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| Country Joe & The Fish headlined a Benefit concert in the tiny town of Canyon on July 16, 1967 |
This blog was the province of Ross Hannan, a friend, co-conspirator and inspirational scholar of 1960s rock and beyond. Ross died on November 9, 2024, and his departure is mourned by all who knew him. I had planned this post anyway, and it seems a fitting send off. Here's to you Ross--gimme an F, wherever you may be.
Berkeley and East Bay Concerts, July-December 1967
At
the beginning of 1966, concerts at the Fillmore Auditorium and Avalon
Ballroom in San Francisco transformed live rock shows and the music
business itself. Rock concerts went from mere personal appearances by
entertainers popular with teenagers to full expressions of art, music
and culture. The live rock concert business exploded. What we understand
as a rock concert today can be traced directly to those early 1966
concerts at the Fillmore and Avalon.
The Fillmore and Avalon had concerts every weekend in 1966, but they weren't large venues. The Fillmore held about 1500, and the Avalon somewhat less. Yet the shows were generally crowded, though few of the bands had even made a record, much less scored a hit. It was a true underground rock scene, that rarest of birds in the rock sky. Not all of the fans came from just the Haight-Ashbury, either. Many came from the Peninsula, and many came from surrounding colleges and universities. Yet no school could have had more Fillmore rock fans than the University of California at Berkeley, since the school was so large, and trans-bay access to the ballrooms was so easy. The Bay Bridge, following the path of the old Key System, took patrons straight from downtown Berkeley to the city, just a quick sprint away from the Fillmore district.
With so many rock fans in the city of Berkeley, it's no surprise that there was a growing rock scene there in 1967. The City and University were already centers of protest, long hair and rebellion, anyway--why not add some loud rock and roll to the mix? Yet live rock concerts had great difficulty taking hold in Berkeley, or anywhere nearby. I have been working on a series of posts about live rock concerts in Berkeley and the East Bay in 1967. This post will focus on rock concerts in Berkeley and the East Bay from July through Decmeber 1967 (see below for links to prior posts). Anyone with any recollections, corrections, insights or clever speculation should include them in the Comments. Flashbacks actively encouraged.
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| A rearward view at the tiny stage in Provo Park in downtown Berkeley. There were free concerts in Provo Park on many Sundays in 1967. It was a common way for local bands to build an audience. |
Berkeley Rock Scene, Status Report: July 1967
Berkeley
was a prosperous college town with a flagship State University. Up until
the Beatles, however, Berkeley was the kind of place that casually
turned up its nose at rock and roll, implying that it was "kid stuff"
for unlettered teenagers. Berkeley had some folk clubs, and there was
some jazz, and both went well with protest, which was practically a
spectator sport. Some students followed the California Golden Bears
football or basketball team, but that was considered kid stuff, too.
The
biggest venue in town was the Berkeley Community Theater, a 3500 seat
auditorium on Grove Street (now Martin Luther King Jr Way), at Allston.
The Theater was the city auditorium, but it was also on the campus of
Berkeley High School. Not only was it really too large for the rock
market, but because it was on a campus, it often wasn't available on
school nights. There were some venues on the UC Campus, like Harmon Gym
or the new Pauley Ballroom, but they, too were restricted by the
institution. In any case, neither UC Berkeley nor Berkeley High needed
the money that came from booking shows, so it was tough for would-be
promoters. Similar to San Francisco, free concerts in the main city park
and on the UC Campus formed a big part of the Berkeley rock scene.
This post will be part of a series looking at the
evolution of live rock in Berkeley in 1967. Berkeley's first rock club,
the New Orleans House, had opened in January, and had been thriving throughout the year. A folk club, The
Jabberwock, at 2901 Telegraph (at Russell, across from the Co-Op
market), sometimes booked rock bands, but they were mostly folk
musicians who had bought an amplifier. The best known of those were Country Joe & The Fish, made up of former Jabberwock folkies. Since
we have covered the history of both those venues, and Joe & The Fish,
in great detail elsewhere, this chronicle will focus on the
somewhat-larger-but-not-very venues where concerts were booked. In
the East Bay, there were plenty of rock fans. The posts about 1967 rock
concerts in Berkeley and the East Bay will focus on the struggle was
finding a
venue for the type of concerts that people wanted to see, like they did
at the Fillmore or the Avalon. During the Summer of '67, the East Bay concert scene was relatively thriving. By the Fall, with San Francisco effectively dominant, the Berkeley concert scene had dimmed considerably.
