Fanatic5 - Family Passions
Jam Bands & the Fillmores
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In My Father's Memory

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Greatest Jam Band - Grateful Dead LP's

The term "jam band" often describes psychedelic bands, whose concerts consist largely of musical improvisation. Such groups include the Grateful Dead, Cream, Quicksilver Messenger Service, Hot Tuna, The Allman Brothers Band and many others. The term originates from the improvisational and technically demanding "jam sessions" of the rock, jazz and bluegrass musicians.

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My Favorite Dead Songs
 

Althea

Bird Song

Looks Like Rain

Cassidy

China Cat Sunflower

Wharf Rat

Playing in the Band

I Know You Rider

New Minglewood Blues

West L.A. Fadeaway

The Grateful Dead's huge success rose from the free spirited exploration of the psychedelic 1960's. Along with several other groups of that era, the Grateful Dead offered an alternative to the standard record industry music of the day. Their concerts were a living experience that demanded interaction between the band and the audience. As the size of their audiences expanded, the musical formula changed. As a result, several generations of "Deadheads" found a source of community and sharing within their music.
 

Bird Song

Lyrics: Robert Hunter
Music: Jerry Garcia

All I know is something like a bird within her sang *
All I know she sang a little while and then flew on
Tell me all that you know
I'll show you
Snow and rain

If you hear that same sweet song again, will you know why?
Anyone who sings a tune so sweet is passing by
Laugh in the sunshine
Sing, cry in the dark
Fly through the night

Don't cry now
Don't you cry
Don't you cry any more
La da da da

Sleep in the stars
Don't you cry
Dry your eyes on the wind
La da da da da da

All I know is something like a bird within her sang
All I know she sang a little while and then flew on
Tell me all that you know
I'll show you
Snow and rain

 

* A regular for the Dead in concert, Robert Hunter originally wrote the song as a tribute for Janis Joplin. Phil Lesh now sings ..... "All I know is something like a bird within him sang" as a tribute to Jerry Garcia.

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I may be going to hell in a bucket, babe
But at least I’m enjoying the ride.....
Bob Weir (Grateful Dead)

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...In fact, Dead bassist Phil Lesh must have noticed that the guitarist pushing Dylan and his band toward undiscovered glories was a guy named Larry Campbell. Thursday, before a full house in Shea’s Performing Arts Centre, Lesh and Campbell did, indeed, play together. Every avenue of Dead music was explored at some point during Thursday’s moving, marathon performance. (Excerpts from The Buffalo News)

FURTHUR was founded in 2009 by Grateful Dead members Bob Weir and Phil Lesh. The new band also included John Kadlecik of Dark Star Orchestra (guitar), Jeff Chimenti of Ratdog (keyboards) and Joe Russo (drums). We attended three concerts in 2010, including Cornell University (Barton Hall) on February 14, Shea's Performing Arts Center on February 17 and Artpark on July 8. Two great shows in 2011 saw Furthur play Woodstock (Bethel Woods) and Buffalo.

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One of the Best "Live" Rock Albums Ever!

 
 
I walked forty-seven miles of barbed wire,
I got a cobra snake for a necktie,
I got a brand new house by the road side,
Made out of rattlesnake hide.
I got me a chimney made on top,
Made from a human skull,
Now come on, take a little walk with me,
Now who do you love?

~John Cipollina, Gary Duncan, David Freiberg, Greg Elmore~  ... 1968

 


. . . and then came the Fillmore West & East
 

The Avalon Ballroom, Fillmore Auditorium, Fillmore West and Winterland were four places that ushered in the modern era of rock show presentation and grew out of the counterculture of San Francisco's Haight-Ashbury district. In late 1965, a pair of rock concert benefit shows for the radical San Francisco Mime Troupe were organized by the show's manager, Bill Graham. The first was held at the Calliope Ballroom on Howard Street, while the second show was at the Fillmore Auditorium, a stylish ballroom at Geary and Fillmore streets. Inspired by the success of the shows, Graham decided to go into the concert and promotion business, setting up operations at the Fillmore. In 1968, Bill Graham opened the Fillmore East in New York City and moved his San Francisco operation to the former Carousel Ballroom, renamed the Fillmore West.

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Fillmore Postcard (1967)

Cream began their first tour of North America on August 22, 1967, at Bill Graham's Fillmore West in San Francisco.

The cost of a ticket was $3.00 and the auditorium was packed to the rafters. The Fillmore was sold out for five straight nights, after which Bill Graham gave each member of the band a gold watch. The band's stay was extended from August 29 to September 3 (no show on August 28).

It was at the Fillmore that Cream first began to expand (jam) their songs on stage. Until that time, the songs ran about the same length as the recorded versions. Even Cream's studio recordings ran longer than the 2  
or 3 minutes, which was the norm at that time.
 
