Remembering Bill Graham and the Fillmore East (2023)

This blog post is dedicated to my dear friend,

Jeff Goldstein

who have spent many happy hours at The Fillmore East

The Fillmore East story begins here...

Located on the southwest corner of Second Avenue and Sixth Street, it was a performance venue that opened in 1925 as a variety theater. It has taken various names over the years and by the 1950s it was operating under the name of Village Theater and functioned as a venue known for its live music. At some point the theater was closed. From time to time it has been opened to present various rock & roll shows. In 1968, Bill Graham decided to buy the Village Theater to expand his small empire of music venues in San Francisco.

“When Bill Graham entered the house for the first time, his condition could only be described as desolate. Now that it had announced it would open on March 8th, it had less than two weeks to get it up and running. It had to work, and fast.

'the abandoned buildingfuture manager Kip Cohen said: "it actually became Fillmore East in twelve amazing days“John Morris, Joshua White and Kip Cohen got to work and hired Chip Monck as lighting director. Everything that started came together.

First, Bill Graham wanted a state-of-the-art sound and lighting system so the bands didn't have to bring their own. With three acts playing two shows a night, it was important to streamline operations and prevent bands from parking forty-foot trucks outside and hauling heavy equipment in and out of the building.

Graham then hired pioneering soundman Bill Hanley to design a sound system for his new rock theater.Hanley-Soundsystem, as it turned out, cost $35,000, and Graham leased it only to Hanley, who retained ownership. It consisted of twenty-six loudspeakers, including some for civil defense alarms, strategically placed around the theater for a total output of 35,000 watts. There were professional mixing desks, as well as a two-ton center group speaker system suspended over the center of the stage by a series of flying weights. Sound levels could often exceed 100 decibels and the group had to be positioned perfectly to direct the sound towards the audience so there was no echo.

On February 29, 1968, at the height of the theater's transformation, the first advertisement appeared in the Village Voice for the opening of Big Brother and the Holding Company at Bill Graham's Fillmore East. And the box office was already open for reserved section tickets, which sold for $3, $4, and $5. Originally, Bill Graham wanted to convert the Village Theater into a dance hall, but it proved too expensive. So it kept the 2,645 seats and introduced reserve seats, in the manner of a Broadway theater.

On Friday afternoon, March 8th, a nervous Bill Graham and his crew were still putting the finishing touches on the Fillmore East just before opening the doors for the first show at the Fillmore East."(John Glatt, Live at the Fillmore East and West, Lyons Press)

"Upstairs on the balcony level was the perfect hippie food concession offering fresh fruit and juice, donuts, cream cheese bagels and best of all, Dannon yogurt in a wide variety of flavors.

When Graham was in New York, he often worked in a makeshift office at a back desk of Ratner's Delicatessen next to the venue. It took a few months for the place to catch up.

As was Graham's practice at the original Fillmore, the venue booked two shows a night, typically three bands, playing early and late, starting at 8 and 11:30, and often extra late, especially when the Grateful Dead were headlining. Of the three shows Dead played with the Allman Brothers and Love, all three concerts ended after sunrise.

Unlike Graham's seatless shows in San Francisco, the Fillmore East cleaned the house between shows, cleaned up, and started over. Using a sheer backstage curtain used by the Joshua Light Show, the stage crew rotated the amps and drum bands on custom wheels for extra-quick stage changes. Above them, Joshua's light show entertained fans with cartoons and other visual distractions, mostly to keep audiences from filling the small lobby areas.

Classic shows often took place in front of tough New York audiences. Fillmore East's first year saw Sly Stone's East Coast breakthrough, Rod Stewart's US debut (opening for The Dead with the Jeff Beck Group) and a couple of shows, beginning with Led Zeppelin opening for Iron Butterfly and ending with another way. There was no music every night, and Graham almost completely closed the venue during the summers of 1968 and 1969. This past summer, the venue's core staff became the foundation crew that organized Woodstock. The Fillmore East soon became the focal point of the New York media. "After Woodstock, all the famous things happened, and then it went downhill," Joshua White observed. (The Gothamist)

Bill Graham for The Fillmore East

on opening nightMarch 8, 1968

When Fillmore East's doors first opened, everyone rushed into the lobby, causing great confusion. Graham hadn't thought about crowd control and some of the celebrities in attendance struggled to reach their VIP seats. The opening of Fillmore East was a success and received massive coverage from the local press.

After their first inaugural concert, Fillmore East was off to a great start. Graham used his connections from his days at Fillmore West to sign up all "heavy" bands to perform at his new New York City venue.

“I walked into the crowded lobby and saw people asking for tickets. I saw this girl really looking down and she was begging and I didn't want to beg. But I'm good at looking down and sad. So I copied this desperate girl's look that I saw and this guy came up to me and said something like, 'You look like you could use a ticket. ' He gave me one. It must be a guy from the record company he gave out some tickets.

So this guy gives me a ticket. But I wanted to keep the ticket as a souvenir. So I figured I'd try my usual tricks to get in. I tried the guest list trick. There was a special entrance for people on the guest list, so I went to the guest list door and tried to look at the clipboard. I finally saw a name I could pronounce, it was bold and easy to read on the clipboard. The name was "Herb Cohen".

So I told the guy I was Herb Cohen and went in.

As I walked in I was amazed to see everyone in the lobby. I stood there looking at all the people and after a while I heard screams nearby. The screams came from the real Herb Cohen, who was furious that someone else was using his name.

There was a lot of excitement and Bill Graham had to come forward. They put the real Herb Cohen in and I disappeared into the crowd and was never found." (Thom Lukas, Photographer)

In the March 28 issue of Village Voice, Howard Smith noted in his Scenes column, "Bill Graham has put on some fine, well-run concerts at his Fillmore East," describing how the promoter gave the die-hard crowd more than it is worth the money

From time to time the Fillmore East would throw out halftone photos to announce acts like Ravi Shankar (who played his sitar) or the first New York gig of 'the number one reigning space group in the known world'." (Village Voice)

In addition to outfitting the Fillmore East with an excellent sound system, Bill Graham also used visual excitement with the Joshua Light Show, which played a large part in creating a unique complement to his concerts. This was a tactic he learned a great deal about in his early years as a promoter in San Francisco during the Summer of Love.The Summer of Love was a social phenomenon that occurred in the summer of 1967 when about 100,000 people, mostly young people in hippie fashions and habits, gathered in the Haight-Ashbury neighborhood of San Francisco.

"'In terms of fashion, a Fillmore East opening night deserves as much coverage as Galanosed's philharmonic galas,' claimed the Village Voice shortly after the Rock Auditorium opened in March 1968. Jimi at the Fillmore." In 1968, Bill Graham became... spectacle at Audience with fireworks on stage as he hosted a mini fashion event during a break in the evening's mixed bill. Unannounced, Barbara Mott, wife of designer Michael Mott, wearing a black Mott leather bra and a studded mini skirt, rode a massive Harley Davidson down the aisle of the Rock Palace, up a ramp onto the stage and parked her vehicle to the accompaniment of cannon fire.(Joel Lobenthal, Radical Rags: Fashions of the Sixties, Abbeville, 1990)

The Fillmore East quickly earned the nickname "The Church of Rock and Roll," with two shows and triple concerts multiple nights a week. With the venue's instant success, things got hectic for Bill Graham as he traveled up and down the West Coast to co-host his shows there and then flew back to New York to co-host the shows at Fillmore East. His solution was to wear two wristwatches, each set to a different time zone.

March 22 and 23 The Doors, Ars Nova, Crome Circus

One of the biggest attractions in the early days of Fillmore East occurred when The Doors performed at the venue on March 22, 1968.

“On Friday, March 22nd, The Doors headlined the first weekend of sold out shows at the Fillmore East. At Friday's early show, Jim Morrison performed a new song calledUnknown soldierbefore going into an extensive oneEidechsenfeier. The late show started with the band on stage but no sign of Morrison. Then Ray Manzarek played the haunting first notes of keyboardsWhen the music is offThe leather-clad singer appeared, pounced on the drums and grabbed the mic just in time to roar the opening line. During an enhanced version oflight my fire, he lassoed the mic over the audience's heads, letting it out a little more with each circle. A worried Bill Graham then burst straight into the audience in front of the stage and frantically waved at Morrison."I could see that sooner or later he was going to lose control and I didn't want him to hit anyone. I stood behind him like ten people and waved my arms to get his attention and then he lost it. And out of two thousand people in the room, it hits me right on the head!Back in the dressing room after the show, Graham tended to his injured head and joked about it. The next time The Doors played for Graham, the singer brought him a welding helmet to protect him." (John Glatt, Live at the Fillmore East and West, Lyons Press)

“On Friday's early show, Jim falls all over and extremely high and falls into the lighting shaft! Later in the same performance, Jim introduces the New York premiere ofThe Unknown Soldierimpersonating a college professor and asking the "class" to listen carefully to the film because there will be a test afterwards. After the movie they playThe Unknown Soldierfollowed by possibly the first full version ofThe Lizard Celebration.

The Doors open for Friday's late showWhen the music is offin which Jim, apparently absent, comes flying over the drums and jumps in front of the mic just in time to call out the opening and signal the start of an absolutely extraordinary show.

At the early Saturday show, a significant amount of daffodils were picked up by the audience on their way to the Fillmore and thrown onto the stage during the show. Jim collects a few and methodically places a few on each member's instruments, and between songs he apparently annoys John by placing many on his drum kit and under his nose to get him going.

In the opening number of Saturday's second show, Jim holds on to the curtain as he lifts himself to the maximum safe height and even slightly higher, before releasing it at the last second and flying right in front of the mic at the perfect open moment. the show with his signature welcome call. the band is playingThe Unknown Soldierand followed by live performances of the song during each show tonight and doCelebrationagain during the late show. After Saturday's late show, The Doors are in such a good mood that they tell Bill Graham they want to do one more encore. Graham comes on stage as the audience leaves asking if they want more, which they graciously accept, and the band eventually plays another full set, lasting over an hour.

Afterwards, Bill Graham took Jim and the gang to Ratner's, the Lower East Side's former kosher milk restaurant next to the theater, for an early breakfast of blintz and potato pancakes. Albert Goldman, who profiled Jim for Vogue, noted that Jim automatically sat at the head of the table and decided he should have an imperious personality." (boweryboogie.com)

The fourth weekend of Fillmore East's existence was headlined by The Who on April 5–6, 1968.“The Who arrived in New York in a classically martial mood. They were at the end of a lengthy US tour and were already forced to change hotels after Keith Moon began blowing up parts of the Waldorf Astoria. On the morning of rehearsal, the exhausted group was photographed by Life curled up asleep next to a statue in Morningside Park under a Union flag. The Who had played at the venue the previous year when it was still called the Village Theatre, but this was the first time they had performed there since Billy Graham became the Fillmore East in March 1968. Halfway through the show, Townshend and Daltrey remember that it was a piss hole in his previous incarnation. The original plan was to play four short shows over two nights, but due to safety concerns following MLK's death, the band agreed to play two longer shows, allowing them to stretch the timemy generationand to deliver some mid-set mini-epics in the form ofa quick oneand a wild version of 11 minutesRelax, one of The Who's most psychedelic songs. On that day, The Who put on a show with the muscular honesty that made The Who such a compelling and memorable live act."(Rock Prosopography 1010-Blog)

12. und 13. April Butterfield Blues Band, Charles Lloyd, Tom Rush

"The Butterfield Blues Band emerged from Chicago in late 1965 as America's premier white blues band. They included guitarists Mike Bloomfield and Elvin Bishop. Bloomfield had moved to San Francisco and formed Electric Flag at the time, but Bishop was still in Butterfield's group. The group had just openedThe Resurrection of Pigboy Crabshaw(Elektra, February '68) and announced Bishop's new prominent role. Instead of the Chicago-style guitar-centric blues of the first two albums, however, Butterfield's new sound was closer to soul, with a three-piece horn section.

Elvin Bishop would leave Butterfield's band two months after that show, and he too would move to the Bay Area and start his own band. Mark Naftalin, the group's original keyboardist, was also still with the band, but he too would leave soon after and move to the Bay Area. The other members of the group were likely Bugsy Maugh on bass, Philip Wilson on drums, and Gene Dinwiddie (tenor sax) and Keith Johnson (trumpet) on horns, possibly with Dave Sanborn (alto). Sanborn had toured with the group in late 1967 and early 1968, but I don't know how long he stayed.

The Butterfield Blues Band already had a long and fruitful relationship with Bill Graham at the Fillmore, but it is worth noting that this is the third act directed by Albert Grossman to direct the theater in its first six weeks of operation. That being said, the original Powerhouse Butterfield Blues Band, featuring Mike Bloomfield, had played some landmark shows at the original Fillmore in his prime and helped shape both the venue and the band, making them a great choice to establish the Fillmore East . .

Charles Lloyd, tenor saxophonist, was a regular at SF Fillmore. Keith Jarrett, Ron McClure and Jack DeJohnette may have been part of his group, which played raw modern jazz in the style of Miles Davis. Lloyd was the first jazz act to perform regularly at hippie dance halls across the country, and while his jazz didn't wane, he found a whole new audience who served him well. He even recorded an album at The Fillmore, an excellent album called Love-In released in January 1967. His most recent album was In Europe (Atlantic 1968).

Tom Rush was a popular folkie from Cambridge, MA. He had signed with Elektra and started making folk-rock albums. Their sixth album The Circle Game (Elektra 1968) contained two songs by Joni Mitchell as well as songs by the then unknown Jackson Browne and James Taylor. Although largely forgotten today, Rush was instrumental in bringing attention to these authors. Kostelanetz reports that the light show has stopped for 'serious' folk artists like Tom Rush or Richie Havens." (rockprosopography101.blogspot.com)

April 19 and 20 Mothers of Invention, James Cotton

"The Mothers lineup for this show would be FZ, Don Preston (organ), Ian Underwood (keyboards, reeds), Bunk Gardner (reeds), Motörhead Sherwood (baritone sax), Roy Estrada (bass, vocals), Jimmy Carl Black (band Indian, drums) and Artie Tripp (drums, percussion) Ray Collins (once lead singer) had an ambiguous status and may or may not have performed.

Harmonica master James Cotton had replaced Little Walter in the Muddy Water Band in the late 1950s and was now leading his own group, likely with Luther Tucker on guitar, Albert Gianquinto on piano (who later wrote some songs for Santana) and Francis Clay on drums. ." (liveshowhistory.com)

26.-27. April 1968: Traffic, Blue Cheer, Iron Butterfly

“This was Traffic's first US tour, beginning March 14 in San Francisco at The Fillmore. The group originally consisted of four members with Steve Winwood, Jim Capaldi, Chris Wood and Dave Mason rejoining the group regularly and apparently having left the group prior to their American tour which had begun in March.

Traffic was one of the first groups to emphasize dubbing as a means to create different sounds in different songs. Winwood, Mason and Wood played numerous instruments, and clever use of studio meant Traffic's songs could be anything from frothy pop ballads with flute and sitar to heavy rock with twin-lead guitars and organ. Live, however, Traffic's sound was very different, drawing on Winwood's eclectic organ playing (including bass pedals) and more akin to a typical (albeit excellent) British R&B combo. For whatever reason, Dave Mason resurfaced in New York and joined the group on stage in at least one of the four performances. He would rejoin the group for the recording of his next album.