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| In the Summer of '67, Berkeley's biggest event was the annual Folk Music Festival. It was held over five days at various venues from June 30 to July 4. By '67, there were plenty of rock bands |
Berkeley and East Bay Rock Concerts, July-September 1967
June 30-July 4, 1967 UC Berkeley Folk Music Festival
Though a city of over 100,000, Berkeley was still a college town, and things slowed down in the Summer. The Spring Quarter typically ended in late June, and all the UC Berkeley undergraduates cleared out. University facilities may have been far more available for events, but their were far fewer students to attend those events. Still, the end of the school year was the regular time for the biggest musical event on the annual calendar. The UC Berkeley Folk Music Festival had been a big event since 1958. It was spread out over several days around the July 4, with numerous concerts, workshops and dances in indoor and outdoor facilities.
The history of the Berkeley Folk Festival, which ran from 1958 through 1970, is sprawling and fascinating, far too much to cover in a blog post. Fortunately, the photos and documents of Festival organizer Barry Olivier have been archived by Northwestern University, and are accessible at the Berkeley Folk Music Festival site. Professor Michael Kramer has taken the lead in developing the archives into a powerful scholars resource. In order to keep my blog post to a reasonable length (at least by my standards), I will just focus on the rock concert portions of the 1967 Festival.
Many young folk enthusiasts attended the Festival every year, absorbing the wide range of artists and influences. In 1966, the headline act on the final day was a group of those folkies, by then called Jefferson Airplane. They had booked the gig against the advice of their then-manager (Matthew Katz), since it meant so much for them to play there. They snuck in one of their pals as equipment crew, too, another ex-folkie, Jerry Garcia. Thus by 1967, the Berkeley Folk Festival was in full crossover mode between rock and folk. There were a lot of folk performers, but quite a few rock bands as well.
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| The 1967 Berkeley Folk Festival included plenty of rock bands |
Full Schedule, 1967 Berkeley Folk Music Festival
>June 30, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Charles River Valley Boys/Sam Hinton/ Doc Watson/Robin Goodfellow (Friday) Kids Concert 10:30 am
> June 30, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Janis Ian,/Rev. Gary Davis/Kaleidoscope/ Tony Thomas/Charles River Valley Boys (Friday) Concert 8:00 pm
> June 30, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Crome Syrcus/Richie Havens/Cleanliness & Godliness Skiffle Band/The New Age (Friday) Dance Concert 10:30 pm
>July 1, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Cleanliness & Godliness Skiffle Band/Doc Watson/Charley Marshall/Robin Goodfellow (Saturday) Kids Concert 10:30 am
> July 1, 1967 Greek Theatre, UC Berkeley, Berkeley, CA: Doc Watson/Steve Miller Blues Band/Sam Hinton/Cleanliness & Godliness Skiffle Band/Charley Marshall/The New Age (Saturday) Freedom Concert 8:00 pm
> July 1, 1967 Lower Sproul Plaza, UC Berkeley, Berkeley, CA: James Cotton Blues Band/Kaleidoscope, Rev. Gary Davis/Charles River Valley Boys (Saturday) Street Dance 8:00 pm
> July 2, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Kaleidoscope/Charles River Valley Boys/James Cotton Blues Band/Tony Thomas/Cleanliness & Godliness Skiffle Band (Sunday) Family Concert, kids free, 2:00 pm
> July 2, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Richie Havens/Sandy & Jeannie Darlington,/ Crome Syrcus/James Cotton Blues Band (Sunday) Concert 8:00 pm
> July 2, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Red Crayola/Doc Watson/Crome Syrcus/ Tony Thomas/Cleanliness & Godliness Skiffle Band (Sunday) Dance Concert 10:30 pm
> July 3, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Kaleidoscope/Red Crayola/Crome Syrcus/James Cotton (Monday) Electric Band Session 2:00 pm
Berkeley teenager Faren Miller, in attendance, reports in her diary that the concert followed a Ralph Gleason-moderated panel discussion with Country Joe and David Lindley, among others.
