With most of the previous parts from this festival, I've made reference to a Wikipedia page listing all the songs known to have been performed at the festival. Let me do that again, as I mention the missing portions:
Monterey Pop Festival set list - Wikipedia
The Blues Project started the evening show. The two songs here are the only ones listed at the Wikipedia page, but it's known they performed more. Unfortunately, the band was in the process of breaking up when this concert happened. A key member, Al Kooper, left a couple of months prior to this. (He had his own solo set at the festival.) The band collapsed shortly thereafter, though there were later reunions.
The second set was by Big Brother and the Holding Company, starring their lead singer Janis Joplin. As I mentioned previously, they were the only act to perform twice at the festival. That's because they went over very well the first time, the day before, but the band's manager didn't allow them to be filmed at that time. (The cameras were running but pointed at the ground, which at least allowed the audio to be recorded.) By the next day, the band members were convinced that getting included in the documentary about the festival would give their career a big boost. So they played a short set of just 15 minutes, compared to 23 minutes the day before, in order to get enough film footage. It turned out to be a very smart career move indeed. When the "Monterey Pop" movie documentary came out in 1968, Joplin's performance in it helped make her a big star.
The next set is quite a mystery - even the band's name: "the Group with No Name." This band was led by Cyrus Faryar, a singer-songwriter who had previously been in the Modern Jazz Quartet. But no songs from this set have been made public, and none or the names of any of the songs performed are known, nor is the number of songs. It seems they were not well received. A Newsweek review of the festival said they "were terrible and may well not last long enough to get a name." That turned out to be accurate, because the band broke up before they released any music.
After that came Buffalo Springfield. I'm especially excited about this, because up until 2024, only five of the songs they performed were publicly available. But that year, there was a "record store day" release of their entire set here. That release included three songs that were previously unreleased, and even unbootlegged: "Hung Upside Down," "Nobody's Fool," and "Pretty Girl Why."
Here's a review about the Buffalo Springfield set in Rolling Stone Magazine in 2024:
First-Ever Buffalo Springfield Live Album Released on Record Store Day
This performance is unusual in that key member Neil Young quit the band about a week before the festival, only to rejoin shortly afterwards. (He quit and rejoined multiple times.) Young was temporarily replaced by two people: lead guitarist Doug Hastings and rhythm guitarist and vocalist David Crosby. Crosby's involvement was controversial, because he was still a member of the Byrds at the time, and in fact he performed in their set at the festival as well.
Here's a quote about the controversy by Roger McGuinn, the leader of the Byrds: "I didn't know David was going to sit in with Buffalo Springfield, and that wasn't really a big deal. What was happening was that we were not happy with each other, like a marriage breaking up. He was really upset because we didn’t do his song 'Triad.' That was the big bone. He wanted to be the lead singer of the Byrds, you know, the head Byrd. That wasn't happening. To his satisfaction, we were sharing vocals equally. At Monterey I was trying to be a trooper, like Bobby Darin taught me, and try and soldier on and do it."
I don't know how much Crosby's sitting in with Buffalo Springfield impacted his role with the Byrds, if at all. But he was kicked out of the band a few months later. And his involvement with Buffalo Springfield was key to his future music career, because he would later be a member of Crosby, Stills, Nash and Young with two members of Buffalo Springfield: Stephen Stills and Neil Young.
The next act up was the Who. Jimi Hendrix moved to Britain in late 1966 and soon found fame there. One he was living there, he and the Who had seen each other perform. They were both impressed with and intimidated by each other. Neither wanted to be upstaged by the other at this festival, especially since both had made destroying their instruments part of their acts. They decided to toss a coin. The Who won the right to play first.
Adding to the competition between the two acts, backstage before their sets, Hendrix played his guitar while staring at the Who's lead guitarist Pete Townshend, trying to impress him with his skills. Townshend said later, "It was just Jimi on a chair playing at me. Playing at me like 'Don't fuck with me, you little shit.'"
Here's how the Wikipedia entry about the festival describes the finale to the Who's set: "At the end of their frenetic performance of 'My Generation,' the audience was stunned as guitarist Pete Townshend smashed his guitar and slammed the neck against the amps and speakers. Smoke bombs exploded behind the amps and frightened concert staff rushed onstage to retrieve expensive microphones. At the end of the mayhem, drummer Keith Moon kicked over his drum kit as the band exited the stage."