Blue Cheer was a sci-fi trio backed by the king of LSD, Owsley Stanley, and named after a brand of his acid. Owsley bought tons of gear for the band (Blue Cheer reportedly had 12 Marshall Stacks, 6 for bass and guitar), and they were famous for their volume. Unlike other sci-fi peace and love bands, Blue Cheer had a loud and obnoxious sound and demeanor. Their near-hit, a new version of Eddie Cochran's "Summertime Blues," is a precursor to heavy metal.

Originally from San Diego, Iron Butterfly had moved to Los Angeles in late 1966. They toured behind their first album.Difficult. According to an internet commenter, Iron Butterfly's crew had not yet arrived and were using Blue Cheer amps. At that point, The Butterfly was just another psychedelic band from California."(rockprosopography101.blogspot.com)

“Jefferson Airplane's first appearance at the Fillmore East was the classic Airplane starring Grace Slick and Marty Balin (along with Kaukonen/Kantner/Casady/Dryden), the flagship of the San Francisco Summer of Love. The current album wasAfter bathing at Baxter. Unlike almost every other band in Fillmore East, The Airplane did not use the Joshua Light Show but instead used their own light show (Glenn McKay's Head Lights). For Saturday night's encore, some reports suggest several drummers filled in for Spencer Dryden, the first being Mitch Mitchell (of Jimi Hendrix Experience). All four Airplane sets were recorded by Fillmore East's soundman John Chester. The Airplane was inconsistent but exciting, with difficult arrangements and interesting songwriting mixed with erratic playing."(liveshowhistory.com)

10. Mai 1968 Jimi Hendrix Experience & Sly und The Family Stone

“Friday night's Fillmore East lineup was a rock lineup for the ages, featuring one of the biggest rock acts on earth backed by a group that would soon join Hendrix at the top of the mountain. Jimi The Hendrix Experience was big and growing, but Bill Graham was always excellent at convincing bands and their management that it always paid more to perform at their showcases in San Francisco and New York City than at a larger venue to play.

These shows included the original Experience, with Noel Redding on bass and Mitch Mitchell on drums. One of Hendrix's shows included a 17-minute performance ofRed House, and the lucky guests who caught the show early or late never forgot them.

Sly and The Family Stone were truly electrifying performers, and in Joel Selvin's biography of reports their set culminated with Sly, Freddie and Larry Graham dancing in the aisles and leading the crowd into the street while Gregg Errico and the horns groaned. far. They absolutely wrecked the house and that was before Hendrix came in and wrecked the house and they did all that on the last show. Truly a night to remember at Fillmore East.

The Jimi Hendrix Experience never played at the Fillmore East again, although the Band Of Gypsies played there (1970). However, Hendrix hung around the Fillmore East regularly when he could and was a familiar figure backstage."(Rock-Prosopographie-101-Blog)

Shortly after the Fillmore East opened, one of the sound engineers secretly ran a cable from the Fillmore's mixing consul to an upstairs apartment to record all shows in two-track stereo onto ten reel-to-reel cassettes. Many years later, these priceless recordings from hundreds of Fillmore East shows became part of the Bill Graham Archives, which Wolfgang's Vault later purchased and released to the public.

Country Joe and the Fish

The Fillmore East soon took off as the public flocked to see the eclectic bills now introduced by Bill Graham. By May, Country Joe and the Fish had played at San Francisco's Fillmore and Winterland Auditorium before making their Fillmore East debut a week later.

The two opening acts were Pigmeat Markham, who just had a big hit with the novelty song "Here Comes the Judge", and Blue Cheer, probably the loudest band that has ever played there. Markham Pork and Blue Cheer?! My mind is spinning at the thought of it.

On the weekend of June 14, 1968, the Grateful Dead played at the Fillmore East for the first time. Former Yardbirds guitarist Jeff Beck opened for them, while future Rolling Stone Ron Wood and their then-unknown singer Rod Stewart made their US debuts.

“By the end of 1968 the ushers had begun handing out programs to the guests at every concert. These pamphlets included artist biographies, editorials, public service announcements, and even a guide to other music venues in the city. Bill Graham also joined and expanded with eclectic bills bringing together artists from across the musical spectrum and introducing them to his young rock audience. On January 17th, veteran jazz drummer Buddy Rich and his orchestra headlined the Fillmore East, with the rock band The Los Angeles Spirit opening for them. You even risk signing lesser-known jazz greats like Woody Herman or Charles Lloyd, which they couldn't headline as long as they had a big attraction like Led Zeppelin or the Jimi Hendrix Experience. (John Glatt, Live at the Fillmore East and West, Lyons Press)

10. Mai 1968 Jimi Hendrix, Sly & Family Stone

“On May 10, 1968, the Jimi Hendrix Experience played two shows at New York's famed 2,600-seat Fillmore East. Hendrix was busy in town working on his next untitled record, Electric Ladyland. While it was working perfectly Jimi was recording at the Record Plant in town, he could and would play some local gigs as well.

In this particular era of the experience, they were hugely popular, wildly creative, and played riotous concerts year-round that left audiences stunned as the legend of Hendrix grew. Jimi's fame rose at a dizzying pace, and he revolutionized the guitar with every concert and recording he produced. Which brings us back to the evening performance on May 10, 1968. After the afternoon concert and the opening number of the evening concert Sly and the Family Stone, Hendrix took the stage to a packed house. The Joshua Light Show transforms the stage into a pulsing, liquefying musical mass.

The evening begins with'Lover', an extended intro with some exotic riffs illustrating Hendrix feeling boisterous on this spring afternoon in New York. Jimi's guitar tone is pot-bellied and the sound of Bill Graham's room is crystal clear. The Experience stomps through its opening number with expert precision. Hendrix's first solo kicks off with Redding's gigantic bass growl laying the foundation. Jimi immediately struts into a dizzying series of up and down curves. Devastating stuff, and the crowd reacts in kind.

A searing read of "Fire" continues hot on their heels'Lover'.The band has their sights set on the arrangement. Mitch Mitchell punishes his gear by filling every empty pause in the song with a string of alien triplets.

Hendrix is ​​clearly in a good mood as he and Noel Redding take the opportunity to speak to the crowd that follows.'Fuego'.'Dama Astuta'it goes on and on with the hum of electricity and the hiss of overloaded amplifiers. The band is terrifying in their sound, Jimi Barley stays grounded during the first solo. What begins as a gentle exploration of the blues quickly turns into a clinic of melting strings and long-drawn bows.

A pause between songs shows someone in the crowd yelling at the stage: "take off your hat!' To which Jimi replies:"I'll take off my hat when you take off your pants". Then comes the heart of the show and it's an in-depth and entertaining 15 minute read.'Red House'. The “Red House” that follows ranges from dainty to distorted and then embellished with silver feedback threads. Hendrix makes a call and an answer throughout the stanzas in his six-string voice.

'Red House' begins with a gentle rhythm and gentle probing from Hendrix. Its sound, a sweet bundle of velvet, or a musical insect exploring in search of pollen's bounty bounty. Weather 'Red House' has almost always been a highlight of Hendrix shows, here it rises to different and multiple levels. The Journey Beyond is full of detours and unique bits that may not always be related, but are nonetheless impressive. Hendrix's guitar groans during the audition. The sound is incredibly enhanced on the recording as the cymbals and bass aren't so loud that you can just hear Hendrix's tone echoing off the walls of the room.

Hendrix loosens up with a plethora of gritty, ridged licks, and with a nonverbal cue, he spins around the record with a dirty trill that Mitchell pairs with an up-tempo. Let go of the leash, Jimi begins to move in a different time and space to Noel and Mitch, and dives into his rock 'n' roll utility belt with some inexplicably aggressive renditions of recognizable licks. At seven minutes, Redding and Mitchell come forward as a delicate mix curdles. Hendrix strums his strings, a breath of air pushes the jam forward. Mitchell takes a brief solo spot while Redding and Hendrix disappear. The audience appreciates his skills and reacts in kind. After about ten minutes, Hendrix returns with a juicy, watery note of his wah-wah, the band retreats while Jimi builds an overwhelming narrative. A return to the verses is a welcome change from Hendrix's stunning solo point.

A sizable wall of high-flying comments follows and precedes a strutting, audience-friendly "Hey Joe." This is Jimi Hendrix's experience at the height of his fame at one of the most famous music venues in history, performing one of his most popular songs. The song is ignited with high-octane gas and burns to ash." (talkfromtherockroom.com)

17.-18. May 1968

The Byrds, Tim Buckley, The Foundations

“The Byrds have been big rock stars since 1965. They had even performed in his earlier incarnation, the Village Theater (on July 22, 1967, backed by The Seeds and Vanilla Fudge). Byrds had undergone numerous personal and musical changes and was no longer standing in the firmament as well as before.

The Billboard magazine review was a crucial element of Fillmore East's importance. Billboard was the music industry's premier trade publication and in many ways the only source of information about touring bands. One of the weekend shows at the Fillmore East was always featured on Billboard each week, meaning all three bands on the bill were nationally known. Managers, particularly English bands, were keen to start tours at the Fillmore East because a good rating on Billboard could go a long way in attracting booking agents and promoters to their band.

The Foundations are best known for their 1968 hitConstrúyeme ButterblumeTo the surprise of anyone who remembers the song, it was actually an English band (with a couple of West Indians and a Sri Lankan encore). The Foundations were one of the few English groups to have had success playing in a soulful style. They had a lot of live experience in England and were probably a pretty good live band. In Hjort's book, Foundations bassist Peter Macbeth recalled that their gear was stolen and the Byrds wouldn't allow them to borrow theirs. Equipment problems were particularly critical at the Fillmore East as bands felt the pressure to put on a big show there in order to have a successful tour.(rockprosopography101.blogspot.com)

May 27th to 30th

Richie Havens, The Troggs, USA

31. May - 1. June

Moby Grape, Los Fugs, Gary Burton

“Moby Grape has been touted as the best band to emerge from San Francisco. That may have been true, but the hype got them in. Moby Grape consisted of 5 experienced musicians, all good singers, performers and writers. and nice to boot. His second albumWow!it had been released just prior to that show. It was a good album, but nowhere near as good as their epic first album, and a sneaking suspicion of something popular undermined them. They were plagued by management issues and other frustrations, and their top songwriter and resident genius, Skip Spence, was beginning to have serious emotional and drug issues at the time, so the net impact for the band was very difficult. After what should have been a triumphant performance at the Fillmore East, things got a little erratic because Peter Lewis, furious with the band for various reasons, skipped the tour and went home early.

Unfortunately, those shows at Fillmore East were Spence's last position at The Grape for a few decades, as shortly after those shows, Skip Spence had an episode where he lost touch with reality, went AWOL for a few days, and was treated in the psychiatric ward Bellevue. Hospital. Certainly after the Fillmore East Moby Grape was effectively reduced to a four-piece, albeit very talented band (guitarists Jerry Miller and Peter Lewis, bassist Bob Mosley and drummer Don Stevenson). Although they still had a lot to offer, they now had to forget their past successes instead of just being themselves. Moby Grape was a great band and their debut album is a '60s classic, but their full story is a frustrating tale of what could have been.

The Fugs have often been viewed as the Greenwich Village version of The Mothers of Invention, although a more accurate comparison would have been Berkeley's Country Joe and The Fish. The Fugs weren't particularly memorable musically, but they were provocative and exciting. They had been around for some time and had actually played at the inaugural Bill Graham Mime Troupe Benefit on November 6, 1965. In complete contrast to Zappa, they were very political but hardly musical and sang songs likekill for peacejcola shower.

Gary Burton was a jazz vibraphonist growing up in Nashville, and like many young jazz musicians in New York at the time, he was interested in anything but jazz. The original line-up of the innovative Gary Burton Quartet, with guitarist Larry Coryell, opened the Fillmore in San Francisco for Cream, among many other rock concerts, and released some sensational albums that still sound great today (including Duster and Lofty Fake Anagramon RCA). 1967). By the time of the Fillmore East shows, Coryell had left the group and was replaced, among others, by lesser known but still great guitarist Jerry Hahn, formerly with John Handy.(rockprosopography101.blogspot.com)

Other Scenes (Village Voice, June 1, 1968)

14. June 1968

Grateful Dead performt „Caution (Don’t Stop On Tracks)“

in "Feedback" im Fillmore East

21st of June

Vanilla Fudge, James Cotton Blues Band, Ladezone

"The Vanilla Fudge basically invented 'heavy' rock and made slow, loud songs with lots of Hammond organ and commentary mixed with very soulful R&B-style vocals for English musicians, particularly members of Led Zeppelin who were yet to form. The Fudge had released a heavy rock version of Supreme's You Keep Me Hanging On (the album version of which was 7 minutes long) and the impact was enormous. In the United States and England, musicians around the world realized that one style of music could be transformed into another." (All Music)

September 1968

The Chambers brothers

blood sweat tears

4.-5. Oktober 1968 Sly & The Family Stone

For some reason Bill Graham didn't see what other people saw in Sly and The Family Stone. Initially, he was not influenced by his unique brand of dance music. As a result, he was reluctant to hire Sly Stone and his band. Eventually, however, Bill Graham was persuaded to see Sly and The Family Stone live. This caused him to change his mind.

Sly and The Family Stone in full swing were a musical powerhouse. Their fusion of soul, funk and psychedelia won friends and influenced people. You certainly convinced Bill Graham. So much so that Bill Graham hired Sly and the Family Stone to open four concerts at the Fillmore East for Eric Burdon and the Animals in October 1968.

From the moment Sly and The Stone hit the ground runningAre you ready, they're in the funkiest rhythms. They are on their waycolor me true,it will not take long,We love everyone (freedom)and a mix oflet me go,I can't let go. By then, Sly and The Family Stone have conquered Fillmore East. Even though they were just the backing band, they made more than an impression. The show ended with two songs from Life,Polojcity ​​of love. There was a standing ovation as Sly and The Family Stone left the stage at The Fillmore East.

When Sly and The Family Stone opened their last show, it was with two different tracks.My ladyfrom Life opened the show before focusing on itdon't burn babyfrom dance to music. Then Sly and The Family return tocolor me truejI won't, it will take a long time. From there they fallSt James Infirmary, which was already a staple of the Sly and The Family live show. In a way, Sly and The Family matched the quality of the original show and at times surpassed it. You were on a mission.

It was the perfect time to put down his potpourrilet me go,I can't let go, and sodance to the music. Everyone at Fillmore East seems to be up and running now. Now that Sly and The Family Stone have them where they want them, they're closing the show with themlove of musicand finally a mix oflifejmusic lovers." (dereksmusicblog.com)

October 18 and 19, 1968 - Jeff Beck, Tim Buckley, Albert King

Jeff Beck hits the rhythm

October/November 1968

9. November 1968 - Steppenwolf, Buddy Rich, Children Of God

November 22nd and 23rd

Iron Butterfly, Canned Heat und Youngbloods

“It was a Friday, two weeks after my 20th birthday. I started playing bass, rock and blues a year and a half earlier. I've fallen deeply in love with soul music lately, according to Otis Redding, most of all. Otis had died almost exactly a year ago and I regretted never having seen him live. But my other Stax/Volt favorites, Sam & Dave, were playing that night at the Fillmore East, which opened in February of that year, and I didn't want to miss that show.