> July 3, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Country Joe and The Fish/Sam Hinton/Red Crayola/Larry Dalton (Monday) Concert 8:00 pm
> July 3, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Kaleidoscope/Loading Zone, other guest bands (Monday) Dance Concert 10:00 pm
>July 4, 1967 Greek Theatre, UC Berkeley, Berkeley, CA: with all bands and artists (Tuesday) Jubilee Concert 2:00 pm
> July 4, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Country Joe and The Fish/James Cotton Blues Band/Richie Havens/Charles River Valley Boys (Tuesday) 8:00 pm
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| Pauley Ballroom is on the second floor of the Student Union building, above the Bear's Lair pub. The view is from the North end of Lower Sproul Plaza (photo 2010, but it hadn't changed much) |
Rock bands at the Berkeley Folk Festival
Pauley Ballroom, on the second floor of the new Student Union building next to Sproul Plaza, was an auditorium that held about 1000. It was the principal campus rock venue at the time, until rock concerts simply got too big for the little room. In the parlance of the time "Concert" meant there would be folding chairs, and "Dance Concert" meant the chairs would be removed. There were numerous other large and small events at the Folk Festivals, including workshops and panel discussions on things like folklore and fiddle-playing, but I am exclusively focusing on the rock band side of the Festival equation.
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| Kaleidoscope's 1967 debut on Epic Records, Side Trips. David Lindley upper left. |
The Kaleidoscope, who appeared every single day of the Folk Festival, were an absolutely legendary band from the Claremont area in Southern California. The group had formed in 1966, and had released their debut album Side Trips on Epic Records in May 1967. The band pretty much invented "World Music" before any listeners were ready to absorb it. David Lindley, later a legend with Jackson Browne and others, played lead guitar, but also harp-guitar, fiddle and banjo, and the rest of the band (save the drummer) doubled on numerous instruments like saz and electric violin.
Crome Syrcus were from Seattle, but they had moved to San Francisco around this Summer. They would release an album in 1968, and also composed music for the Joffrey Ballet.
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| James Cotton Blues Band 1967 album on Verve Folkways |
James Cotton had played harmonica for Howlin' Wolf and others, and had started recording and performing on his own. The James Cotton Blues Band was among the first to capitalize on the new touring circuit that followed for blues musicians when Folk Festivals and the Fillmore circuit started booking electric blues bands. The Cotton band had just released an album on Verve. Cotton had a horn section, and their music included soul as well as Chicago blues.
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| Steve Miller Band, spring '67 |
Steve Miller, a guitarist from Madison, WI, via Chicago, had come to Berkeley in October 1966. He had promptly sent for some band mates from Madison, since they could play blues better than any San Francisco band at the time. The Steve Miller Blues Band were soon booked regularly at the Avalon, the Fillmore, the New Orleans House in Berkeley and numerous other gigs around time. They played the blues, but in a free-flowing, jazzy way. Miller played lead guitar, sang and played harmonica, joined by Curley Cooke on guitar, Jim Peterman on organ, Tim Davis on Drums and vocals and Lonnie Turner on bass (from Berkeley's Second Coming band).
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| The Red Crayola, from Houston, TX |
The Red Crayola, featuring Mayo Thompson on guitar, were from Texas. The Red Crayola were freaks from Texas when that meant taking your life into your hand every day. Red Crayola were on International Artists Records, as were the infamous 13th Floor Elevators. The Red Crayola were not at all conventional. At the closing concert on July 4 at the 8500-capacity Greek Theatre, the band supposedly performed their Ice Block piece as their set. Thompson and bassist Steve Cunningham jammed over a dripping ice block, which acted as the percussionist. Sitting in was Berkeley guitar legend John Fahey, plugging in with someone else’s electric guitar. Fahey mostly made electronic sounds rather than picking.