The Who's set was relatively short, only 25 minutes, when they were allowed to play up to 40 minutes. So their set here is complete. But their performance was very impactful, especially due to the destruction of their instruments. They were a British band, and hadn't had any hits in the U.S. yet, except for "Happy Jack" in 1966, though there already was a lot of buzz about them. Their performance at the festival would raise their profile in the U.S., helping them to have two more U.S. hits later that year, "Pictures of Lily" and "I Can See for Miles."
Eric Burdon of the Animals later commented about the Who's performance: "The American audience went: 'What the hell is this?!' The climax of the show was just like a terrorist attack, with the bombs and the smoke. It was just shocking!"
After the Who came the Grateful Dead. The band would go on to play concerts for decades, becoming one of the most popular touring bands in the U.S. But keep in mind this was very early in their career, with their debut album ("The Grateful Dead")coming out only three months prior to this festival. In a Newsweek review of the festival, music critic Michael Lydon commented: "The Grateful Dead were beautiful. They did at top volume what Shankar had done softly. They played pure music, some of the best music of the concert. I have never heard anything in music that could be said to be qualitatively better than the performance of the Dead, Sunday night.
The next act was the Jimi Hendrix Experience. This was possibly the most musically historic set of the entire festival. As an aside, Hendrix was not well known in the U.S. at the time of the festival. The main reason why he appeared at the festival, and especially at a pivotal spot near the end of the final night, was because Paul McCartney of the Beatles was a member of the board of governors for the festival, and he absolutely insisted that Hendrix had to perform there. The Wikipedia entry on the festival has a good summary of what happened during Hendrix's set, so I'll quote that here:
"Brian Jones of the Rolling Stones introduced [Hendrix]. His use of extremely high volumes, the feedback this produced, and the combination of the two along with his dive-bombing use of the vibrato bar on his guitar, produced sounds that, with the exception of the British in attendance, none of the audience had ever heard before. This, along with his look, his clothing, and his erotic antics onstage, had an enormous impact on the audience. To take things further, aware of the Who's planned explosive finale, he had asked around for a can of lighter fluid, which he'd placed behind one of his amplifier stacks before beginning his set. He ended his Monterey performance with an unpredictable version of 'Wild Thing,' which he capped by kneeling over his guitar, pouring lighter fluid over it, setting it on fire, and then smashing it onto the stage seven times before throwing its remains into the audience. This performance put Hendrix on the map and generated an enormous amount of attention in the music press and newspapers alike."
Actor Dennis Hopper had this to say: "Hendrix was certainly a great guitar player. He became part of the guitar, it was an extension of his, ah, his feelings and his sex and everything. He was unmatched in that."
And music critic Robert Christgau wrote this in The Village Voice decades later: "Music was a given for a Hendrix stuck with topping the Who's guitar-smashing tour de force. It's great sport to watch this outrageous scene-stealer wiggle his tongue, pick with his teeth, and set his axe on fire, but the showboating does distract from the history made that night - the dawning of an instrumental technique so effortlessly fecund and febrile that rock has yet to equal it, though hundreds of metal bands have gotten rich trying."
The final act of the evening, and thus the entire festival, was the Mamas and the Papas. They had had many big hits of their own by this time. But the band's main songwriter John Phillips had recently wrote a single meant to promote the festival, "San Francisco [Be Sure to Wear Flowers in Your Hair]." Rather than had his own band play it, he gave the song to Scott McKenzie, who was having a huge hit with it right when the festival was happening (as I detailed in the write-up in the first part of this festival). McKenzie wasn't just a random singer though. He and Phillips were friends since childhood, and played in different bands together. When Phillips created the Mamas and the Papas, he invited McKenzie to join, but McKenzie turned down the offer, wanting to try a solo career instead. In any case, towards the end of this set, McKenzie joined the band and sang his hit song with the Mamas and the Papas backing him.
Indian sitar player Ravi Shankar had this to say: "The group who really made me feel good, I can't tell you how nice, was the Mamas and the Papas. There was melody, there were lyrical moments, and beautiful - and they looked so good together." (As an aside, he enjoyed many of the other acts in the festival, but hated the destruction of instruments by the Who and Hendrix.)