As far as I remember, I went to the ticket booth by myself and bought a ticket that cost about $4. I sat somewhere in the middle of the orchestra and settled in for the show, a triple count like most Fillmore concerts.

The opening act was Earth Opera, a Boston band featuring the then unknown Peter Rowan and David Grisman. I don't remember anything from his set.

But the second act was a different story: Super Session with Al Kooper and Mike Bloomfield. At first he was disappointed that Stephen Stills, who starred on Super Session's first album, wasn't there, but he was still excited to hear Kooper and Bloomfield. I was a big fan of Al Kooper because of his work with the Blues Project. And from the moment I fell deeply in love with the Paul Butterfield Blues Band, Bloomfield has been one of my favorite guitars. And he'd seen Kooper and Butterfield perform together before, at what turned out to be historic: the 1965 Bob Dylan concert in Forest Hills (where a riot broke out).

Not far from the set of Super Session, Bloomfield stepped up to the microphone and, as far as I remember, told a story about his encounter with this Texas musician, the "baddest son of a bitch," the night before at a Manhattan rock club. , The Scene by Steve Paul. . And then Bloomfield introducedJohnny Winter.

A black-clad ghostly figure, better showing off her milky white skin and cornsilk hair, walked the stage. The band went into a blues number. Johnny pulled out a harmonica and started moaning. Absolutely killer.

The next song, B.B. of the KingIt's my fault, began with a solo from Bloomfield. When it came time for the voice, surprise! - not Kooper, not Bloomfield, but Winter began to sing. Oh. Me. God. How did all these sounds come out of this monster's stick figure body?

And then he picked up a guitar and started playing. You have to imagine the context to appreciate the implications of this bold unknown. Not only did he play a solo, he dared to follow the great Mike Bloomfield and do more than defend himself. Brilliant. Was this skeletal apparition the next blues/rock guitar god?

That night in 1968, Fillmore audiences were enthralled by Kooper and Bloomfield, and in particular by Johnny Winter, who appeared out of nowhere like an albino vision of a Wild West gunslinger. But the show was far from over. Can't believe it got even better. Sam & Dave took the stage backed by a big band with two drummers and a dozen trumpeters as if hell bent on blowing up the Fillmore hippies, a crowd very different from their usual audience. And it worked. Sam & Dave's combination of fiery voices and exuberant demeanor won over the Fillmore, as did Otis at the Monterey International Pop Festival. Suffice it to say I got a lot more than my four bucks at the Fillmore." (thekatztapes.com)

December 18 - MC5

Wayne Kramer shares his memories of the show he and his band MC5 played at the Fillmore East:“Elektra Records wanted to introduce their new addition. The MC5, with a big bang to New York City. It was also a bang, but not the one they had in mind. In a climate on Manhattan's Lower East Side, a group of militant radicals known as the "East Village Motherfuckers" forced developer Bill Graham to cede the Fillmore to them on Wednesday night. They called them Community Nights. Anyway, we went in and played a free, commercial-free show for our comrades on Wednesday night. in the community. The concert went well and we all had a lot of fun.

The following Wednesday, Elektra rented out the Fillmore and did a huge radio promotion with on-air ticket giveaways and all the trappings that went with it. The motherfuckers were furious at losing their night and demanded that Graham give them and their friends free tickets. Graham wasn't the type to shy away from intimidation, so he stood in front of the theater and held the Sons of Bitches back with all his heart and guts. To his great annoyance, some bastards beat him with a chain and broke his nose. Graham, delusional in his belief that MC5 vocalist Rob Tyner was the carrier of the chain, quickly banned MC5 from working at the Fillmore or, for that matter, any venue he controlled. He also used his considerable influence to make sure we weren't also working for one of his friends in advertising.

Meanwhile the band is on stage trying to put together our big debut show in New York. Backstage was packed with motherfuckers waiting for us to give the order to burn the place down. Of course, we didn't want to issue such an order, and his anger began to turn against us. I tried minebrush backTechnology and hardly stood in the way of the work space. tough audience. We finished our set and escaped to the dressing room while the bastards and maniacs on the street tried to chase our team out the door. Our crew fights valiantly to keep our stuff, and the biggest mistake imaginable in record business tactics happens: two limousines show up to take the band back to the hotel. The revolutionaries saw red! "Limousines!" The symbol of capitalist imperialism. limousines. The motherfucker women screamed and cried about how we sold out the revolution. They broke our records against the rear wings of Cadillac sedans. They scream at the top of their lungs, “Bastards! pigs! Fantastic! sold!

I stayed in the street while the guys ran to the cars. I knew I had to fix this as soon as possible. That was bad, bad, bad. You got everything wrong. You didn't get it. I have to fix this. So there I was in the midst of an angry mob trying to explain White Panther/MC5 political theory while the motherfuckers waved speed geeks and street geeks at me with their knives. Finally two bastard lieutenants pick me up and cover me with their bodies to pull me out of the crowd and down Second Avenue to safety. Not a huge ruckus, but a sure thrill for my young ass."

December 31 New Year's Eve

Chambers Brothers, Madre Tierra, Joshua Light Show

I found this article on Fillmore East written by a guy named Charlie Finch. He describes his experience at Bill Graham's legendary music venue:

"Oh, to be 16 again, with your legs dangling over the balcony railing at the Fillmore East, a big bag of weed on your lap, your long-haired, freedom-loving baby snuggled against your shoulder, and a cape of pure water, vitreous acid in the window ". Pocket of his flannel shirt. On stage, the most beautiful woman in the world, Grace Slick, leans against an amplifier and intones her immortalitymelted bonewhile Joshua Light's oil-based mandalas bounce around them. bliss!

Just remembering the billboards I saw on Bill Graham's playground in the East Village runs down my spine: The Dead, Love and the Allman Brothers; The Mothers of Invention and the Youngbloods; The Kinks and the Byrds. Of course there were the phenomenal Jefferson Airplane concerts, which were always followed by an even longer, better, more cosmic free set in Central Park the next day. And who can forget those weird opening acts for Fillmore: Sea Train, The Sons of Champlin, Stone the Crows, and a guy named Chris who played gongs with different body parts and always opened for Airplane?

Fillmore regulars fell into two classes: airplane geeks (like you) and deadheads. Each liked and respected each other's groups and attended each other's concerts, but there were differences. For plane fans, Ms. Slick was Alpha and Omega, her searing voice and long dark hair riding Jack Casady's and Jorma Kaukonen's Chuggachuggachugga. Marty Balin and Paul Kantner took turns as their consort on stage. The Airplane had a driving sexuality and commitment to the ethic of free love that took a true acidhead couple to the heights of ecstasy.

The main icon of The Dead back then wasn't so much Jerry Garcia as the ultimate biker Ron McKernan (aka Pigpen). Pigpen had a gruff voice, no commercial potential, and was a fraud. Deadheads, somewhat alienated and often unable to get laid, identified strongly with Pig's sense of danger and self-destruction. However, there is no denying that The Dead made their best music with the immortal records in 1967-69anthem of the sunjAoxamocoa(pronounced "wazamozoa"). These records, along with Dead's best tune,Dark Star, Kant and Kierkegaard were the LSD philosophy. who wasHeiliger Stephan, definitely? (He was Stephen Gaskins, the head of a Memphis cult that made a living by trading molasses.) The philosophy of the dead embodied an acceptance of mortality and timelessness: "He knows he must die" is Anthem's main refrain. The angels, the leather, the menacing pigpen turned every Dead concert into a glass ship bound for the heart of darkness.

Dead gigs put the Fillmore East's green-clad staff on high alert, though those ushers were lambs compared to today's steel-brained club bouncers. The biker fraternity searched the Fillmore Baths for badges of bravery: a knife fight or an overdose. At the Avión concerts, the baths were reserved for the nymphs and free love.

The dominant guy at Fillmore East was Frank Sinatra's Brooklyn-born ex-boyfriend Bill Graham, who seemed to magically traverse the country on any given weekend from his West Coast clubs, Fillmore West and Winterland.

Graham debated with the audience from the stage, controlled the crowd at the door and addressed those protesting the high ticket price ($4!). Performing pioneers Julian Beck, Judith Malina and the Living Theater attempted to turn the Fillmore East into a free theater only to have Graham kick them out to defend his right to profit. But the Fillmore didn't have a drug rap, there was always a doctor in the house, and the vibe was good. The intimate lower balcony and steep cheap seats get everyone on stage. Graham even provided cute little programs that are probably worth a fortune at garage sales.

In many ways, the audience was the show. Frank Zappa routinely sent most of his band members, like Native American drummer Jimmy Carl Black, dancing and singing into the halls at full length. Banana of the Youngbloods brought young girls onto the stage to strum their piano, and Pigpen often jumped in the front row. Since most of the audience used psychedelics, contact highs were common. No fear of sex, no burnout, just free love. Instead of old drunks, beautiful 14-year-old girls in beads and shawls, fresh off the coast, begged in the lobby." (www.artnet.com)

1968 Conciertos @ The Fillmore East

march

08-Big Brother und die Holding Company, Tim Buckley, Albert King Lights: Joshua Light Show,

22/23 – Türen, Ars Nova, Crome Syrcus, Joshua Light Show

29/30 – Richie Havens, Troggs, United States of America, Joshua Light Show

April

06.05.1968 - The Who, Buddy Guy, Free Spirits, Joshua Light Show

13.12.1968 - Butterfield Blues Band, Charles Lloyd, Tom Rush, Joshua Light Show

19/20 April 1968 - Mothers of Invention, James Cotton, Joshua Light Show

26./27. April 1968 – Traffic, Blue Cheer, Iron Butterfly, Joshua Light Show

May

04. März 1968 - Jefferson Airplane, Crazy World Of Arthur Brown Lights: Joshua Light Show

10. Mai 1968 - Jimi Hendrix, Sly & Family Stone Lights: Joshua Light Show

May 11, 1968 - Self Rescue, Group Therapy, Fun Loud Lights: Joshua Light Show

17./18. Mai 1968 – The Byrds, Tim Buckley, Foundations Lights: Joshua Light Show

24. May 1968 - Ravi Shankar, Alla Rakha

25. Mai 1968 - Country Joe & The Fish, Blue Cheer, Pigmeat Markham Lights: Joshua Light Show

31. Mai 1968 – Moby Grape, Fugs, Gary Burton Quartet Lights: Joshua Light Show

June

1. Juni 1968 – Moby Grape, Fugs, Gary Burton Quartet Lights: Joshua Light Show

2. Juni 1968 - Bill Cosby, Janice Nian, Frankie Dunlop & Maletta Lights: Pablo's Light

5. Juni 1968 - Incredible String Band, WBAI-fm Benefit,

07.08. Juni 1968 - Bandera eléctrica, Quicksilver, Steppenwolf Lights: Joshua Light Show

14./15. Juni 1968 – Grateful Dead, Jeff Beck, Seventh Sons Lights: Joshua Light Show

21. Juni 1968 – Vanilla Fudge, James Cotton, Loading Zone Lights: Joshua Light Show

22. Juni 1968 – Georgie Fame, James Cotton, Loading Zone Lights: Joshua Light Show

Julio

19/20 July 1968 - Jefferson Airplane, H.P. love arts

August

03.02.1968: Big Brother and the Holding Co., Staple Singers, Ten Years After, Joshua Light Show

September

September 09-10, 1968 - Joan Baez and ?

13./14. September 1968 - Chambers Brothers, Blood Sweat And Tears, Amboy Dukes, Joshua Light Show,

20./21. September 1968 – Traffic, Staple Singers, Crome Syrcus, Joshua Light Show

27/28 September 1968 - Country Joe & Fish, ten years later, Procol Harum

October

04./05. Oktober 1968 - Eric Burdon & The Animals, Sly & The Family Stone, Linn County, Joshua Light Show

11. Oktober 1968 – Beach Boys, Creedence Clearwater Revival, Joshua Light Show

12. Okt. 1968 – Tortugas, Creedence Clearwater Revival, NY Rock & Roll Ensemble, Joshua Light Show

18./19. Oktober 1968 - Jeff Beck, Tim Buckley, Albert King Lights: Joshua Light Show

25./26. Oktober 1968 – Moody Blues, John Mayall, Rhinoceros Lights: Joshua Light Show

October 27, 1968: Skip James, David Peel, Happy & Artie Traum, Pete Seeger, The Pennywhistlers, John Beecher, Jerry Jeff Walker (perk of "Sing Out")

November

November 1968 – Richie Havens, Quicksilver, The McCoys, Joshua Light Show

09.08.1968 - Steppenwolf, Buddy Rich, Children Of God, Joshua Light Show

15./16. November 1968 - Country Joe & The Fish, Joshua Light Show

22./23. November 1968 – Iron Butterfly, Canned Heat, The Youngbloods, Joshua Light Show

27. November 1968 - Incredible String Band Lights: Joshua Light Show

28./29./30. November 1968 - Jefferson Airplane, Buddy Guy, Chuck Davis Dance Co. Lights

December

December 4, 1968 - Duke Ellington, New York rock & roll ensemble

05. Dezember 1968 -H. Rap Brown/ Bernadine Dohrn, Herbert Marcuse, Carl Oglesby/ Pete Seeger

06/07 December 1968 - Country Joe & The Fish, Fleetwood Mac, Kusama's Self Destruct, Joshua Light

14.13.1968 – Sam & Dave Review, Super-Session, Earth Opera, Joshua Light Show

20./21. Dezember 1968 – Creedence Clearwater Revival, Deep Purple, James Cotton Band, Joshua Light

27./28. Dezember 1968 – Butterfield Blues Band, Crazy World Of Arthur Brown, Super Session, Sweetwater

Dec. 29, 1968 - Walter Carlos / Ars Nova, Buena Tierra / Amer. Brass Quintet, Ensemble Ny R N' R,

31. Dezember 1968 – Chambers Brothers, Mother Earth Lights: Joshua Light Show

60-minute coverage of Fillmore East

8 January 1969

January 31, 1969 Led Zeppelin

“Led Zeppelin is by far one of the best groups on the scene today. In the short time they have been together they have had phenomenal success both in personal performances and in US record sales a few weeks ago his LP has since entered the top 20 of the national charts and is still climbing fast. His first concert at the Fillmore East in New York a few weeks ago caused the roof to collapse.

His opening number at the Fillmore was thisThe train rolled on, the tune of an old Yardbird. (By the way, Jimmy played on the original version that Lord Sutch recorded about four years ago.) It really got things going as they went on to create a totally sensual experience in both sight and sound.dazed and confusedit's like a musical battle, with Plant's shrill screams and Page's piercing tones mimicking and reacting to each other in perfect sync. Jimmy switched to acoustic guitar for his solo,Black mountain side.Everyone left the stage, all the lights went out except for a spotlight on Jimmy who was sitting on a chair. This was the only moment of the concert that was completely silent. The audience seemed to be hypnotized. Again they broke into a hard rock numbercommunication interruption.your version ofYou surprised meit was exceptional. Plant's voice inHow many times morejBaby I'm gonna leave youhe was nothing short of SUPERMAN. UNBELIEVABLE!!!! meI can't leave you babyit was done in a slow, grinding blues groove, with Page breaking into another solo. Drummer Bonham was then given the stage for his extraordinary solo, which lasted about 15 minutes, and their seats. His last song wasSeason of the Witchand sent the audience into ecstasy.

