California 94102. Phone 3460756. ‘Family Dog presents [logo]

    (Page SF-8)
    [Full colour ad featuring many psychedelic posters for]: Berkeley Bonaparte Posters
    (Page SF-9)
    [B&W ad for vault records]: “It’s What’s Happening Now!!!” [psychedelic art record
    sleeve] ‘West Coast Love-In’ [feat.] The Peanut Butter Conspiracy; The Chambers Brothers;
    (Page SF-10)
    [Photo feature] ‘Haight Is Love’ [Psychedelic text and heart embroidered on cloth].
    ‘Haight Ashbury’ [names on sign post]
    ‘The Merry, Mad, Musical, Mod City’
    The damnable thing about the songs and lyrics thrown around about San Francisco is that most of
    them are true.Surely the fog flowìng through the Golden Gate bridge cables isn’t exactly like angel
    wings on the harp strings of heaven (although who could prove it otherwise?); but such allusions do
    make some sort of mirage-like sense to the thousands of annual summer tourists who flood in from
    the parched California Valleys or scorched Midwest.
    cars, after all, don’t climb very close to the stars primarily because San Francisco has few
    starlit nights and anyway the cables are too crowded to get very far off the ground. But cable cars
    are distinctively San Franciscan and from their clanging bells to roller-coaster routes they offer
    themselves easily to song and verse.
    The “ticky tacky” face of the city’s
    suburbs was the inspiration for 67-year-old Malvena Reynolds,
    some-times called the “songwriting grandmother,” who stopped writing about conservation and
    peace one day to attack conformity in the folkish “Little Boxes. In some parts of the country, the
    Berkeley songwriter’s hit composition was attacked by rightist groups as being un-American.
    Nevertheless, Malvena has dauntlessly continued her writings which number close to 1,000
    compositions and include‚ Turn Around,” “God Bless the Grass,” “You Can’t Make a Turtle Come
    Out” and “What Have They Done to the Rain.“ Her works are forthcoming on recordings.
    Folks have been coming to San Francisco with
    banjos on their knees ever since “Oh Susanna” and
    every year sees a few more musical tributes to the city by the Golden Gate. In fact, the banjo-
    band craze and Red Garter clubs began io San Francisco: one of the many results of the traditional
    jazz and folk music era around 1950. San Francisco, it seems, is always in the midst of some sort
    of revolutionary artistic epoch. Today, it’s the merry mod-hippie scene. Next month, who knows
    San Francisco has Chinatown go-go clubs, jazz rooms with astonishing twinkling-lights vistas,