Now, this is going to be an extra long write-up, because before I finish with this festival, I want to write a little bit about how it came to be in the first place. I'm putting that explanation here because it turns out the main instigators of the festival were actually the members of the Mamas and the Papas, so I think it's fitting to put this explanation after talking about their set. The festival came together rather quickly, in just a few months, but during that time the band members worked tirelessly on it, basically putting the band on hold for a while to do so.
The band put on a pretty good performance despite being too busy organizing the festival to rehearse much beforehand. But in retrospect, the fact the band spent so much time organizing the festival was probably a sign that they had grown tired of being in a band together. Phillips remembered as the apex of the band's career, saying, "There would never be anything quite like it again." The band put out a new album in October 1967. But after that, they decided to take long vacations to "get the muse going again," according to Phillips. But instead, the band fought during their vacation time, resulting in an announcement that they had broken up. They did manage to reunite for another album in 1968, only to break up again.
The festival was originally conceived as a money-making event. But the people involved didn't have the money to pay for star acts. So the organizers changed the idea to a benefit concert (although first class transportation was paid for all the acts). The profits from sales of albums drawn from the festival still help fund charities decades later, especially due to steady profits from the hit "Monterey Pop" movie documentary. Ravi Shankar was the only act to be paid, because he signed a contract early on, before it was changed to a benefit concert.
The festival had a very unusual board of governors to help organize it: John Phillips, Donovan, Mick Jagger, Paul McCartney, Roger McGuinn, Johnny Rivers, Smokey Robinson, Paul Simon, Brian Wilson, Lou Adler, Terry Melcher, Andrew Loog Oldham, and Alan Pariser. All the next except the last four were famous musicians at the time. The last four were successful music producers or managers. Some, like Phillips and Simon, were very involved, while others like Smokey Robinson basically just gave their name to the effort.
By the way, one of the last things I want to mention about this festival is all the bands that didn't play. Here are some names, plus the reasons why they didn't participate in paranetheses: the Beach Boys (internal squabbles), Donovan (couldn't get a U.S. work visa due to a drug charge), the Kinks (couldn't get a U.S. work visa due to being banned due to a union dispute), the Lovin' Spoonful (fighting a drug charge, plus internal squabbles), and Dionne Warwick (cancelled right before the festival because she had a schedule conflict). Kaleidoscope (the U.S. band, not the British one) did play at the festival, but only outside, for the crowd who didn't have tickets to get inside.
There were still more acts that were asked but declined. Producer Lou Adler later said, "There weren't a lot of tours [at the time]. We're still talking 1967. Not a lot of acts [were] working all the time. The San Francisco acts [were] playing around San Francisco. The big acts couldn't get visas to get in. The Motown acts were working, the blues acts were working, but the acts that we went after, they had time even though we had a short window [to get them]. ... Everyone jumped on very quickly. We tried for the Impressions. We got some no's, from some of the Motown acts, and Chuck Berry passed."
In my recent write-up about the 1969 Toronto Rock and Roll Revival Festival, I mentioned that legendary 1950s star Chuck Berry was notoriously cheap. This is another good example of that. John Phillips tried to invite Berry. "I told him on the phone, 'Chuck, it's for charity,' and he said to me, 'Chuck Berry has only one charity and that's Chuck Berry. $2,000.' We couldn't make an exception."
Anyway, that's the festival. I hope you enjoy. Personally, if I could get in a time machine and see just one rock festival, I think it would be this one, even over Woodstock in 1969. Actually, the people who created the Woodstock festival came up with the idea immediately after watching the "Monterey Pop" documentary movie in 1968. Like many others, they wanted to repeat the success of Monterey, but make a lot of money from it instead of doing it as a benefit concert.
Here's an interesting quote from Chris Hillman of the Byrds, contrasting the two festivals. "I didn't do Woodstock, and I remember Gram Parsons and I were sharing a house in the San Fernando Valley, and Woodstock was on the news. The situation there. We were laughing, and I said, 'That's no Monterey.' And it wasn't! There was a sense of commaraderie at Monterey."