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| Electric Music For The Mind And Body, by Country Joe & The Fish, was released by Vanguard Records in May, 1967 |
Country Joe & The Fish, Berkeley's first, best and most famous psychedelic rock band headlined the Berkeley Folk Festival. Their debut album Electric Music For The Mind And Body had been released on Vanguard Records in May. It was getting played regularly on the new FM underground station, KMPX (106.9), and "Not So Sweet, Martha Lorraine" was even a kind of local Top 40 hit. The Berkeley quintet were regular performers at the Fillmore and Avalon, and starting to get known nationwide. Here they were, headlining the biggest gig in their home town.
Berkeley's Cleanliness & Godliness Skiffle Band were not yet a rock band, although they would get a drummer and become one within a year. At this time the group was mostly acoustic and played skiffle music, which was the dancable version of Jug Band music, done New Orleans-style
The New Age were led by folksinger and guitarist Pat Kilroy, who had released a 1966 Elektra album called Light Of Day. He was joined by flautist Susan Graubard, who also played koto (a Japanese stringed instrument), and a conga player. They played ethereal acoustic psychedelic music. When you say "isn't guitar/flute/congas kind of typical New Age music?" you have to remember that no such genre existed. The New Age kind of invented New Age music, even if no one noticed it. They recorded an album for Warner Brothers, but Kilroy's unfortunate death from Hodgkins Lymphoma on Christmas 1967 caused it to be shelved. It was finally released in 2007.
Oakland's Loading Zone had nothing to do with folk music, really, but they were one of the most popular local rock bands in the East Bay. Loading Zone had been founded out of a Berkeley band called The Marbles, and featured guitarists Steve Dowler and Pat Shapiro, with organ and vocals from ex-jazzer Paul Fauerso. Loading Zone was the first band to prove you could mix psychedelic guitar and organ solos on top of funky R&B, and that hippies would dance to it. The Zone kicked open a door walked through by Sly & The Family Stone and later Tower Of Power. We have looked at their complex history at great length elsewhere.
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| Mad River on stage somewhere (not likely Provo Park), circa 1967 or '68 |
July 2, 1967 Provo Park, Berkeley, CA: New Delhi River Band/Mad River/Sangeet/Hastings Street Opera (Sunday) free concert
Berkeley's "Provos," and off-shoot of The Diggers, had been putting on free concerts in the city's downtown part on Sundays, complete with free food. The park was officially named Constitution Park, but the Provos persuaded everyone to call it "Provo Park." Most people in Berkeley knew exactly nothing about the Irish Republican Army, but they didn't know the real name of the park, either, so you can still google "Provo Park" and it will point you to the corner of Allston Way and Grove Street (now Martin Luther King Jr Way).
The city of Berkeley had officially sanctioned the concerts earlier in the year, since they couldn't stop them anyway. This concert took place during the Folk Festival, when some of the Park regulars like Loading Zone were booked at the Festival itself. New groups would come to Berkeley from elsewhere, and had learned that if they played for free, they had a chance to get heard and possibly develop an audience for a paying gig.
The New Delhi River Band were Palo Alto's second psychedelic blues band, and were popular in the South Bay and Santa Cruz County. They played in a style similar to the Butterfield Blues Band. Members included David Nelson and Dave Torbert, later in the New Riders Of The Purple Sage. The NDRB played numerous free concerts and benefits in the Berkeley area, but they never managed to build a paying audience in the East Bay.
Mad River had arrived from Antioch College in Yellow Springs, OH in the Spring of 1967. They immediately fell into the Berkeley scene, living on Blake Street, playing at New Orleans House and Provo Park, and releasing their own EP record. Mad River had a feedback-drenched psychedelic sound, but they didn't "jam the blues" or play modified folk songs. Their carefully directed music had much in common with what would be called progressive rock. No one in Berkeley was ready for them in 1967.