    supper clubs right out of Prohibition Newark, and world-famous restaurants where reservations
    don’t even guarantee the natives a meal.
    From a cold, drippy-fog July
    afternoon in town, a 20-minute drive gets you to 100°+ suburban
    sunshine. And Bay Areans treat their bridges like their weather: everybody complains (crowded,
    dangerous, etc.) . . . but they’re still proud and enthralled by the pearl-like strands of yellow lights
    which dance across the black Bay waters at night.
    inconsistencies of San Francisco, plus its off-beat attitudes and often annoying traditionalism,
    have made it a favorite retreat for entertainment personalities. It was typical that when the city was
    rocked, wrecked and aflame during the 1906 earthquake, both Enrico Caruso and John Barrymore were in
    Folks have been coming to San Francisco with banjos on their knees every since ‘Oh
    Susanna’ and every year sees a few more musical tributes to the city by the Golden Gate.”
    the natives, of course, the good old days have passed: too many hearts have been lost, then
    reclaimed for permanent residency. The old informality and relaxed cosmopolitan pace have
    vanished, along with the ferry boats.
    But every
    April, local television commemorates the anniversary of the 1906 holocaust by
    showing the MGM epic “San Francisco.” And when Jeannette sings to Clark: “. . . open up your
    Golden Gate, you let no stranger wait outside your door . . .,” there isn’t a dry eye from Pacific
    Heights to Butchertown.
    The charm
    of the city was captured by two songwriters who brought their creation to Tony Bennett.
    Then performing in the Fairmont’s Venetian Room. Bennett dug the song. A Columbia Records’ sales
    executive, being the native son that most San Franciscans are, wanted the company to record the
    tune. Bennet did go to Los Angeles (ironies of ironies) to cut the song “I Left My Heart in San
    Francisco,” and the track was released in minimal amounts to cover the market. It took some time
    to climb onto the charts, but the haunting, sadly romantic melody became Bennett’s signature and
    his career a boost of adrenalin.
    a tightly knit community on the fringe of North Beach area with its blending of the old
    and the new (mostly old, however), inspired the musical “Flower Drum Song.”
    years ago, a handsome trumpet player from (pardon the expression) Southern California
    had a steady gig with the Sixth U.S. Army Band stationed at the Presidio in San Francisco. One of
    his chores. as the natives say, was blowing taps at military funcrals. Today, Herb Alpert’s chores are
    of a decidedly happier nature: he is the millionaire leader of the slickest, instrumental band of the
    1960’s, the Tijuana Brass.
    If environment is vital to
    the poet, then the city has been writer/singer Rod McKuen’s inspiration.
    His folk-laced works have been sung by the Kingston Trio and Glenn Yarbrough, for example.
    writer Cy Coben, Menlo Park, a SF suburb, has been his base of operations for many years while
    he wrote over 400 tunes, half with a country flavor.
    the city’s hills, the bay, towering down-town buildings and suburban old Victorian homes
    provide a steady stream of television commercial makers with any kind of feeling or mode.
    Subliminally then, the nation is exposed to the visual sense of the area. Musically, much has
    already been composed about the city.
    (Page SF-11)
    Two–tone colour ad with psychedelic text & art for Verve artists ‘Country Joe
    And The Fish’
    (Pages SF-12 & 13)
    [Two page, two–tone colour ad with psychedelic text & art for Verve
    artists: The Mystery Trend; The Sons Of Champlin; Blackburn & Snow; Jameson; The Mothers
    Of Invention; The Velvet Underground (& Nico); The Blue Project]
    (Page SF-14)
    ‘People: the City’s Strongest Commodity’ [photos, 'Cosmopolitan and
    Bohemians create an exciting collage'; 'Places. Action. Everybody scramble.
    Hustling San Franciscans include, top right, Jimmy Lyons, college and concert promoter: top left,
    Ernie Chin, disk distributor clerk; middle left, talent manager Jules Karpen holding a “god’s eye”
    symbol by his group’s hearse; top center, a downtown blind musical purveyor; middle righi, KFRC
    librarian Lyn Dahl and secretary Sally Hall toast the stations top ratings; bottom left and center,
    the hippies and the straight folks, and botto
    m right, KSFO’s Jim Lange squashes a grapefruit at a
    charity baseball bash.
    (Page SF-15) [full page B&W psychedelic text ad] ‘Psychedelic Soundburst’ ‘New directions
    from San Francisco led by
    Jefferson Airplane, with their hit “Somebody To Love and their latest
    [photo of sleeve for ‘Surrealistic Pillow’]
    (Page SF-16) [half page B&W ad w psychedelic art & text for Bill Quarry Promotions]
    [quarter page B&W plain text ad for Melody Sales co.]: …where the “in” crowd gathers in the
    intimate little bars in the curious alleys of Chinatown
    . . .where the gray flannel types pitch their copy at the provocative swaying mini-skirt femmes in the
    canyons along Montgomery Street??

    . . .where the “Love Generation” from the Haight-Ashbury District scandalously shock the
    Squares and threaten to convert Golden Gate Park into a huge pad for a summer invasion on
    100,000 disciples??

    . . .where the hippies cast nary a glance at the Topless along Broadway – while the tourists Agog Agog
    the Go Go???