It was definitely one of the most exciting shows I've ever seen. They left NY to travel the States. This is a group to be seen!" (Denise Kelley, World Countdown, February 1969)

"Due to Led Zeppelin's debut LP on Atlantic, we woke up from a hospital bed to venture onto the East Village Rock Show to see what they were like in person. It would be a really interesting story to be able to tell after hearing that They perform, we danced in the halls and then we ran all the way home Suffice it to say the thought entered our head, and though the spirit willingly was, the flesh was weak.

In other words, the Through Zeppelin record is very, very good, the band themselves are even better, and the excitement they generate hasn't been felt at the Fillmore since Big Brother & the Holding Company last performed.

Vocalist Robert Plant falls into Terry Reid's class (a good class indeed), but the group's musical talents are in a class of their own and the combination of the two can only hint at a superstar. A subtle hint at the group's fast-rising status is found in the fact that, despite only being out a week and a half, their album was known to half the audience. Need we say more?" (Cashbox / February 1969)

Enero: Terry Reid is for B.B. King

February 12, 1969

January 24th and 25th

blood sweat tears

Jethro Tull

Savoy blues band

On February 1, 1969,

Led Zeppelin debuted at the Fillmore East,

iron butterfly opening

“An opening set for Iron Butterfly and a very intense and spectacular one! Zeppelin was infinitely better than The Butterfly, as this set clearly shows. Robert's voice in all its high pitch, incredible 1969 sheen and the band playing better than ever in their short time together, Jimmy is on fire!

Unsurprisingly, Led Zeppelin wowed crowds at Fillmore East last weekend. The second show on Friday night saw them stay on stage for 90 minutes and showcase absolutely incredible musicianship throughout the blues scene.

The group's success here (their debut album topped both charts this week with sales in excess of 100,000) was only marred by the fact that 21-year-old drummer John Bonham was suddenly forced to return to England after their young son (Jason) there was an accident that required stitches to his head. But he flew back in time for the Zeppelin concert in Chicago over the weekend.” (J. Harris, NME, February 1969)

February 15, 1969

Mandrill baya

Winter. Savoy, aorta

Joshua White

Joshua Lightshow

"I wrote for the New York Times in 1969 in an article entitled 'You don't have to be high"Barbara Bell reported on her stay at Bill Graham's Fillmore East rock club on bizarre Second Avenue, where she saw production of The Joshua Light Show."Mondrian style chessboards, strawberry fields, linden groves, ancient jewels, galaxies of light on a pure black void and often abstract, erotic shapes and colors totally captivating for sheer pleasure, each a glimpse at a moment. , wrapped in and around large sound waves. . . the first to sleep stagger out in a daze, muttering about amoebas in colored water.'

Such associative attempts to articulate the character of psychedelic light shows were not uncommon. Visual music historian William Moritz wrote that light shows, at their best, "presented a living work of art of organic complexity that was vastly more interesting, challenging, and satisfying than any of the flat, static art styles of the past, including painting and traditional fiction". Cinema.” Curator Christoph Grunenberg has written that of the many light shows that emerged in the mid to late 1960s, the Joshua Light Show was “the most complex and sophisticated.”

The original members of the Joshua Light Show were artists-in-residence at the Fillmore. From March 8, 1968 until the venue closed on June 27, 1971, the group performed several shows each weekend for a total of ten thousand people and received almost the same bill as acts such as The Who, The Doors, Grateful Dead, Janis Joplin, Jimi Hendrix Experience, Albert King, Chuck Berry and Iron Butterfly. The group was formed by Joshua White, who studied electrical engineering, theatrical lighting and lantern magic at Carnegie Tech and film at the University of Southern California, where he made a number of stop-motion and direct-animation shorts. The JLS initially consisted of six to eight members, with the more stable lineup including White, Tom Shoesmith and Bill Schwarzbach, who met at Columbia University while studying theater lighting and electrical engineering; Cecily Hoyt, photographer and painter; and Jane Ableman, an art student.

The group used an array of imaging devices to achieve various visual effects: three film projectors, two banks of four-carousel slide projectors, three overhead projectors, hundreds of color wheels, motorized reflectors made from materials such as aluminum foil, mylar, and broken mirrors, two hair dryers , watercolors, oils, alcohol and glycerine, two glass ashtrays and dozens of clear glass watch crystals. White and his companions designed a rear projection system located approximately twenty feet behind the Fillmore stage, where several tons of equipment were placed on two elevated platforms.

However, the Fillmore's traditional seated theater setup meant the group concentrated their efforts on a single screen, rather than attempting to create a West Coast or disco-style general lighting environment. Using eight 1200 watt runway lights to project images onto an eighty by ten meter vinyl screen, JLS created its shows from four elements. The first involved the projection of purely colored light through various handcrafted and modified devices. The second element was tangible images, which included footage filmed by the group, hand-recorded cinematics, commercial film segments, and finally closed-circuit video used to project enlarged, real-time images of the musicians playing on stage. Weather. The group's collection of concrete images also included hand-painted slides, slides with geometric patterns, slides with historical artworks with paintings by Goya and Manet, and slides with text, such as the line attributed to Warhol and McCluhan.Art is anything you can get away with.'"(www.joshualightshow.com)

“The Joshua Light Show was now an integral part of the Fillmore East experience. As well as providing exciting visual accompaniment for the bands, she also began projecting cartoons between musical sets. A particular favorite was a stunning 1935 cartoon called The Sunshine Makers, featuring elves bottling rays of sunshine. In the cartoon, the bottles were given to people who then drank from them, causing each drinker to start singing and dancing." (John Glatt, Live at the Fillmore East and West, Lyon Press)

the sunmakers

March 28 and 29, 1969

-Steppenwolf, Julie Driscoll, Brian Auger and the Trinity, John Hammond

May 2nd and 3rd

Jeff Beck, Joe Cocker und The Grease Band, NRBQ

11. May 1969

Die Band

Finally, in May, the band made their East Coat debut at the Fillmore East. With an hour-long set, The Band performed most of the songs from their debut album Music From Big Pink and presented these songs asBergmusik. The audience loved the band's performance so much that they asked for three encores.

“We played four sold out shows at the Fillmore East on Second Avenue in Manhattan. Cat Mother and the All-Night Newsboys opened, and the audience was with us from the moment we took the stage, in what the press called 'suits and ties." It was actually dark western-style clothing, ties and black boots, along with a selection of hats from Richard's collection We tuned in for a moment in the dark: The light show had started on the off night: the lights went on and the New York crowd started screaming Standing applause Over the Lowry Leaning over the organ, Garth looked like a biblical prophet with his untrimmed black beard. We rehearsed so well because we wanted the performance to sound like records. We stayed close to those arrangements and didn't stretch them out, we made big- pink musictears of anger,This wheel is on fire,Caledonia-Mission,- and we couldn't believe the wild reaction. We mix them inget up jake,(aus den California Sessions), The Four Tops'Loving you is sweeter than ever,(Richard sang very well in reference to our Motown fandom),small birds"Levon's dad taught us that," Robbie announced. "We hope you enjoy country music here in New York." (Levon Helm, this wheel is on fire)

Led Zeppelin May 1969 Fillmore East performance contract

DST 1969

8 May

Country Joe and the Fishes, Children of God, Hello Folks

16. - 17. May 1969

The Who perform their rock opera Tommy

“On Friday, May 16, The Who opened Pete Townshend's new rock opera Tommy at the Fillmore East, the day before its US premiere. as well as another in Keith Moon's band-aid to cool off during the performance.

Towards the end of their first show, someone threw a Molotov cocktail at the Lion supermarket, which shared a wall with the Fillmore East. When firefighters arrived to put out the fire with three alarms, firefighters assured Bill Graham that there was no immediate danger to his audience. So he decided to wait until the end of Tommy before evacuating the theater. Fillmore East usher Allan Arkush smelled smoke and then looked outside to see flashing lights and firefighters lining Second Avenue. The focus in the theater was The Who and the energy of their performance lifted everyone up. Suddenly, a plainclothes detective from the task force appeared backstage to the right of the stage and tried to snatch the microphone from Roger Daltrey's hands while yelling, "Give me the microphone!". Without missing a punch, Townshend kicked the detective's testicles with his Doc Martens. 'He came out of nowhere,' Arkush said, 'and Townshend kicked him in the balls. Someone from the stage crew grabbed him and dragged him away, and the entire audience jumped to their feet. It was definitely a Roman show. As more and more cops stormed the stage, The Who played on as if nothing had happened. The audience thought the smoke thickening in the theater was part of the show.

Pete Townshend is booked for assaulting a New York City detective during a show at Fillmore East

After they finished Tommy on that fantastic note, the crowd went wild. So The Who just counted and carried on'summer slump.' Bill Graham finally managed to get Townshend's attention, and he came on stage to tell him about the fire next door. "And I could see them whispering," Arkush said, "and The Who gunned him down." It was like a rocket going off their engines and the audience gasped.' So Graham got on the mic and it was great. He said,we have a little problemHe announced that the ushers should vacate the theater until it was safe to return, and then The Who would complete the set. "The building was empty in three minutes," Arkush said. "And of course there was no late show as the smoke in the theater was too thick." Later that night, Townshend was charged with assaulting a police officer and a warrant was issued for his arrest. The next morning he turned himself in and spent a few hours in the tank until Bill Graham rescued him. On Saturday and Sunday nights, The Who were back at the Fillmore East and played four more sensational shows.

A few weeks later, a New York City court fined Townshend $75 for a misdemeanor. On June 17, The Who played the first of three nights at the Fillmore West. This time, Pete Townshend told Bill Graham that they were only playing one show a night instead of two. "But it was persistent," Townshend said. "We made our very short first movement as a challenge to his perceived authority, so he also had an angry audience on his side." Eventually Graham retired and The Who never played more than one show a night for him. again." (John Glatt, Live at the Fillmore East and West, Lyons Press)

May 30 and 31, 1969

Led Zeppelin, Woody Herman and his Orchestra, Delaney and Bonnie

29. September – Horror-Rock-Fest

"Horror Rock" Festival featuring Elephant's Memory, Prodigal Son, Brother Theodore and a performance of Frankenstein, all hosted by Zacherle!

November 7th and 8th

Santa Claus

humility cake

Paul Butterfield Blues-Band

November 21 and 22

joe cocker and the grease band,

Fleetwood Mac, King Crimson, Voices of East Harlem

December 1969 First Allman Bros show at The Fillmore East

December 29 - The Nice

Fillmore East, New York Two Shows Jimi Hendrix and his Band Of Gypsys performed an afternoon sound check and rehearsal at Fillmore East before their two concerts later that evening. Later that evening, in front of a ticket crowd of 2,639, Hendrix ushered in a new year and the new decade with two memorable performances. The evening's celebrations began with a lively cast from Voices Of East Harlem, an enthusiastic young gospel ensemble. With the audience's feverish anticipation filled with Fillmore, Hendrix led his an trio through a scintillating 75-minute opening performance. None of the eleven featured songs had previously appeared on an experience album. Instead of groundbreaking songs likeLila NebeljAlong the watchtowerwere safe interpretations ofIsabelajhear my train coming. At midnight, Kip Cohen, the venue's master of ceremonies, ushered in Guy Lombardo's new year and decade.Traditional Scottish farewell song. Never staged, Jimi and co. welcomed the happy home with their own inspired read of the holiday staple. For Amalie Rothschild, Fillmore East's in-house photographer, the experience was unforgettable. 'Then there was the countdown to midnight. It was the countdown that was a real scream. We're talking about the late 1960s. December 31, 1969 becomes January 1, 1970–. A new decade. That was significant. After all, we lived it and we knew the sixties were the sixties. We had this big countdown on Joshua Whitelight's home screen with this big clock 10, 9, 8, 7, 6... and everyone was screaming together. Then the light show screen stops and everyone is on stage, the entire crew and the musicians. Hendrix, who is now on stage, launches into this amazing rendition of Auld Lang Syne and I filmed it. This was history in the making. You couldn't miss it. His performance was so inspired. It was just amazing and I can't find the words to describe it."Later that night, Hendrix retired to Café Caliph (formerly known as Café Au Go Go) in Greenwich Village, where he performed onstage with the James Cotton Blues Band." (jimihendrix.com)

December 31 - Jimi Hendrix

There were messages in the last Fillmore East drama program in 1969

from various artists who had performed at the venue:

"1969 complexes can kiss my ass!" (Jimi Hendrix)

"It's wonderful to look to the future!" (Roger McGuinn from The Byrds)

"My hope for the new decade is: Quiet the dove." (Bill Graham)

1969 Conciertos @ The Fillmore East

January

10 / 11 des Jahres 1969 -B.B. King, Winter con Johnny Winter, Terry Reid, Joshua Light Show

17./18. Januar 1969 – Buddy Rich, Grass Roots, Spirit Lights: Joshua Light Show

24./25. Januar 1969 – Blood Sweat & Tears, Jethro Tull, Gay Deperados Steel Band, Joshua Light Show

31. Januar 1969: Iron Butterfly, Led Zeppelin, Porter's Popular Preachers, Joshua Light Show

February

1. Februar 1969 - Iron Butterfly, Led Zeppelin, Porter's Popular Preachers, Joshua Light Show

08.07. Februar 1969 - Canned Heat, Pentangle, Rhinoceros, Joshua Light Show

11./12. Februar 1969 – Janis Joplin, Grateful Dead. Joshua Lichtshow,

14./15. Februar 1969 - Sam & Dave, Winter, Aorta, Joshua Light Show,

21./22. February 1969 - Mothers of Invention, Buddy Miles Express, Chicago Transit Authority

Feb. 28, 1969 - Ten Years Later, John Mayall, Slim Harpo, Joshua Light Show

march

Mar. 01, 1969 - Ten Years Later, John Mayall, Slim Harpo, Joshua Light Show

7. März 1969 - Buffy Sainte-Marie, Ian & Sylvia, Great Spotted Bird

8. März 1969 - Vanilla Fudge, Amboy Dukes, Sirocco, Light de Pablo

14/15 März 1969 – Procol Harum, Pacific Gas & Electricity, Collectors, Light Por Pablo

21./22. März 1969 – Creedence Clearwater Revival, Spirit, Aynsley Dunbar Retaliation, Light de Pablo

March 28-29, 1969 - Steppenwolf, Julie Driscoll, Brian Auger and the Trinity, John Hammond, Light of Paul

April

04.05. April 1969 - Chambers Brothers, Hello People, Elephant's Memory, Joshua Light Show

09/10 April 1969 - Ten Years Later, The Nice, Family, Joshua Light Show

11./12. April 1969 - Blood, Sweat and Tears, Jethro Tull; Albert King, AUM, Joshua Light Show

18./19. April 1969 - Butterfield Blues Band, Foundations, Savoy Brown, Joshua Light Show