Bill Graham knew that the audience was captivated by Cream and Eric stated the band was frustrated at not having enough time to "build" on their work, so he allowed the band to have an "open ended" show. "Go on and play and do it your way. If you want to play Spoonful from night until dawn, do it."

Cream
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Jack Bruce, Ginger Baker, Eric Clapton

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When the music changed . . . . . Forever!

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Bill Graham

A Letter from Bill Graham
(from page 45 of the May 6, 1971 issue of The Village Voice)


Dear Friends:

Ever since the creation of the Fillmores, it was my sole intention to do nothing more, or less, than present the finest contemporary artists in this country, on the best stages and in the most pleasant halls.

The scene has changed and, in the long run, we are all to one degree or another at fault. All that I know is that what exists now is not what we started with, and what I see around me now does not seem to be a logical, creative extension of that beginning. Therefore, I am taking this opportunity to announce the closing of the Fillmores, and my eventual withdrawal from producing concerts.

The process will commence with the formal closing of Fillmore East on Sunday, June 27, 1971.

My reasons are as follows:

1) The unreasonable and totally destructive inflation of the live concert scene. Two years ago I warned that the Woodstock Festival syndrome would be the beginning of the end. I am sorry to say that I was right In 1965 when we begin the original Fillmore Auditorium, I associated with and employed "musicians." Now, more often than not, its with "officers and stockholders" in large corporations - only they happen to have long hair and play guitars. I acknowledge their success, but condemn what that success has done to some of them. I continue to deplore the exploitation of the gigantic-hall concerts, many of them with high-priced tickets. The sole incentive of too many has simply become money. The conditions for such performances, besides lacking intimacy, are professionally impossible according to my standards.

2) I had always hoped to be able to present artists whose musical worth I felt was important: artists whose music was valid, whether commercially popular or not. There are more quality artists today; but many of those that do exist do not appear in public regularly. Therefore, in order to stay in business, I would be forced to present acts whose musicality fell below my personal expectations and demands. I could do this, and in having to book fifty-two weeks a year it becomes tempting because it is so much easier to do. Thousands might even to come to these concerts, but I personally would prefer not to present them. For who would gain?

3) With all due respect for the role they play in securing work for the artists, the agents have created a new rock game called "packaging"; which means simply that if the Fillmore wants a major headliner, then we are often forced to take the second and/or third act that the agent or manager insists upon, whether or not we would take pride in presenting them, and whether or not such an act even belongs on that particular show. To do so would be to relinquish the essential responsibility of being a producer, and this I will not do.

4) In the early days of both Fillmore East and West, the level of audience seemed much higher in terms of musical sophistication. Now there are too many screams for "More" with total disregard for whether or not there was any musical quality.

5) The time and energy that is required for me to maintain a level of proficiency in my own work has grown so great that I have simply deprived myself of a private life. At this point I feel that I can no longer refuse myself the time, the leisure, and the privacy to which any man is rightfully entitled.

6) For six years, I have endured the abuse of many members of the public, and press (in most instances people who did not know me personally). The role of "anti-christ of the underground" has obviously never appealed to me. And when I asked for people to either judge me on some factual personal knowledge, or at least base their opinion on that which I produced and gave to the public, I was rarely answered.

7) Rock has been good to me in many ways, but the final and simple fact is that I am tired. The only reason to keep the Fillmore in operation at this point would be to make money. And though few have ever chosen to believe me on this point, money has never been my prime motivation; and now that it would become the only possible motivation to continue, I pass.

My personal future will begin with a long-needed rest. What will follow, I do not know. The several hundred good people who work at the Fillmore, maniacally dedicated to our standards, will, no doubt, go on to other creative things on their own. Fillmore West, as you may know, has been allocated for demolition for a long time now. It will neither relocate nor be reopened.

The "Fillmore" will become a thing of the past. I will remember with deep emotion and fondness the great and joyous moments of that past. I sincerely thank the artists and business associates who contributed to our success. But, I warn the public to watch carefully for what the future will bring.

The rock scene in this country was created by a need felt by the people, expressed by the musicians, and, I hope, aided to some degree by the efforts of the Fillmores. But whatever has become of that scene, wherever it turned into the music industry of festivals, 20,000-seat halls, miserable production quality, and second-rate promoters - however it went wrong - please, each of you, stop and think whether or not you allowed it, whether or not you supported it regardless of how little you received in return.

I am not pleased with this "music industry." I am disappointed with many of the musicians working in it, and I and shocked at the nature of the millions of people who support that "industry" without asking why. I am not assured that the situation will improve in the future.

But beyond all these viewpoints, I truly wish to express my overwhelming appreciation to the people, who, over the years, gave their time and devoted energy to working at the Fillmores. To them, and to many, many musicians who grew in stature without ever copping out, and to those admirable patrons who both refused to support marathon rip-offs and who even took the time to helpfully criticize me for the errors I made - to all of you, my fondest thanks and farewell.

Sincerely,

Bill Graham (April 29, 1971)

 
 
 
 
 
 
 
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