    . . .and while Billboard ferrets out The Fillmore and The Avalon; and Gleason and Elwood oracularize in
    mass-media; and Bill Gavin Report and Tempo Newsletter rate raves reviewing record releases and
    rationalising register rings . . .

    Where the action really is!

    (Page SF-17) [full page B&W ad w psychedelic text]
    We’ve dwarfed the wharf,
    Shortened the bridge,
    Tamed the cables,
    Drained the bay,
    And changed the name to
    San Franciscolumbia

    [list of artists]

    On Columbia Records


    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  20. #40
    Join Date
    Jan 2008
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    Re: 1967 April Newspaper & Magazine Articles (Text Only)

    (Page SF-18)
    [photo caption: Top management: Left, Tom Rounds, KFRC; top right, Alan Newman,
    KSFO; bottom left, Don Loughnane, KNBR, and Howard Kester, KYA.]’Create Sound Happenings’
    [San Francisco radio stations feature]
    Zany or serious, moody or uptempoedSan Francisco radio soothes all psyches. Dial flickers have
    their choice of
    24 AM or 40 FM stations, including 16 stereos, to use as their constant companions.
    As typifies ail major markets, there are stations feeling the heat from the hot coals of shrinking
    positions. Consequently, San Franciscans are beset by on-air promotions and contests, prodding,
    tempting and enticing young and
    old alike. Only one station really has any unique distinctions in its
    programming, KSFO,
    all the others remaining carbons of what their counterparts in other cities do.
    There are two exceptions to
    the above statement, KKHI, the lone AM-FM all-classicaloutlet which
    with a pop music enthusiasm, and KSOL, a rhythm and blues operation which differs from
    its main competitor KDIA
    (in Oakland) through a policy of running multiple plays three times an hour.
    KSFO, the Golden West station, is truly all things to all people and its ratings have been No. 1,
    in the December-January 1967, six and nine-county Pulses, RKO General's KFRC outrated it
    from noon to midnight on an average quarter-hour survey.

    KSFO has the strongest personalities in town, the Giants, 49'ers and the broadest music policy of any
    non-rock station.
    Dan Sorkin, who has been with the station four years, labels KSFO, "Radio Free
    America." "There are no automations here,"
    he says. Allan Newman, the station's program director,
    easily recalls some of the zanies pulled by his DJ's. 'Sorkin called the White House to show that it

    like an ad agency when the switchboard operator answers the phone. He asked for Hubert
    Humphrey and the operator said. 'Who?'"

    Don Sherwood, the recently departed $100,000-a-year-morning man. was once interviewing a
    Hollywood actress, Newman recants. and the
    interview wasn't going well. "Sherwood asked her, ‘Do
    you think Lesbians should play football?’ Sometimes the listeners hear things that maybe shouldn't be
    heard." When the carrier Enterprise arrived in
    port from Vietnam duty, Sorkin went out to greci them
    in a boat, towing a rubber raft filled with topless dancers. "People called in and said it was anti-
    religious; that it wasn't a nice thing
    for the boys to see," Newman said. "The Enterprise's captain
    shouted down with a bullhorn
    for Dan to pull the raft around so the men on the other side could see
    the girls."

    These kinds of off-beat things give KSFO a youthful flair, which is carried through the entire
    programming day which
    spotlights Jim Lange (who does comedy bits with an in-studio assistant
    mornings), Carter Smith, Jack Carney, Sorkin, Al Collins (who broadcasts from the Purple Grotto) and
    Dale, the newest member of the staff.
    KSFO's music competitors are KNEWwhich has chatter half the time nowand KNBR, the troubled
    NBC-owned-and-operated station, currently under new management after several unsuccessful
    formats. KNBR, which is now being directed by former Storz top 40 veterans Don
    Loughnane (program director) and
    Dale Moudy (general manager), is one of the stations in the hot
    seat. The other is rocker KYA. now
    part of Avco Broadcasting and being led by a new general manager,
    Howard Kester.