25./26. April 1969 – Joni Mitchell, James Cotton, Taj Mahal, Joshua Light Show

27. April 1969 - Incredible String Band, Joshua Light Show

May

Mai 1969 – Jeff Beck, Joe Cocker & The Grease Band, NRBQ, Joshua Light Show

May 08, 1969 Country Joe and the Fishes, Children of God, Hello Folks

9. Mai 1969: The Band, Cat Mother & Allnight Newsboys, Joshua Light Show

16.17.18, 1969 - dieWho Sweetwater It's a Beautiful Day Joshua Light Show

23./24. May 1969 -Sly und der Familienstein, Clarence Carter, Rotary Connection, Joshua Light Show

30./31. May 1969 -Led Zeppelin, Woody Herman and his Orchestra, Delaney and Bonnie, Joshua Light Show

June

06. / 07. June 1969 -Chuck Berry, Albert King, Joshua Light Show

13. / 14. June 1969 -Mutter der Erfindung, The Youngbloods, Chicago, Joshua Light Show

20. / 21. June 1969 -Grateful Dead, Buddy Miles Express, Joshua Light Show

Julio

July 3, 1969 -Jeff Beck Group, Jethro Tull, Soft White Underbelly

August

08 / 09 August 1969 - Jefferson Airplane, Joe Cocker & Grease Band, spontaner Sound

September

26./27. September 1969 - Country Joe & The Fish, Grateful Dead, Sha Na Na, Joshua Light Show

Sep. 28, 1969 - Horror Rock, Elephant's Memory and screening ofFrankenstein

October

4. März 1969 – Chuck Berry, John Mayall, Elvin Bishop Group, Joshua Light Show

11. Oktober 1969 – Vanilla Fudge, Dr. John The Night Tripper, Joshua Light Show

17./18. Oktober 1969: Spirit, Kinks, Bonzo Dog Band, Joshua Light Show

20 21/22/23/24/25 Okt 1969 - Wer, King Crimson, AUM, Joshua Light Show

31. October 1969 -Montaña, Steve Miller Bluesband, Move, Joshua Light Show

November

07. / 08.11.1969 -Santana, Butterfield Blues Band, Humble Pie, It's a Beautiful Day, Joshua Light Show

14. / 15.11.1969 -Johnny Winter, Chicago, Blodwyn Pig, Joshua Light Show

21. / 22.11.1969 -Joe Cocker und die Grease Band, Fleetwood Mac, King Crimson, Voices Of East Harlem, Joshua Light Show

26. / 28. / 29. November 1969 -Jefferson Airplane, The Youngbloods, Crossover von Joseph Eger

December

05 / 06 December 1969 -Jethro Tull, Grand Funk Railroad, Fat Mattress, Joshua Light Show

December 12th / 13th, 1969 -Richie Havens, Nina Simone, Joshua Light Show,

December 14, 1969 -Amazing String Band, Joshua Light Show

19./20. Dezember 1969 - Byrds, Niza, Sons Of Champlin, Dion, Joshua Light Show

26./27./28. Dezember 1969 – Blood Sweat And Tears, Appaloosa, Allman Brothers, Joshua Light Show

31. Dezember – Jim Hendrix Band of Gypsys, Voices Of East Harlem, Joshua Light Show

The Grateful Dead played two nights on January 2nd and 3rd in support of the new album Live Dead to kick off 1970.

January 9th and 10th

Ike and Tina Turner, Mongo Santamaria, Fats Domino

Garcia & Weir in their dressing room

febreroGrateful Dead

"Bear" alias Owsley macht Sound für The Grateful Dead @ The Fillmore

February 26 - Ten Years Later, Zephyr, John Hammond

Enero calendar in March 1970

Backstage attack Fillmore East

March 7 Neil Young and Crazy Horse

March 1970 Young and Crazy Horse toured in support of Everybody Knows This Is Nowhere (1969). Young played four shows at the Fillmore East on March 6th and 7th, each show consisting of an acoustic solo and an electric set with Crazy Horse.

March 27th and 28th

Joe Cocker Perros Loks and English, Ronnie Hawkins, Stone The Crows

16. April Pink Floyd

Calendar May 1970

Online fans to get tickets

Grateful Dead & New Riders of the Purple Sage

6. Juni 1970 - Crosby, Stills, Nash & Young

“By 1970, Crosby, Stills, Nash & Young were being hailed by many as America's answer to the Beatles, thanks to their combination of tender folk ballad and socially conscious rock. When they finally booked a string of shows at the Fillmore East that summer, ticket demand was off the charts. Fans lined up in the Four Deep block the night before just to get one. Although they may have angered the Fillmore East team with their demands to block the Joshua Light Show and bring their own sound equipment, the onstage results spoke for themselves. The sets were split into two parts, electric and acoustic, with each man had his own time in the spotlight to demonstrate what he could do. After the final performance last night, the audience simply refused to leave, so Graham went to the band himself and asked them for an encore. He demanded cash before they agreed to proceed, and the promoter began slipping $100 bills under the door. . When she turned eight, they finally agreed and went out for another song." (Rolling Stone Magazine)

17th/18th/19th/20th June 1970 - Laura Nyro, Miles Davis Quintet

June 24th and 25th

Ten years later

Illinois Speed ​​​​Press und Wels

09.10.11.70

Grateful Dead, New Riders of the Purple Sage

Suddenly things started to change in the rock music business. After Woodstock, bands started playing bigger venues, which made them more money. In an editorial, Variety claimed that along with the huge increase in pay for a performance, more and more acts began demanding a variety of performances.

August 21 and 22

Die Youngbloods, Imagen de Blues, Tim Hardin

August 28th and 29th

Savoy Brown, Fleetwood Mac, Fairport Convention

“On June 27, Bill Graham ran a full-page ad in Billboard magazine announcing that his two Fillmore venues were struggling to survive. The ad warned that managers, agents and rock bands would be driven out of the concert business. 'Economy has club music,' Graham asserted, 'from clubs, ballrooms and concert halls to the biggest colossi and festivals.' And he warned that his twin temples of rock were in imminent danger as there weren't enough big acts to support them replacing others now play in larger venues like Madison Square Garden. “In the '70s,” said Kip Cohen (Manager of Fillmore East), “there was a big change and things got harder and uglier. There was a change "A change in the music. A change in the audience. A change in attitude." selling some for three years,' he said, 'and then it wasn't something we could sell. Can we sell it to the public? Yes, but not for the artist.” (John Glatt, Live at the Fillmore East and West, Lyons Press)

SEPTEMBER

27. September Pink Floyd

Albert King

Van Morrison

birds

NOVEMBER

Traffic 18-19 November

20. & 21. November

Leon Russell, Elton John, McKendree Primavera

„Elton J.Ohn played four shows at the Fillmore East in New York on November 20 and 21, 1970, and something magical happened. Folk rockers McKendree Spring opened the show, followed by John and then Russell who headlined. Promoter Bill Graham booked John at Russell's suggestion.

"I've never worked for anyone as professional as Bill Graham or his associates," said John Rollender Stein. "It's the musician's dream concert. If you can't make it at the Fillmore West or the Fillmore East, whatever the crowd, you're not going to get anywhere. Bands take it for granted that they play the Fillmore. They don't think about getting the best PA system, sound and lighting. The lighting is just amazing.

Russell joined John for a nine-minute jam after "Burn Down the Mission" with Russell on guitar.

18./19. Dezember 1970 - Savoy Brown, Little, Gypsy/Jo Mama, Joe's Lights

22/23/24 December 1970 - Laura Nyro, Jackson Browne

26/27/30/31 December 1970 - Berg, Mylon, David Rea

1970 Conciertos @ The Fillmore East

January

01 January 1970 -Jimi Hendrix, Voices from East Harlem, Joshua Light Show

02 / 03 January 1970 -Grateful Dead, Leuchtturm, Cold Blooded, Joshua Light Show

09 / 10 January 1970 -Ike & Tina Turner, Mongo Santamaría, Fats Domino, Joshua Light Show

16 / 17 January 1970 -Santana, Catfish, Joshua Light Show

23rd/24th January 1970 -Quicksilver, Country Joe und El Pez, Eric Mercury, Joshua Light Show

30 / 31 January 1970 -Mountain, Jack Bruce and Friends, Joshua Light Show

February

06 / 07 February 1970 -Delaney, Bonnie and Friends, Wilbert Harrison, Seals and Crofts, Joshuas Lichtshow

February 11 / 13 / 14, 1970 -Grateful Dead, Allman Brothers, Amor, Joshua Light Show

February 20-21, 1970 -Savoy Brown, Kinks, Renaissance/Noonan, Joshua Light Show

February 22, 1970 -Ravi Shankar, Notes: with Zakir Quereshi - Table, Dr. Ravi Shankar Ravi Shankar Ashoka Ray - drums

February 26, 1970 -Ten Years Later, Zephyr, John Hammond Lights: Joshua Light Show,

February 27 / 28, 1970 -Ten years later, Doug Kershaw, Zephyr, Joshua Light Show

march

06/07 March 1970 -Neil Young und Crazy Horse, Steve Miller Blues Band, Miles Davis, Joshua Light Show

14.13.15. March 1970 -John Mayall, B. B. King, Taj Mahal, Joshua Light Show

19/20/21 March 1970 -Moody Blues, Lee Michaels, Argent, Joshua Light Show

March 27-28, 1970Joe Cocker Mad Dogs & Engländer, Ronnie Hawkins, Stone The Crows, Joshua Light Show

April

03./04.04.1970 -Quicksilver Courier, Van Morrison, Brinsley Schwarz, Joshua Light Show

05.04.1970 -Tom Paxton, Fraser & Debolt, Joshua Light Show

11.10.12.1970 -Santana, It's a Beautiful Day, American Dream, Joshua Light Show

16. April 1970 - Pink Floyd und Joshua Light Show

17./18. April 1970 -Ray Charles, Dizzy Gillespie, Mongo Santamaria, Joshua Light Show

23. / 24. / 25. / 26. April 1970 -Amazing String Band, Stone Monkey Mime Troupe

May

01 / 02 May 1970 -Mountain, Blodwyn Pig, Joshua Light

06 / 07 May 1970 -Jefferson Airplane, Manfred Mann Chapter 3, Wilbert Harrison, Faros

08 / 09 May 1970 -Mothers of Invention, Insect Trust, Sea Train, Joes Lichter

10. May 1970 -Music Festival '70 Notes: Colorcast Satellite from London 3pm Live, 8pm Delayed

15. May 1970 -Grateful Dead, New Riders Of The Purple Sage, Joe's Lights, ,

16. May 1970 -Gues Who, Cold Blooded, Buddy Miles, Lights: Joe's Lights,

21.22.23. May 1970 -Jethro Tull, Wolken, John Sebastian, Joe Lights

29. / 30. May 1970 -Nina Simone, Mongo Santamaria, Joes Lichter

June

02. / 03. / 04. / 05. / 06. / 07. June 1970 -Crosby Stills Nash & Young, Taylor & Reeves

10. / 11. June 1970 -Traffic, Fairport Convention, Mott The Hoople, Joe's Lights

12. / 13. June 1970 -Procol Harum, rhino, seals and farms, lights by Joe

17. / 18. / 19. / 20. June 1970 -Laura Nyro, Miles Davis Quintet

24. / 25. June 1970 -Ten years later, Illinoise Speed​​Press, Pig Lights,

26. / 27. June 1970 -Chicago, Blodwyn Pig, Jerry Hahn Brotherhood, Pig Light Show

Julio

09/10/11/12 July 1970 -Grateful Dead, New Riders Of The Purple Sag, Pig, Midnight Show

11./12. July 1970 -Preservation Hall Jazz Band, Notes: 8:00 p.m. m.,

July 24-25, 1970 -Hot Tuna, Leon Russell, Arrejo, Pig Lights

July 31, 1970 -Grand Funk Railroad, Pacific Gas & Electric, Blood Rock, Pig Lights

August

1. August 1970 -Grand Funk Railroad, Pacific Gas & Electric, Blood Rock, Pig Lights

5. August 1970 -Jethro Tull, cactus, pig lights

8. August 1970 - SMall Faces mit Rod Stewart, Blodwyn Pig, Chicken Shack, Pig Lights

11.10.12.1970 -Santana, Voices of East Harlem, Ball 'N Jack, Pig Lights

14./15. August 1970 -Procol Harum, Country Joe McDonald, Zehenfett, Pig Lights

21. / 22. August 1970 - DieYoungbloods, Picture Blues, Tim Hardin, Schweinelichter

28./29.08.1970 -Savoy Brown, Fleetwood Mac, Fairport Convention, Pig Lights

September

11./12. September 1970 -Byrds, Delaney and Bonnie and Friends, Great Jones, Pig Lights

17./18./19./20. September 1970 -Grateful Dead, New Riders Of The Purple Sage, Joe's Lights

23. / 25. / 26. September 1970 -Allman Brothers, Van Morrison, The Byrds, Capitán Candlepower Lights

27.09.1970 -Rosa Floyd

October

02. / 03. October 1970 -Johnny Winter, Buddy Miles, The Tin House

09. / 10. October 1970 -John Mayall, It's a Fine Day, Flock, Captain Candlepower Lights

12.10.1970 -Rock Relic Auction

16./17. October 1970 -BB King, Butterfield Blues Band, Elvin Bishop, Joe's Lights

23./24. October 1970 -Derek und Domino, Ball 'N Jack, Humble Pie, Joe's Lights

30. / 31. October 1970 -Lee Michaels, Cactus, Juicy Lucy, Pig Lights

November

06. / 07.11.1970 -Albert King, New York Rock N' Roll Ensemble, Flying Burrito Brothers, PigLights

10. November 1970 -Rod Stewart und Small Faces, Black Sabbath, Pig Lights

13. / 14. November 1970 -Frank Zappa & Mothers Of Invention, Sha Na Na, JF Murphy & Free Flowing Salt

18. / 19. November 1970 -Traffic, Cat Stevens, Hammer, Joe Lights

20. / 21. November 1970 -Leon Russell, Elton John, McKendree Spring, Capitán Candlepower Lights

26. / 27. / 28. November 1970 -Jefferson Plane, Buddy Guy Jr. Wells Band, Lighthouses

29. November 1970 -great string band

December

04 / 05 December 1970 -losKinks, Amor con Arthur Lee, Quatermass, Luces de Joe

December 11/12, 1970 -Canned Heat, Allman Brothers, Dreams/Toe Fat, Luces de Joe

December 14, 1970 -Virgil Fox, Joes Lichter

18/19 December 1970 -Savoy Brown, Little, Gypsy/Jo Mama, Joe Lights

22/23/24 December 1970 -Laura NyroJackson Browne

26 / 27 / 30 / 31 December 1970 -Montaña, Mylon, David Rea, Joes Lichter

As 1971 rolled around, Bill Graham was contemplating retiring. To his surprise, all the bands he had promoted suddenly decided to only play in larger venues.