Hastings Street Opera is unknown to me. The band name can be seen on a few Berkeley listings in the Barb during July '67. Hastings Street was at the center of the Detroit African-American business district. "Hastings Street Opera" was a famous record from the late 1940s. that was sort of a spoken word description of the scene, accompanied by blues piano. There were many bands from out of town in Berkeley and San Francisco during this summer, so possibly Hastings Street Opera was from elsewhere.
Sangeet is unknown to me.
July 7, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Strawberry Window (Friday)
Strawberry Window were a four piece Oakland-based band with Jack Eskrich and Marc Rich on guitars, Steve Wilson on bass and Andy Kennedy on drums. Two tracks recorded at Golden State Recorders were released on the Big Beat CD What A Way To Come Down. The band later changed their name to Dandelion Wine.
July 8, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Mad River/Cleanliness and Godliness Skiffle Band/Hastings Street Opera (Saturday) “We Won’t Go" Rock Dance Resistance Benefit
Students who rented Pauley Ballroom had to dedicate excess profits to a charity. While I'm sure the organizers and attendees didn't want to be drafted, the charities were required in order to book the show. It didn't necessarily mean that money was handed on.
July 9, 1967 Provo Park, Berkeley Country Joe and The Fish/Notes From The Underground/Second Coming/Haymarket Riot (Sunday) free concert
The Sunday after the Folk Festival, Country Joe & The Fish headlined a free concert in Provo Park. In this case, the band was probably looking to attact attention to their new album, as they were already Berkeley's most popular homegrown band.
Notes From The Underground had been regular performers at New Orleans House during the first part of the year. They, too, had released an EP, in their case on Arhoolie Records. While it didn't really sell any copies, it gave the band a certain level of credibility. In the 60s, bands that had released records seemed like "real groups," even if the records weren't popular. Ultimately, Notes From The Underground would release an album on Vanguard in 1968.
Second Coming was another Berkeley band who were regulars at the New Orleans House. For much of the Summer of '67, Second Coming played both Sunday and Monday at the club. Second Coming featured guitarist Vic Smith and David Lieberman, with Mike Lafferty on keyboards. John Francis Gunning, formerly of Country Joe & The Fish, was on drums, with Marc Pessar on bass.
Haymarket Riot was a band of Berkeley High School students. They would evolve into the group Lazarus.
July 9, 1967 Steppenwolf, Berkeley, CA: Country Joe & The Fish/Loading Zone/New Delhi River Band/Notes From The Underground (Sunday) Provo Bus Benefit
The Steppenwolf was a coffee shop and performance venue at 2136 San Pablo Avenue, just across University Avenue (between Addison and Allston). It was South of New Orleans House (at 1505), the Freight and Salvage (at 1827) and Mandrake's (at University and 10th Street). The Steppenwolf mostly booked theater and folk music, but there were occasional rock shows there.
Country Joe & The Fish were by now far too large for the Steppenwolf, but that wouldn't have stopped the band from doing a set. The Loading Zone and Notes From The Underground could probably have filled the Steppenwolf on their own. New Delhi River Band had less of a following in the East Bay, but were making a point of playing the higher profile gigs in town. The number of bands tells us that this was a real benefit, not a money-making gig masquerading as a charity show. The benefit seems to be to facilitate the Berkeley Provos purchase of a bus (the Provos were Berkeley's equivalent of San Francisco's Diggers).
On Monday and Tuesday (July 10 and 11), Loading Zone headlined the Steppenwolf for regular paying gigs. An intriguing, but utterly unknown-to-me band--this makes them really obscure, I assure you--called UFO played July 23. Notes From The Underground played Steppenwolf on Monday, July 24. Notes From The Underground had formerly been known as "UFO" but the band booked on Sunday, July 23 was listed in the Barb as "all-girl." Research continues....