    KNBR's 50,000 watts non-directional signal draws letters from seven Western States, Loughnane says,
    for its middle-of-the-road sound. KNBR's music policy, as set by Loughnane and Moudy, calls for
    "melodic, familiar and understandable tunes."
    [photo caption: The players; clockwise, KKHl's Bill Agee, KFRC's Jay Stevens, KNBR's Dave Niles,
    KSFO's Jack Carney, KSOL's "
    Sly Stone."]
    KYA's problems began during the interim sales shift-over period when its promotion lagged and KFRC
    home its aggressive contest/more music pitch. "KYA will remain contemporary," Kester said
    in his Nob Hill
    offices. "We have to turn the heat up," he explained. "I know what l'm gonna do," the
    28-year broadcasting vet emphasized,
    but he wasn't revealing any specific plans for a visitor. "I really
    do know where the available audience is. l'm aware of the factors that build audience and l'm aware of
    tune-out factors."

    KFRC apparently has less tune-outs, thanks to its tight, mechanical top 40 programming …..its sister
    station in Los Angeles, KHJ, are echoes of each other. "We pay
    attention to small details," Rounds
    explains, "which we feel adds up to our total sound. There's no dead air. We're built
    on flow and pace."
    and pace DJ's include Mike Phillips, Ed Mitchell, Howard Clark, Sebastian Stone, Jay Stevens, Dale
    Norman and Mike Phillips. DJ's select their own order of disk
    presentation from the big 30 playlist
    led by Rounds and librarian Lyn Dahl.
    KNEW is the only station splitting its sound between phone gab and middle of the road music. This mix
    has been in effect since Feb.
    1, general manager Varner Paulsen said in the station's spanking new

    Classical outlet KKHI-AM-FM has grabbed the rocker's contest concept and runs like crazy with its own
    brand of off-beat things, resulting in
    334 total advertisers, 61 exclusive in the market, boasts sales
    development director John Hofmann.
    KKHI adheres to the pure classics which Bill Agee, a 15-year vet
    with the station, programs. A key feature of the station are its symphony broadcasts from in town,
    Oakland, Boston and New York.

    KDIA and KSOL are both tuned to the Negro community, with Dong Cass, KSOL's new program director,
    having shifted to r&b from rock ‘n’
    roll. Cass has zippered up KSOL's gabbing disk jockeys and the
    station is blasting away with more music (40 playlist tunes), making a major point of its multiple plays
    which can run up to seven singles in a row.

    KDIA's program director, John Hardy, whose 15 years in radio have hardened him to rating battles,
    selects the material for the station's 40-tune playlist called the Lucky 13 on the air.

    "Snorkin called the White House to show that it sounds like an ad agency when the
    switchboard operator answers the phone. He asked for Hubert Humphrey and the operator
    said, ‘Who?’”
    [Do we care – no – a load of shite about DJ’s (inc. the fabulous Snorkin?) no one is
    interested in. Ed.]

    KDIA goes jazz from midnight to 6 a.m.
    Jazz is the byword at KJAZ, Pat Henry's successful FM'er in Berkeley, which runs the gamut of sounds.
    KPIA. the Pacifica station, is also heavily jazzed, with Phil Elwood's "Jazz Archives" program in its 16th
    year and purportedly the nation's longest sustaining jazz radio show.

    KPEN-FM is art easy listening outpost which has dramatically popped up in the general Pulso surveys
    after 10 years of struggling. In other specialty classes. KEEN and KSAY program country, KPAT and
    KABL are the show-tuners, KCBS and KGO are phone gabbers and KFAX and KOFY are foreign

    Without a doubt, broadcasters offer the community sound happenings.
    (Page SF-19) [full page ‘square’ ad for KFRC ‘the big six ten’]
    (Pages SF-20 & 21) ‘North Beach’ Hotbed for The Bizarre’. ‘Where Topless Go-Go’s And Booming
    Bands Bustle’ [photos]

    At its worst, North Beach combines the gaudiest ingredients of every commercial tourist trap of any
    major city. Paradoxically, San Francisco's hub, core, main-stem for night life is eschewed by the natives
    and inhabited by the visiting firemen, traveling salesmen, girl-starved servicemen back from 13 months
    in Vietnam and college kids looking for some place where sounds and sex are packaged together. At it’s
    best, North Beach is a pressure cooker where bizarre things happen!