“The new heavy sounds from acts like Alice Cooper and Black Sabbath didn't do Graham any good. Graham complained that the crowd had changed too. He has no interest in booking shows at Madison Square Garden. He closed the Fillmore East in June 1971 with a three-night run with the Allman Brothers Band, joined on graduation night by an all-star line-up including Country Joe, Mountain and Beach Boys. (The Gothamist)

January 22 and 23, 1971

Dave Mason und Cass Elliot, Odetta, Livingston Taylor

11. Februar 1971 Taj Mahal, Roberta Flack, Leon Thomas

Small Faces 1971 alias Faces mit Rod Stewart

Black Sabbath

March 18 astrology now

March 21 Springtime for Lion's Arch

Grateful Dead 25. April 1971

"By 1971, the Grateful Dead had firmly established Fillmore East as their base of operations in New York City. But as the saying goes, all good things must come to an end. The Fillmore East would close by the end of the summer, but not before a final set of Dead shows. The five-day series was to serve as the band's final hurray at Bill Graham's iconic East Village venue...

The band wastes no time and plunges straight into a roartruck driverto open the show. It's a crisp early version of this future Dead classic, barely a year old at the time. It would also serve as the opening for three more shows during that Fillmore run. after I ordered somethinggetting startedJerry Garcia directs the group from the monitorsloser, which convey the psychedelic alt-country vibes previously established by the New Riders. A brief but hauntingly beautiful guitar solo by Garcia highlights this. The collective mood then increases significantlyhard to rideThe charismatic Pigpen, who had several shining moments during the show, takes on the lead vocals in his signature blues-tinged style. Garcia and drummer Bill Kreutzmann seem to take turns increasing the passion and intensity, leading to an extensive opening jam...

... the show continues withYou and Bobby Mcgee, this time with Bob Weir on lead vocals. Weir then yells some more friendly advice at the monitorcold rain and snowGarcia's aggressive guitar tone and Phil Lesh's thundering bass tones add that extra something to this always emotional number. This sets the stage for Pigpen to take charge once again, this time with the harmonica in towThe rubbing. This song by Lightnin' Hopkins, akaIsn't it crazy?, would only be played 13 times by The Dead and was shelved forever after Pigpen's death.

Weir then goes back to the microphoneplay in the band, another future Dead classic. Basically it's just a run through of the composed part, no significant jam as the song is still in an early stage. Garcia then remarks that "we used to do this song acoustically" before a quick rendition ofdevil's friendoccurs

The first set then ends with some already established staples from the Grateful Dead live catalogue. The instrumental step in betweenChinese Cat SunflowerjI know your riderit's near perfect, with Garcia delivering a barrage of emotional guitar fills on the latter.Casey Jonesthen leads the Fillmore crowd into the break, capping a whirlwind in the first set. García and Weir take it upon themselves to tell everyone that they will be back shortly.

The Dead kick off the second set at the Fillmore in style with a SuperchargedMorgentauSteady progressive rhythms from Lesh and Kreutzmann set the stage for another emotionally oozing guitar solo from Garcia, much to the delight of the audience. After a short tourHit it on the lineIt's Pigpen's turn again as he and his harp plow through a version of the bluesnext time you see me.

Pig then returns behind the organBerta, then another fresh song, debuted just a few months ago. This clears the deck forsugar magnolia.Garcia has the wah effect at full volume in this case, overwhelming just about everything else. After a few more complaints about in-ear monitors, Smokey Robinson's version of Dead and The Miracles' Second That Emotions smoothes everything out. It would be the fourth performance of this song, which the band only played five times, all in April 1971.

But these wouldn't be the cover choices to blast the second set's doors. That honor goes togood lovethis follows, sung in Pigpen's signature style and immediately complemented by a majestic drum solo from Kreutzmann. like the wave ofDrumsbegins to withdraw, a loose form ofgood lovehe reappears, spurred on by Pigpen and his improvisational singing. With the rest of the band behind him, this sequence sees the dead in all their might and steals the show." (nysmusic.com)

27. April The Grateful Dead und The Beach Boys Jam

"In 1971, The Grateful Dead invited pop-rock giants The Beach Boys to a special jam session at New York's Fillmore East. The band collected grains of sand and were adept at welcoming the stars onto their stage. When the band was still relatively young, The Dead were more than happy to welcome big names to share the stage with them, including The Beach Boys.

Though the crowd heaved a half-moan after Jerry Garcia's announcement that "we have another famous group from California, it's the Beach Boys," they would soon be shown why Garcia was so pleased to introduce the hugely influential band. The Deadheads are loyal to their group, and rumors of discontent were certainly short-lived as the other West Coast behemoths swept across the country to bolster their California friends' arsenal.

The Beach Boys weren't as revered for their innovative style in 1971 as they are today. They were kind of squares back then and represented at least an outlet for the mainstream, which was unthinkable for Deadheads at the time. They had topped the charts and broken records, written a massive catalog of pop songs, and despite the seminal Pet Sounds album, the group was hardly considered cool. But The Grateful Dead knew better.

The Beach Boys might not have been the subversive cultural phenomenon that the Dead had become through their live shows, but the Cali band still had great value in their work and they were determined to show it. Without Brian Wilson, the group took the stage with the dead and had the entire audience on their side by the end of the show. It's a testament to the kind of players that Carl Wilson, Dennis Wilson, Mike Love, Al Jardine and Bruce Johnston are that can keep up.

Set up at New York's legendary Fillmore East, the stage had already seen The Dead perform on two shows of their five-day lineup. The night before, April 26, the band had been joined by Duane Allman, whose own band, The Allman Brothers, had opened for The Dead at the venue the previous year. But for the 17th they had planned something very special.

The band was good in their set before asking the California band out on a date. They already had audiences with fan favorites like 'Berta', 'hard to ride', y'sugar magnolia', with which the audience was duly satisfied. The group had just finished country'In praise' when Garcia made the announcement.

With the band now bloated into a fat 10-piece arrangement (the Dead's line-up at the time was Garcia, Bob Weir, Phil Lesh, Ron McKernan, and Bill Kreutzmann), there were a lot of people to organize on stage. Instead of trying to play each other's songs, they decided it would be best to trust the old ones. The two gangs swept the coastersSearch in'as well as the robins' 'Riot in Cell Block #9', after which The Dead left the stage and let the Beach Boys take over for a while to keep the fans as happy as they did.

If you ignore Mike Love's desperate attempts to be "hip" by telling a story about getting high with Buffalo Springfield, the performance is pretty close. Of course, the Beach Boys never got off the ground without Brian Wilson, but their renditions of 'help me around,' 'I go, I turn around'y'Good moodEveryone was welcomed with open arms.

At the end of 'help me aroundThe Dead had begun returning to the stage for two more songs with the Cali band. In addition to a version of 'Okie de MuskogeeThey ended the evening with a performance by Chuck Berry.Johnny B. Goode'. And that crazy night with The Grateful Dead ended later." (Far Out Magazine)

May 30 Laura Nyro, Spencer Davis and Peter Jameson

June 11 and 12 Blood Rock, Alice Cooper, glass harp

In the summer of 1971, Bill Graham was officially fed up with the unaffordable ticket prices for the acts he had booked. Eventually, Graham decided to close the Fillmore East.

Because Graham wanted the Fillmore East to go out in style, he hired The Allman Brothers to play for the Fillmore East crowd one last time. On June 27, this memorable spectacle lasted until dawn.

Dickie Betts: "'That was a special show, we played until dawn that morning. I remember it was dark in there and when they opened the door the sun almost blew us away. We didn't realize until seven or eight in the morning that we had played. Bill Graham just let us babble and no one said, 'We have to shorten the time.' It really was free."

"'We played about seven hours straight with everything we had,' recalled drummer Butch Trucks. "The feeling was so overwhelming that I started crying. Then we got in a mess, I think it was'mountain jam', which lasted four hours straight. Without a scale. And when we were done, there was no applause. The place was dead quiet. Someone got up and opened the doors and the bright morning sun poured in." (John Glatt, Live at the Fillmore East and West, Lyons Press)

"Last night at the Fillmore East. It has been called the Holy Grail of the Allman BrothersBand shows. The night the fan screamed, 'Play all night!' The best show they've ever played. The fact that there are no known recordings of this show only adds mystique. If you've been there, you've heard it. If you weren't, you can just listen to shows from that era and imagine one that lasted for hours and ended with great improvisation. Kirk West says, "They had the recorders there, but nobody turned them on. Can you imagine that? The final concert at the Fillmore East and nobody recorded it?! Organized by Bill Graham, there lies a tape waiting for the right moment to emerge, or maybe it lies in a fan's attic, long forgotten, the rust slowly turning to dust with memories.

Going to a concert was much more than listening to a band. It was a social group event. Five or six friends huddled in a car, distributed food and refreshments, played tapes, sang and traveled into the dark of New York City!

After seeing a few shows, the Allmans became my favorite band. I loved their records but nothing beats seeing them live. For me there was music, and then there was the Allman Brothers Band. No other band's music came as close and captured my heart and soul as the Allmans. I felt them touch my emotions, the core of my being, directly and personally. When Duane played a solo, he knew exactly what he was feeling.

I enjoyed other concerts but they were just performers singing their hits, impressing us with their musical talent, standing up, dancing and screaming. But none of them made me squint my eyes and feel the emotions clog my brain, down my spine, the muscles in my legs spasm, right on the soles of my feet. With no other musician did I feel so connected to their soul while they played. It was like the difference between acting and life. Other bands seemed aware of the fact that they were on stage and making music. The Allmans seemed to live and feel the things they played right in front of us.

We've been to a lot of shows, indoors and out, but our favorite spot by far was BillGraham's Fillmore East. The Fillmore was a traditional concert hall that could seat a few thousand people. There was a balcony and three theater style seating areas. The Fillmore staff allowed us to bring our own snacks, and we always had a mix of healthy food and junk food: brownies, apples, carrots, cookies, you name it.

The Fillmore's ushers busily walked around the theater shining lanterns at people demonstrating the no-smoking policy, but there was always plenty of olfactory evidence that the lighters were winning the usher battle. The Fillmore had wonderful acoustics, something that was sadly lacking. of most concert experiences nowadays. Who decided rock music sounds good in arenas, soccer stadiums and gyms? It's great that the brothers continue to play real theaters like the Beacon and the Warfield, even though they could make more money filling a 20,000-seat amphitheater.

The Fillmore East was located in New York's East Village, where real hippies went when Greenwich Village went commercial. You couldn't walk a block in the East Village without being asked for drugs or loose change. It was downright shabby, even by New York standards. But if we were traveling in a group of five or six, we were probably relatively safe. And on concert nights, the streets filled with other kids pouring in from the suburbs, all trying to look like they lived in the East Village.

The New York music scene was hot; we were proud of it and we took it for granted. And so, on that spring day in 1971, we couldn't have been more surprised when we heard the news: 'You won't believe it: Bill Graham is closing the Fillmore!' Impossible! Bill Graham and the Fillmores were synonymous with rock concerts at its finest. Why the hell would I stop? The news reports for the next two weeks told the story of a weary and weary Bill Graham, fed up with the toils of promoting rock concerts. Bands were demanding more money, which he felt would put them out of business (imagine what he'd say about some of last summer's ticket prices!). He said the masses were becoming unruly and less knowledgeable and picky about music. He figured they were just "calling out for more" no matter what the music sounded like.

It was beginning to dawn on me that this was real and that there would be a "last night at the Fillmore" soon. Saturday 25th and 26th June; and then aguests onlyPrivate concert on June 27th which would be broadcast on the radio. The bands for the public shows would be: Albert King, the J. Geils Band and headlining, the Allman Brothers Band. Talk about mixed feelings. . . The joy of seeing the Brothers honored as the last band to play at the Fillmore East mingled with the sadness of seeing the venue close. Well, if the Fillmore had to close, we'd at least close it on a high note.

Ticketmaster didn't exist back then. We just sent in an inquiry for tickets to the Fillmore and got four seats for the last public show, the late show on the 26th... . in the fifth row on the left! How we got such great mail-in spots we'll never know, but I'm sure we dug deep into our good karma bank that day.

We went to the Fillmore twice this week; the first time we saw Rick Derringer, Albert
King and BB King. I believe Johnny Winter was planned but canceled and Albert was recruited at the last minute.

Since we had reserved seats, there was no rush to be first in line for the late show. We wandered around and hung out with a few thousand kindred spirits under the old fashioned lighted marquee announcing the latest shows. The side doors opened and the early show audience poured out, smug looks on their faces. We knew the front doors would soon open and it would be our turn to enter the magical world of music at Fillmore East for the last time.

The Fillmore always provided a program guide at the door, another nice touch most places dropped long ago. It was usually printed in brown on bright white paper. Tonight the cover was gold. We show up inside waving our main tickets,
He stalked past groups of helpful ushers to the fifth row. duane
it would be right in front of us in a few hours! What good seats!

Now the excitement began to mount in earnest. Rock music blared out of the speakers and whetted our appetite for the start of the show as the theater filled with other happy hippies, freaks and young suburban punks like us. The late show was supposed to start around 11pm.

The lights in the house went out and spotlights came on to highlight Albert King taking off over a powerful electric blues set. While I don't remember the details, I do remember thinking he was playing pretty much the same set he was playing earlier that week. I wasn't very familiar with his work at the time, but between Albert and B.B. King I developed a fondness for the masters of the blues. The roots of the Allmans' music were unmistakable.

After Albert's show, the stagehands came out and set things up for the J. GeilsBand. The J. Geils Band delivered over an hour of sparkling, flashy rock 'n' roll. These guys clearly knew this was a special night. We wanted their show to go on forever but the real reason we were there that night couldn't begin until they were over. They left in a burst of rock 'n' roll guitar and harp glory, and the house lights came on again. It was the roadies turn on stage and now the excitement was only building. We had seen the Allmans so many times that we recognized most of the roadies. As they took the stage, it felt like the Allmans show had finally begun.

We got carried away with the conversation and the time passed quickly. Then the audience noticed that the roadies had left the stage; All the equipment was installed, but the light in the house was still on. Rhythmic clapping, "Let's go!" calls. and 'come on!' They filled the air with energy and anticipation. When a song ended on the PA, the noise from the crowd would peak and then another song would begin. . . now he said it: "Come on! It's time to start the show!

Then, halfway through the song, the lights in the house went out. Friends I'm sure you know the feeling; We had just witnessed two great musical performances, but now the real excitement and magic was in the air.

The noise of the crowd turned into a fit of fever. . . Shadows move across
Landscape . . . some riffs on the drums. . . then a tingling in the spine, shot from a slide guitar.. . Yes! That magical sweet sound was there again, big smiles spread across our faces. . . the Hammond B 3 sang in the dark. . . a bass scale. . . then he was silent. A lone spotlight followed Bill Graham onto the stage. Even Bill was torn between the excitement of closing his concert hall and the excitement of introducing a band he had come to love. He spoke for a minute. . . 'and now the Allman Brothers Band!' and the energy of 'Statesboro Blues' lifted us from our seats. The stage was floodlit, the light show swirled and pulsed behind Butch and Jaimoe, and we were on our feet clapping and cheering! No gathering of converted sinners had more than this crowd, we wanted to make our last show at the Fillmore a night to remember.