This album is three hours and 35 minutes long.
01 talk (Tommy Smothers)
02 talk (Paul Simon)
03 The Flute Thing [Instrumental] (Blues Project)
04 talk (Blues Project)
05 Wake Me, Shake Me (Blues Project)
06 talk (Tommy Smothers)
07 Combination of the Two (Big Brother & the Holding Company)
08 Harry (Big Brother & the Holding Company)
09 Ball and Chain (Big Brother & the Holding Company)
10 talk (Peter Tork)
11 For What It's Worth (Buffalo Springfield)
12 Nowadays Clancy Can't Even Sing (Buffalo Springfield)
13 talk (Buffalo Springfield)
14 Hung Upside Down (Buffalo Springfield)
15 talk (Buffalo Springfield)
16 A Child's Claim to Fame (Buffalo Springfield)
17 talk (Buffalo Springfield)
18 Nobody's Fool (Buffalo Springfield)
19 talk (Buffalo Springfield)
20 Pretty Girl Why (Buffalo Springfield)
21 talk (Buffalo Springfield)
22 Rock and Roll Woman (Buffalo Springfield)
23 Bluebird (Buffalo Springfield)
24 talk (Eric Burdon)
25 Substitute (Who)
26 talk (Who)
27 Summertime Blues (Who)
28 talk (Who)
29 Pictures of Lily (Who)
30 talk (Who)
31 A Quick One while He's Away (Who)
32 talk (Who)
33 Happy Jack (Who)
34 talk (Who)
35 My Generation (Who)
36 talk (Bill Graham)
37 talk (Bill Graham)
38 Viola Lee Blues (Grateful Dead)
39 talk by emcee (Grateful Dead)
40 talk (Grateful Dead)
41 Cold Rain and Snow (Grateful Dead)
42 talk (Jimi Hendrix)
43 Alligator (Grateful Dead)
44 Caution [Do Not Stop on Tracks] (Grateful Dead)
45 talk (Bill Graham)
46 talk (emcee)
47 talk (Brian Jones)
48 Killing Floor (Jimi Hendrix)
49 talk (Jimi Hendrix)
50 Foxy Lady (Jimi Hendrix)
51 talk (Jimi Hendrix)
52 Like a Rolling Stone (Jimi Hendrix)
53 talk (Jimi Hendrix)
54 Rock Me Baby (Jimi Hendrix)
55 talk (Jimi Hendrix)
56 Hey Joe (Jimi Hendrix)
57 talk (Jimi Hendrix)
58 Can You See Me (Jimi Hendrix)
59 talk (Jimi Hendrix)
60 The Wind Cries Mary (Jimi Hendrix)
61 talk (Jimi Hendrix)
62 Purple Haze (Jimi Hendrix)
63 talk (Jimi Hendrix)
64 Wild Thing (Jimi Hendrix)
65 talk (Paul Simon)
66 Straight Shooter (Mamas & the Papas)
67 talk (Mamas & the Papas)
68 Got a Feelin' (Mamas & the Papas)
69 talk (Mamas & the Papas)
70 California Dreamin' (Mamas & the Papas)
71 talk (Mamas & the Papas)
72 Spanish Harlem (Mamas & the Papas)
73 Somebody Groovy (Mamas & the Papas)
74 talk (Mamas & the Papas)
75 I Call Your Name (Mamas & the Papas)
76 talk (Mamas & the Papas)
77 Monday, Monday (Mamas & the Papas)
78 talk (Mamas & the Papas)
79 San Francisco [Be Sure to Wear Flowers in Your Hair] (Mamas & the Papas & Scott McKenzie)
80 talk (Mamas & the Papas)
81 Dancing in the Street (Mamas & the Papas)
https://pixeldrain.com/u/8vU9t776
alternate:
https://bestfile.io/en/3WanaF2nlZaXyl8/file
Like most of the cover art I've made for this festival, I had too many good options to choose from, so I broke the image into four smaller ones. From top left clockwise: David Crosby (with hat), Richie Furray (with glasses) and Stephen Stills of Buffalo Springfield, Roger Daltrey and Pete Townshend (smashing his guitar) of the Who, the Mamas and the Papas, and Jimi Hendrix.