    On the main street of the North Beach area, named appropriately Broadway (what else?), are the city's
    main glistening night spots, currently dominated by the topless dancing girl trend (sex, man), for whom
    inane rock 'n' roll bands blast forth seven nights a week, with a small variety of other "attractions"
    situated in the tight little community which appeal to more esoteric tastes.

    On any Saturday night Broadway is a throbbing, pulsating street, jammed with streams of people club-
    hopping or waiting in line at several of the key spots to get a gander at whatever headliner is working
    the city that weekend. At the three remaining Broadway jazz clubs, the Workshop. Basin Street West and
    Matador, the marquees change regularly. At the Condor, at the corners of Broadway and Columbus, lines
    queue up regularly to see the street's most startling and certainly its longest running individual
    "attraction" Carol
    Doda. The young lady whose 44-inch bust created a new show business profession
    three years
    ago, the top-less rock 'n' roll interpretative dancer. Miss Doda, to the delight of the owners of
    the Condor, which had been booking rock bands, swept to stardom from the role of waitress to featured
    headliner after undergoing silicone
    injections, which flipped the town and made being a member of the
    Condor's house band one of the most sought-after
    jobs in the musician's union.
    As a counter to topless, which is emblazoned across more Broadway marquees than any other word, the
    hungry i is a
    bastion for straight folks who dig their entertainment clothed and of the genre of Noel
    Harrison and
    Woody Allen. Enrico Banducci's famed Spotlight room has slackened in recent years in
    bringing forth new dynamic performers
    as had been its glorious history when Johnny Mathis, Shelley
    Berman, Lenny
    Bruce, the Kingston Trio; Peter, Paul and Mary; and the Limeliters were all launched into
    national prominence through Banducci's erudition. The i will be the final setting from June 5-17 for the
    Kingston Trio's final public appearanc
    e before disbanding.
    A colorful personality in his own right, mustached, beret devotee Banducci bears the mark and flavor of
    the flamboyance of the area. He owns Enrico's, a favorite restaurant-bar hangout of the music-record-
    industries, whose members enjoy sitting at the outside tables, discussing hits, hypes and
    the chicks who
    amble by. Upstairs, Finocchio's, packs 'em in with bus loads of tourists eager to gawk at
    the female impersonators whose songs, wiggles and walks have made the club a top sight-seeing

    Frank Werber. whose offices overlook North Beach, and who worked for Banducci on and off from 1953-
    1956. has observed the area blossom as an entertainment center since 1950. "I was a Bohemian, pre-beat
    hippie," Werber says, "when I met Enrico after he had bought the i for $800. This area used to be great for
    talent development with little clubs where most of the good acts of the past started. With the advent of the
    top-less, it became an impossible situation to compete with, so now the area's throbbing with flesh acts. I
    was very much opposed to it because I felt it de-evaluated San Francisco's entertainment contributions, but
    looking at it today, it's brought new life into this area. To San Francisco's night life, it's the rock dances; to
    the North Beach its topless!"

    “The night air sounds with the franticism of electric guitars and an occasional saxophone
    blowing tunes several years removed from the charts.”

    Since the prohibition era, when North Beach was the center for speakeasies, the area has retained its flavor
    and magnetism as a gathering place ... to spend money. Chinatown, which is three blocks away and the
    myriad of restaurants in the vicinity, help lure kinfolk and their cousins to the area. Before bare breasts
    became the vogue on Broadway—and spread to clubs all over the city—the swim was the craze, with girls
    flaying at the "water" on stage and in showers to the beat of local groups. Before the swim, the hot music
    was folk and jazz. "Today," exclaims one top 40 disk jockey, "the big apple has had a detrimental effect on
    the development of pop music. You won't hear any good rock ‘n’ roll at the topless clubs."