Duane's solos were impressive. Dickeys were shorter but always intriguing and moving. As the night progressed and the songs lengthened, Dickey made it clear that he was worthy of sharing the title "lead guitarist" with Duane. The pace slowed with "Stormy Monday," a showcase for Gregg's captivating voice and soulful work on Hammond. Gregg switched to his electric piano for 'an exit', and Duane and Dickey traded searing solos that had the crowd going wild.

Dickey's solo skills shone again on the long version of 'You do not love me' as he guides the band through changes, taking the song away from its original theme and then bringing it back home. The band came together for a strong finish at the end of the licks of Duane's "Joy to The World," and all the lights went out except for a white flash that hit the spinning mirror ball, sending slivers of light dancing across the room. In the concert, Bill Graham stood in the wings on the right side of the stage and stared at the band, lost in the music. We were used to seeing Bill appear on this side of the stage for a few minutes during many Fillmore shows, but we had never seen him stand there for most of the show and look so focused the entire time. and fluent version of 'dreams.' I will never forget that otherworldly descending twelve-tone sequence that repeats itself over and over again. It seemed to go on for hours. I'll never forget the image of Duane bent over his guitar playing those magical scales, carrying me where concert goers go when they've heard the best there is to hear.

I could see the band doing a long version of 'whipping rod' which led to an even longer 'Mountain Jam'. Everyone but Butch and Jaimee left the stage halfway through 'mountain jam' for the extended drum solo. Have you ever wondered why the drummers, who seem to use up the most energy, have to work their ass off while everyone else goes out for a smoke?

At around 5 a.m., Duane stepped up to the mic and announced, "Well, we've played all our stuff. . . so let's play!' And they did. . . I had never been to a concert before or since where the main band played for hours. The light show finally stopped and this crazy mirror ball went on forever.

Even this incredible show had to come to an end at some point. We all had our second impulse at some point around 4am. and we were wide awake and dancing when it calmed down and ended between 6:30 and 7:00.

I asked Butch to remember that evening as much as possible, and one of his memories is of how he ended: "I remember when we finished playing there was no applause and the audience, all grinning , just got up and walked out." Silence". . Also, Duane walking off the stage, dragging his guitar around, shaking his head and saying, "Damn, that's like walking out of church."

And we made the archive. . . no jostling or jostling, no rush to go. I looked back over my shoulder as we neared the door; the open door that led us into broad daylight! I knew it was late (early?) and I wouldn't have been surprised if the sky had cleared, but it was past dawn. We had entered the theater before midnight in complete darkness. Echoes of what we had just seen reverberated in our minds as we scanned the buildings lit by the morning sun. I remember very clearly the feeling of walking with two feet on the sidewalk. I never knew where that expression came from until that morning outside of Fillmore East. We found our car, the smiles still on our faces, and drove home in silence.

But I never found a tape of the actual night at Fillmore East."

(Rowland Archer, The Night the Fillmore Down Closed)

Edgar Winters White Trash

Graduation night of the Fillmore East

As a parting gift from Bill Graham

Any person who worked at Fillmore East

received a plaque

1971 Conciertos @ The Fillmore East

January

09.08.1971 - Buddy Miles, Big Brother & the Holding Company & Holding Co., Sweetwater

15./16. January 1971 – Hot Tuna (Electric), Taj Mahal, Brothers

22./23. January 1971 - Dave Mason and Cass Elliot, Odetta, Livingston Taylor

Jan. 25, 1971 - James Taylor, Victoria, Notes: 2 shows. "Special Charity Events"

29./30. Januar 1971 - Spirit, Blood Rock, Cowboy, Joe's Lights

February

05./06. Februar 1971 - Steppenwolf, Ten Wheel Drive mit Genya Ravan, Luther Allison

11. Februar 1971 - Taj Mahal, Roberta Flack, Leon Thomas,

13.12.1971 - Chambers Brothers, Taj Mahal, Spencer Davis & Peter Jameson, ,

16./17. Februar 1971 - Small Faces, Savoy Brown mit Kim Simmonds, Grease Band Lights: Joe's Lights

19./20. Februar 1971 – Black Sabbath, J. Geils Band, Sir Lord Baltimore Lights: Pig

26./27. Februar 1971 - Fleetwood Mac, Van Morrison, Freeway Lights: Joe's Lights

Feb. 28, 1971 - Gordon Lightfoot, Happy and Artie Dream

march

05/06 March 1971 - Quicksilver Mess Service, Eric Burdon & War

11.12.13. March 1971 - Johnny Winter and Allman Brothers, Elvin Bishop

Mar. 18, 1971 - Astrology Now

19./20. März 1971 - Cactus, Humble Pie, Dada Lights: Pig,

21. März 1971 – Primavera para Lowenstein, George Segal, MC, Notas: Beneficio: Theo Bikel, Dick Benjamin, Jim Bouton, Betty, Comdon, Ben Gazzara, Barry Grey, Adolph Green, Buck, Henry, Tom Lehrer, Mitch Miller , Phyliss Newman, Jerry, Orbach, Tricia O'[neill, Paula Prentiss, Scott Jarvis (1776), Stiller & Meara, Robert Vaughn, Peter Yarrow

26./27. March 1971 - Richie Havens, Mark/Almond, Paul Siebel/Michael Grando, Notes: Michael Grando on Late Show only

April

01.02.03. April 1971 -Santana, Tower of Power, Rahsaan Roland Kirk & Vibration Society Lights: Joe's Lights,

4. April 1971 – Howdy Doody Revival mit Buffalo Bob Smith

05./06. April 1971 - Humble Pie, Edgar Winters White Trash, Cactus, Tin House Lights: Joe's Lights

08.09.09.10.04.1971 -Elton John, Seezug, Wishbone Ash

13.12.14.15.04.1971 -Berg, Mylon, T. Rex, Lights by Joe,

16./17. April 1971 -John Mayall, Boz Scaggs, Randall's Island, Joe's Lights,

20. April 1971 -Ten Years Later, J. Geils Band, Joe's Lights, ,

21. April 1971 -Elton John, James Taylor, Richie Havens, ,

23./24. April 1971 -Procol Harum, Winter Consort, Teegarden and Van Winkle, Joe Lights,

25. / 26. / 27. / 28. / 29. April 1971 -Grateful Dead, New Riders Of The Purple Sage Lights: Joes Lichter, ,

30. April / 1. May 1971 -Emerson Lake & Palmer, White Trash von Edgar Winter, Curved Air

May

04 / 05 May 1971 -Jethro Tull, Cowboy Lights: Schwein

07.08. May 1971 -Little, Linda Ronstadt, Manhattan Transfer, Lights: Pig,

14./15. May 1971 -Free, Mott The Hoople, Mandrill, Lights: Pig

21.20.22.23. May 1971 -Leon Russell, Taj Mahal, J. F. Murphy und Salt Lights: Joe Lights,

28./29. May 1971 -Lee Michaels, Humble Pie, Fanny, Lichter: Joes Lichter,

30. May 1971 -Laura Nyro, Spencer Davis and Peter Jameson

June

05. / 06. June 1971 -Frank Zappa und Mothers Of Invention, Hampton Grease Band, Head Over Heels

9. June 1971 -Byrds, Mckendree Springs, Eric Anderson, Elton John showed up and played a few songs after the last show.

11. / 12. June 1971 -Blood Rock, Alice Cooper, Glass Harp, Lights: Pig Lights

18. / 19. June 1971 -B.B. King, Moby Grape, Grootna, Joe's Lights,

24. June 1971 -White Trash by Johnny Winter and Edgar Winter

25. / 26. June 1971 -Allman Brothers, J. Geils Band, Albert King, Joes Lichter,

27. June 1971 -Allman Brothers, J. Geils Band, Albert King, Joe's Lights, Notas: También: Country Joe McDonald, Edgar Winter's White Trash, Mountain, Beach Boys. Ultimo espectáculo en Fillmore East

Here is a list of some historical live albums.

recorded at the Fillmore East

1968

6. April The Who–Live in Fillmore East

Two CD set recorded 6 April 1968 (released 2018 by Polydor Ltd.

"Listens familiar with the Leeds song sequence will find the hard-hitting opener, Eddie Cochran's 'Summertime Blues', along with two other tracks by the latter singer, 'C'mon Everybody' and 'My Way', a searing song Find . and drunk.” Roger Daltrey's proto-punk mockery spits venom. Moon's percussion throbs with his inimitable style: part surf, part soul, all throbbing drive. Along with these excellent covers, the album features some of the band's best songs.

I can not explainit bursts in a rough, less pleasant way, but the sand doesn't wear down its delicate core.happy catit proves conveniently unhinged;I am a boyand the ditty by John EntwistleBoris the spiderGet the loving badass of the amplified band.

sortingmy generationHere, not only her stuttering singles origins four years earlier, but the rock opera that spanned her subsequent tours and live LPs, Townshend's arena-rock ambitions push the boundaries that Fillmore East embodied. These symbols of an intimate countercultural audience seemed a less than favorable setting for heavier, louder and more flamboyant music in 1968.

This dedicated attitude extends to masterpieces as well. "A Quick One, While He's Away" sets the stage for a more complicated integration of melodies and styles into a longer piece. Hearing The Who begin to play with song structures reveals their confidence, honed through touring and reinforced by their determination to push the boundaries of length, volume and intelligence that traditionally limit what rock music can achieve. Expanding the dynamic in intensity and emotion, they prepare for the next decade's claim as the world's greatest live band.

Within a spacious half hour frommy generationAs the Fillmore East performance ends, the impending transition to the stadiums can be heard. Townshend tests how his guitar can fill instrumental gaps and tie together themes and melodies. The band and the singer demonstrate their resistance. Their upcoming US performances will leave packed concert halls and occupy echoing concrete circles. The sand is waiting!" (spectrumculture.com)

1. Juni The Fugs – Golden FilthAlive im Fillmore East

Recorded June 1, 1968 (released on LP 1970, on CD as part of the Rhino Handmade 3-CD set, Electromagnetic Steamboat 2003)

4. und 5. Oktober Sly and the Family Stone

Live im Fillmore East (released 2015)

"When Sly & the Family Stone took over Manhattan's Fillmore East for a two-night, four-set stand in October 1968, the acoustically and socially advanced band was just starting to boil. Beginning of the year,dance to the musicIt became their first chart single, a top 10 pop hit. They were releasing their third album, Life, so the repertoire was still pretty limited. As detailed in the liner notes accompanying that liner, the Epic label had intended to put together an album from these performances, but the plan was scrapped at one point.Ordinary people-- the first single fromHalt!, months away from hitting shelves, took flight and climbed to number one. This hit aired just a month after the concerts, but the band didn't audition it on stage, at least not in the way the sets are documented here. Live at the Fillmore East on 4-5 October 1968 includes a performance of all four sets. Each should be at least close to completion as they are between 40 and 65 minutes long and contain some glitches and the resolution of some technical issues. Despite playing roughly the same songs in each set, despite knowing they were recorded, the band kept changing the order of the set lists:My ladyFor example, it was placed in front and hidden towards the end, and the musicians played loosely enough to allow for some spontaneity and variable interaction. The band's vitality as they continually stomped on material from all three albums comes as no surprise. Material from the first album anddancing with musicThey are played with the same conviction. Sly's demeanor is fervent and collected throughout. The whole gang is in overdrive. What's really telling is that every set contained a version of Sister Rosie Stoneit will not take long, a song popularized by Aretha Franklin and the Ray Bryant combo seven years earlier. It hits every time, especially on the early set of the first night." (All Music)

1969

11. Februar 1969 Grateful Dead Live im Fillmore East

A double CD of the early and late shows dated February 11, 1969 as the opening act for Janis Joplin's New York debut as a solo star. Published in Grateful Dead/Aristain in October 1997.

Jul. 12, 1969 - John Mayall - the turning point

When John Mayall put together another band after the Bluesbreakers broke up in May 1969, he settled on a band that played "low volume music" or music without "heavy guitar and drums". The album featured Mayall on vocals, harmonica, slide guitar and Fender Telecaster, tambourine and mouth drums, Jon Mark on acoustic guitar, Steve Thompson on bass and Johnny Almondon tenorandal on saxes, flutes and mouth drums.

November 28/29/30 Jefferson's plane blesses his pointy little head

Bless Its Pointed Little Head is a Jefferson Airplane live album recorded in the fall of 1968 at the Fillmore East and West and released in 1969. Four of the songs on the album were recorded at the Fillmore East. The performances emphasized their vocal harmonies and revealed a heavier rock group. The guitar and bass lines were deeper in their construction, revealing complex instrumentals.

The Nice - Live at the Fillmore East 19-20 December 1969

Tony Stratton-Smith, manager of The Nice, wisely recorded much of their work live during this time and a surprisingly high percentage has turned out to be worth listening to, including these tapes from two shows at the Fillmore East on December 19th and January September 1969 (shows where they were co-billed with the Byrds, sons of Champlin and Dion). And what makes the tapes even more amazing is that these performances come from a time after Keith Emerson made the decision to leave the group, but there's no sign of less than 100 percent effort or total cohesion in what they do hire. These tapes also show how far the group has come since their spring 1969 US tour, while the best work from their earlier Fillmore shows (released on the group's third album, Immediate) shows a band beginning to take conventional song structures seriously to redefine. In this series of performances, the Nice open up much of their material even more, scraping it far enough to musically tank it, and on occasion they come close. Not everything they try works: The longer rendition of Bob Dylan's "She Belongs to Me" included here was probably a great rendition to watch, but it doesn't hold up as well as the more concise rendition they featured on the spring show from 1969 and is ultimately a bit of a disappointment compared to this earlier version. This song is also worth listening to.

1970

February 27th and 28th Ten Years Later: Live at the Fillmore East

Recorded at the venerable New York venue during a weekend of dates in February 1970, this superbly recorded double CD (the original engineer was Eddie Kramer, best known for his work with Hendrix) ensnares the British boogie quartet at the peak of their powers. These shows took place between their triumphant Woodstock set and the release of Cricklewood Green, widely regarded as the band's finest work. You'll find the group nurtured by years of toil on the road and obviously excited to face an appreciative New York Starting with a Bill Graham-patented individual member introduction, the group meanders through the ominous riff of "Love Like a Man," mixing extended and rocking versions of blues standards like Sonny Boy Williamson's classicshelp mejGood morning school girl, just like Willie Dixontablespoon-- with two Chuck Berry covers and a few nuggets from his own catalogue, Ten Years After blows through this show with tremendous energy and infectious enthusiasm. Alvin Lee and his flying fingers remain firmly in the limelight, but the remastered sound is so pristine that you can finally appreciate the contributions of the other usually overlooked members of TYA: Chick Churchill on keyboards and bass in particular, fluidly composed by Leo Lyons with Rick. Lee's jazz drumming. In traffic jams, songs go into overdrive, the longest pushesI can't help but cry sometimes20 to 20 minutes and, thanks to Lee's flair for flashy dynamics, surprisingly remains captivating most of the time while liberally citing Hendrix and Cream licks. Drummer Lee's lengthy liner notes describe the scene not only in terms of Ten Years After, but also in terms of the musical camaraderie of the time. Some of it is almost embarrassingly dated: "The Hobbit," full of drum solos, is particularly to blame, as is the often endless guitar gymnastics, and Chuck Berry's numbers could have been a crowd favorite live, but they don't add much. to the originals. Still, this is Ten Years After's finest concert album (of the three in the catalogue) and shows just how alive these boogie boys can be when inspired by the crowd and each other on a perfect night." (All Music)

March 27 & 28 - Joe Cocker Mad Dogs & Englishmen

Mad Dogs & Englishmen: The Complete Fillmore East Concerts, documenting the complete four shows (on six CDs) performed on Friday March 27 and Saturday March 28, 1970 at the Fillmore East in New York City.