    When the late Art Auerbach opened the Jazz Workshop 10 years ago, his friends thought him foolhardy, the
    club still survives, with his wife, Esther, running the operation with names like Willie Boho still drawing the
    pure buffs.
    [all the above is the most pathetic excuse for tacky perv. shite. Ed.] A few doors away.
    Basin Street West, run by Jack Yanoff, has begun booking rock and jazz names, with Jefferson Airplane
    Dizzy Gillespie a historic first. Business was outstanding, with the long-haired Airplane followers
    jamming the large room and the Diz playing before faces he would probably never encounter on the pure
    Jazz trail. Basin Street filled the gap created when the venerable club Blackhawk flew off to retirementsville.

    Despite the dominance of topless joints, there are still holdouts along Broadway where your dollar gets you
    something other than bare breasts. The Red Garter offers a Gay '90’s mood, with banjos and singalongs; the
    Matador sports music by Bole Sete, Mose Allison, Barney Kessel, Cal Tjader: Basin Street West—the MJQ and
    Anita O'Day; Bagdad Cabaret—Arabic music and Armenian snacks"; The Committee where original
    reigns; Casa Madrid with its flamenco and Persian sounds; On Broadway where the sprightly revue "Once
    Over Nightly" competes, and the Purple Onion, which has lost some lustre but books non-rock acts. There is
    a hardness about Broadway in its night club hawkers whose pitches are aimed at wandering, curious men: at
    Cid which presents a topless school teacher revue: "Right this way, we've got a great show; at the Port
    Said which features Szandor's topless witches: "One drink sees our show"; at
    Pierres: "See eight coeds and
    one high school dropout go topless"; at the
    Galaxie which boasts it originated the swim and where "original
    amateur topless contests" are held: "C'mon in guys, we've got a great 45-minute revue."

    The night air pounds with the franticism of electric guitars and an occasional saxophone blowing tunes
    several years removed from the charts. The corner of Columbus and Broadway is the noisest place in North
    Beach, where the beat meets the strip tease in its 1960’s undress. There used to be a club called the Gay
    90's, but its owners. Bee and Ray Goman, have switched operations to a Gay 60’s concept, featuring every
    kind of topless gimmick lawful. This move has severely affected senior citizen patrons, eager for nostalgia.
    One major holdout against the topless has been Bimbo
    Giuntoli, the 60-some-year-old owner of Bimbo's
    365 dinner club, currently in its 36th year on the outer limits of North Beach. The room can serve 400
    diners, and San Francisco's newspaper reviewers enjoy attending openings there because the food is quite
    good. For the talent menu; there's Yma Sumac, New Christy Minstrels, Barbara McNair, Xavier Cugat, Homer
    and Jethro, Ray Palmer's band and a 10-gal dance line, reduced down from 30 hot numbers.

    Several blocks away in a side alley in Chinatown, amid the smells of fried chicken and fried rice, the Drag’
    On A Go-Go has been booking rock acts for one and one-half years. Owner Louis Chin seeks out players of
    the genre of: Doby Gray, Teddy Neely Five, Leaves, Inspirations, Hondells, Music Machine, Tim Duval and the
    Gouchos and Sam the Soul. Oriental music is strictly eschewed; not commercial enough.

    When the discotheque fad broke in Los Angeles three summers ago, the Whisky A Go-Go opened a branch
    several blocks from Broadway. Recent attractions have been the Coasters and Bill Haley and the Comets
    plus the Grateful Dead, a local favorite of the acid set.

    Perhaps the whole significance of North Beach to the city is detected in this philosophical newspaper ad:
    "Two of San Francisco's three most famous landmarks . . . belong to Yvonne d'Angers now appearing topless
    in North Beach at Off Broadway."

    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."


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