Vincent Canby's March 1971 review in The New York Times described it as "a touring record featuring Cocker, the extraordinarily talented young British blues singer, and the largely American entourage (band, choir, friends, wives, children, groupies and a single dog named Canina ) who accompanied him. The entire group consisted of almost 40 people, most of whom were on stage during most of the performances, causing what appeared to be an extremely happy and friendly mayhem.

13.–14.2.Grateful Dead – Dick’s Picks Band 4

"A three-disc set with bonus tracks from both nights, February 13th and 14th, 1970, 'tDead's most memorable performance at the Fillmore East and the shows that have consistently been ranked in the top 5 live shows of all time by Deadhead.r'. The 30-minute "Dark Star" is considered one of the best renditions of this legendary improv theme of Dead. Released March 1996 by Grateful Dead Records." (Wikipedia)

June 2nd, 3rd, 4th, 5th, 6th and 7th

Crosby Stills Nash & Young, Taylor & Reeves

4-way street. A double album partially recorded at this location over six nights in early June 1970 and released on Atlantic in April 1971. 4-way streetRecorded in June and July 1970 during the group's tour in support of their massive second album Déjà Vu, it recorded at New York's Fillmore East, The Forum in Los Angeles and the Chicago Auditorium.The album topped the Billboard 200 albums chart for a week beginning May 15, 1971, edging out Janis Joplin's Pearl before being knocked off the top spot by the Rolling Stones' Sticky Fingers. In all, 4 Way Street spent 13 weeks in the top 10. The 1992 CD reissue added an additional 35 minutes to the set. To date, 4 Way Street has sold over four million copies in the United States alone.

October 23 - 24 Derek & the Dominos – Live at the Fillmore

The track listing includes eight songs from Derek and the Dominos (six from the album Layla and Other Assorted Love Songs, plus "Roll It Over" and "Got to Get Better in a Little While"), three songs from Derek's first solo album Clapton (on the the other three band members had played) and a song by two bands Clapton had previously played in (Blind Faith's "Presence of The Lord"; and another arrangement of the Robert Johnson song, "Crossroads", which Clapton had previously done with Creme covered).

"Recording live at Fillmore East in New York City on October 23-24, 1970, Derek And The Dominos captures the band in all their sometimes riotous glory and sometimes that laid-back southern soul that Messrs. Radle, Whitlock and Gordon brought the band." (udiscovere.com)

November 7th Flying Burrito Brothers

Flying Burrito Brothers: Authorized Smuggling: Fillmore East, N.Y., N.Y. Late Show, November 7, 1970 (CD, February 2011, Hip-O Select)

"The Fillmore East show captured in this authorized bootleg took place on November 7, 1970, shortly after Gram Parsons and Chris Ethridge left the Flying Burrito Brothers and were replaced by Rick Roberts and Bernie Leadon. HeadBurrito brother Chris Hillman completed this line-up with Byrd's drummer Michael Clarke and legendary steel guitarist Sneaky Pete Kleinow, all meaning that while this line-up lacked the star power of Parsons while having considerable musical impact, the band sounds confident about what Far from suggesting it's a constant-line-up group, there's Flux — the instrumental "Dixie Breakdown" and a pleasant "Willie and the Hand Jive" — and Roberts' original "Feel Good Music," with the setlist made up entirely Burrito's first two albums hail and the appropriate up-tempo material slightly emphasizes a band whose playing is motorcycle-driven, and that's the real deal. The hallmark of this achievement: its sheer speed. The Burrito Brothers play like they have something to prove, plucking the strings harder on the rockers and never letting the ballads down. For those who love the 1972 live LP Last of the Red Hot Burritos, this is arguably a little better; for anyone who tends to hate post-Parsons burritos, it's a revelation." (All Music site)

Jimi Hendrix - Gypsy Band (1970)

"gypsy bandIt was the only live recording authorized by Jimi Hendrix before his death. It was recorded and released to relieve Hendrix of a contractual obligation that had been on his mind for a few years. He was joined by old friends Billy Coxon on bass and Buddy Miles on drums since The Experience disbanded in June 1969 after a show in Denver. This rhythm section was very different from the experience. Buddy Miles was a funky, down-to-earth drummer in direct contrast to Mitch Mitchell's busy, jazzy leanings. Hair! This new environment took Hendrix to new creative heights. Along with this new rhythm section, Hendrix used these shows as an opportunity to showcase much of the new material he had been working on. The music was a perfect mix of rock, funk and R&B and tunes likemessage to lovejpower to loveit also showed a new lyrical direction. Though he could be an unpredictable live performer, Hendrix was on hand for these shows, perhaps his finest performances. His game was focused and precise. In fact, Hendrix remained motionless for most of the set, far removed from the onstage antics that helped establish his reputation as a performer. Equipment issues had plagued him on previous live shows as well, but everything was perfect for the Fillmore shows. His absolute mastery of guitar and effects is all the more amazing considering this was the first time he used the Fuzz Face, wah-wah pedal, Univibe and Octavia pedals together on stage. The guitar tones he getswho knowsand Power to Love are powerful and intense, but nowhere is their absolute control more evident than inmachine gun, where Hendrix conjures bombs, cannons and other sounds of war out of his guitar, all in the context of a coherent musical statement. he alone in theremachine gunCompletely rewriting the book on what a man can do on an electric guitar, it's arguably the most innovative and devastating guitar solo of all time. These live versions ofmessage to lovejpower to loveThey are much better than the Puzzle Studio versions released posthumously. Compositions by TwoBuddy Miles are also included, but the show is Jimia-owned throughout. Band of Gypsy is not only an important part of the Hendrix legacy, it's one of the greatest live albums of all time." (All Music)

1971

13. Februar Taj Mahal – The Real Thing

"Taj Mahal fuhr fortGiant Step/De Ole people at home(1969) with another double LP concert set, the title of which pretty much sums up the contents.The real thing(1971) is from a series of shows held at the Fillmore East in New York City in mid-February, where he, Spencer Davis, the Chambers Brothers and Roberta Flack, among others, shared the bill. a brass section consisting of Joseph Daley (tuba/horn/trombone), Bob Stewart (horn) and two former members of the Charles Mingus Band Earl McIntyre (horn) and Howard Johnson (horn). While the generally intimate nature of the performances sometimes dominates, this is certainly not the case with most arrangements. the opener,Angel-Blues, is a solo with Mahal accompanying himself on the banjo.It ain't Gwine whistling Dixie (Any Mo')lengthens considerably from the form found ingiant step(1968) as it spans almost nine minutes, leaving plenty of room for interaction and featuring an energetic five-piece interlude by Mahal. Besides providing an overview of their back catalogue,The real thingcontains some new compositions. The entire ensemble practices funkysweet mama janisseand the rural touch of the instrumentalTom und Sally Drakeit is easily complemented by a unique tuba, presumably by Johnson. The Dream of John EstesDiving duck bluesWith probably the most successful integration of brass, a driving full-throttle beat and soulful playing." (All Music)

12 & 13 March The Allman Brothers Band - En Fillmore East

ABB's groundbreaking double album, recorded 12-13 March 1971. Producer Tom Dowd edited some of the performances on the released tracks, showing the group's superb instrumental interplay.

March 26-29 Dead Count

(self-titled album Aka Skull & Roses)

Grateful Dead: Grateful Dead aka Skull And Roses. A live double album of which 7 of the 11 tracks were recorded at the Fillmore East during their March 26-29, 1971 performance when they were supported by New Riders Of The Purple Sage. Released by Warner Bros. in October 1971. The Grateful Dead is an album by the rock band The Grateful Dead. It was released on Warner Bros. Records in October 1971 and is their second live double album. Although released untitled, it is commonly known by the names Skull and Roses (due to its iconic cover art) and Skull Fuck (the name the band originally wanted to give the album, which was rejected by the record company). It was the group's first album to be certified Gold by the RIAA. When the band submitted "Skull Fuck" (a contemporary euphemism for "blow your mind") as the album title, it was rejected by the record company. Eventually an agreement was reached that the album would be released without the title appearing anywhere on the record labels or on the cover. Although the band has titled the album by that title and has long been known to fans (through interviews with band members, Deadheadnetwork, and other outlets), the alternative, descriptive title "Skull & Roses" evolved between distributors, music buyers, and critics. as a graphic incipit from the cover.

April 4th Buffalo Bob Smith (creator of Howdy Doody)

Buffalo Bob Smith – Live in Bill Grahams Fillmore East

“Producer Burt Dubrow has wrapped Buffalo Bob and Howdy for a touring show. Popular enough to warrant a live recording, Buffalo Bob Smith Live at Bill Graham's Fillmore East January 29, 1971 described the album as an "outstanding live performance" of family show material, it also "snakes with [Bob's] unique rendition of 'Raindrops Keep Fallin' on My Head'". (thjkoc.net)

May 29th and 30th Humble Pie

Humble Pie - Performance Rockin' the Fillmore (1971) Performance Rockin' The Fillmore The Complete Recordings, a four-disc set featuring the early and late shows on 5/28/71 and 5/29/71 (released by Omnivore Recordings 2013). )

"Finally, on 1971's 'Performance: Rockin' the Fillmore,' Humble Pie captured lightning in a bottle. Recorded over four shows and two nights at the legendary Fillmore East, home to some of the most celebrated concert recordings ever made. , from Aretha to The Allmans, the live double album, saw the band blasting the ceiling of the grand ol' venue.Marriott is a diminutive powerhouse of a blues-rock singer, and his thundering riffs perfectly complemented the more fluid and precise approach of Frampton, Ridley and Shirley's rhythm section held the foundation from the bottom and drove it home with all the nuances of a Molotov cocktail." (ultimateclassicrock.com)

October 3 Johnny Winter and

“Johnny Winter's set, recorded at the Fillmore East in 1970 with sideman Rick Derringer, is a wild mix of guitar blues and blues-rock originals. The overall sound quality is excellent, especially for the highs. Bass and drums bass tones are a bit thin, but vocals and guitars sound loud and clear... Winters and Derringer's guitar attack is worth the price alone, and with a frenetic version of Winter's "Mean Town Blues" running in 18 minutes , the team doesn't want long training sessions." (Pop Matters magazine)

30. From Laura Nyro

Open your wings and fly:

Live im Fillmore East (released 2004)

Bill Graham hired Laura Nyro to headline one of his final shows at his legendary New York City venue, the Fillmore East Charme, in the spring of 1971. Nyro exuded charisma no matter what he sang.

Listen on Vimeo

Frank Zappa's Mothers - Fillmore East June 1971 (Released 1971)

"Fillmore East - June 1971 captures the Mothers of Invention at the height of their second incarnation. The band had gone through changes since forming in 1965, and when the original version fell apart, Frank Zappa assembled a new line-up, and often more chaotic, in 1970. This group included Mark Volman and Howard Kaylan (aka Flo and Eddie) from the Turtles, who had recently disbanded.

Recorded live over two nights at the Fillmore East, just two months before its August 1971 release, "Fillmore East - June 1971" is more of a rock 'n' roll comedy stage routine than a concert LP. Things start out pretty simple withThe little house I lived inbut he soon dives headfirst into the weird side of the pool. It's a mental slapstick with music likethe mud sharktells the infamous tale of Vanilla Fudge members, Led Zeppelin, an avid groupie, and a water creature.

Later, the over-the-top rock 'n' roll doo-wop-meets-gospel brunch byWhat girl do you think we are?he is both sincere and sarcastic.

Zappa leads the band through a sort of mini-opera throughout the album, armed with background music and plenty of jokes. This juxtaposition of the musically complicated and the lyrically youthful comes into its ownBwana Dik: 'I've got what you need / I'm more gifted than your wildest Clearasil-splattered fantasiesKaylan sings with typical Zappa complexity.

"He's almost too innocent and stupid to be dirty," Kaylan told Goldmine in 2002. " before. We're just kittens up there, so hearing us do some of those things is obviously a joke. It took some of the edge off and even made Zappa's caustic humor seem acceptable, not just to the people who make us up in the audience knew it, but also for those who didn't know it... We weren't threatening yet.

Flo and Eddie perform a play called Haunting Contemporary Pop Stars, which slowly turns to the dirty exploitation of groupies ('We are not groupies! Roger Daltrey never touched me!'). By the end of the song, general chaos erupts like a twisted version of the Teenage Mutant Ninja Turtles.Happy together.

Although not part of Fillmore East - June 1971, one of the concert encores included guest appearances by John Lennon and Yoko Ono. This performance later appeared as part of Lennon's performance.Sometime in New York CityAlbum titled 'Jam live"We spent about four days with John to put everything together for that night at the Fillmore," Volman recalled. "When that thing came out on John's album, Frank was very upset. John and his buddies had come in and re-recorded the songs... They hadn't re-recorded them, but they got the essence of those songs, the vocal parts that were essential to the music and the movements. It caused a real riff between John and Frank.

Fillmore East, June 1971, was packaged in a plain white sleeve with a handwritten title, giving it the appearance of being pirated. After all these years, it's still an exhilarating, carefree, and musically mesmerizing romp that presents this edition of Mothers in all its gory glory." (ultimateclassicrock.com)

“Many concert organizers remain inconspicuous. Their job is mostly a backstage job, dealing with the mundane: contracts and equipment, hours and security, publicity and accounting. But these tasks are essential to building any music scene. live.

Bill Graham, the promoter who started in hippie-era San Francisco, opened the Fillmore East in New York City in 1968 and went on to host concerts around the world, was by no means humble. He became America's best-known rock promoter from the 1960s through the 1990s.

In the late 1980s, when Graham hosted the Grateful Dead's annual New Year's Eve concerts at the arena, he took center stage at midnight in costume. As a young man he wanted to be an actor; get small rolesapocalypse nowjfaulty, typecast as an agent and gangster. Graham earned such outsized publicity after his death in a helicopter crash after a concert in 1991." (Jon Pareles, NY Times)

Today, the Fillmore site is an Apple Bank, with only a small plaque and mosaic pillar in the corner reminding of the site's history. Only a few years ago, a commemorative plaque was finally installed to commemorate the legendary place.

Previous location of Fillmore East

“It was Bill Graham who introduced increasingly complex productions for performances and encouraged intricate artwork for show posters. His attention to detail was unparalleled as he worked on larger events throughout his career. The shows went outside the box with unique pairings like Miles Davis and the Grateful Dead. Only someone like Bill Graham would have had the vision to put together a show like this in the 1960s, and he continued that mentality on countless shows throughout his historic career. (Live for live music)

From the New York Historical Society:

The Fillmore East Legacy

COMPREHENSIVE RESEARCH

New York Historical Society: Ausstellung Fillmore East

Q&A with Master of Light Joshua White

Facebook-Archivgruppe Fillmore East

Live at the Fillmore East & West

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