July 13, 1967 Oakland Auditorium Arena, Oakland, CA: The Doors/Chocolate Watch Band/Peter Wheat & The Breadmen/Mark and Stanley and The Fendermen (Thursday) moved to Oakland Auditorium
The rock and roll business was still linked to teenagers, which meant that Madison Avenue did not take it seriously. A Tuna company sponsored two shows at the newly-opened Oakland Coliseum Arena. Patrons got half-off of their ticket ($1.50 v $3.00) with three White Star Tuna labels as proof-of-purchase. The stated purpose was to remind teenagers of White Star Tuna so they would buy it when they were young and married--presumably about a year later.
The Grassroots were pretty much invented by producers PF Sloan and Steve Barri (who had scored with "Eve Of Destruction," "Secret Agent Man" and others). When the single "Where Were You When I Needed You" became a late '65 hit, Sloan and Barri found a San Mateo group called The Bedouins to tour around as The Grass Roots. Sloan and Barri continued to record Grass Roots songs in the studio, and the former Bedouins resented that, so most of them quit. Sloan and Barri found a new group called The 13th Floor (not the Texan group 13th Floor Elevators), and they became the Grassroots, now as just one word. The Grassroots were led by bassist Rob Grill and guitarist Creed Bratton (who decades later was in The Office). By mid-67 they had a hit with "Let's Live For Today."
The Doors were huge, meanwhile, and getting huger. Their debut album had been released on Elektra in January, and the single "Break On Through" had been a big hit. By June, "Light My Fire" was an even bigger hit. FM rock radio had literally just started, with KMPX (106.9) going live with album tracks in April of '67, but outside of that all airplay was on Top 40 AM radio, so The Doors management pointed them towards the teenage market.
In fact, both shows were moved from the 15,000-capacity Coliseum Arena to the 5.400-capacity Oakland Auditorium Arena, 6 miles to the Northwest and near downtown Oakland. There was a problem with falling ceiling tiles that required the shows be moved, but they could only be moved to the much smaller venue if ticket sales were dismal. The concerts passed without notice in any of the newspapers, as rock concerts were not considered "art" worthy of review outside of at the Fillmore.
By the time of the show, Moby Grape's name was more prominent than that of the Grassroots. Moby Grape had released their debut album in May, and Columbia had gone all in. In fact, Moby Grape was a great band, and Columbia thought they had the next Rolling Stones on their hand. The massive publicity, however, had the opposite effect, and Fillmore fans were suspicious of the hype. Playing a show for a Tuna company didn't give them any hippie cred, either, no matter how good they were (I have discussed this show and its implications in much greater detail elsewhere).
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| A flyer for the concert in Canyon, CA, on July 16, 1967 included a map. Although just a few miles from Berkeley, most Alameda County residents did not even realize the community existed. |
The tiny, unincorporated community of Canyon lies just over the hill from the Montclair District in Oakland, a few twisty miles from Skyline Boulevard. The winding Pinehurst Road is the only road to Canyon, which has about 80 homes and 300 residents. Even today, most Berkeley and Oakland residents have no idea the community even exists, nor have never been there, since you can only go there on purpose.
The community was founded as a logging town in the 1850s, which makes it very old for California. Ultimately the redwoods got logged out, but a railroad company had built an electric line from Oakland to Sacramento. What was initially the Oakland, Antioch and Eastern Railway became the Sacramento Northern, a subsidiary of the Western Pacific line. In Oakland, the rail line ran over the Oakland Hills on the approximate path of today's CA-24.
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| A 1931 route map of the Sacramento Northern Railway. Canyon at lower left. |
Instead of going through the Caldecott Tunnel, however (as CA-24 does now), the Sacremanto Northern passed Lake Temescal and turned Southeast through Montclair (currently CA-13). It then headed East, up Shepherd Canyon and then through a mile-long tunnel that ended at a place called Eastport, now on the hairpin of Pinehurst drive. Canyon, a few miles South, was named for the Redwood Canyon. There were train stops at Canyon, Moraga and St. Mary's, so the Sacramento Northern was essential in developing Contra Costa County as a commuter suburb for Oakland and San Francisco. Meanwhile, the East Bay Municipal Utility District (EBMUD) had purchased much of the land in the canyon. With the construction of the San Leandro Dam, EBMUD completed the Upper San Leandro Reservoir in 1926, intentionally flooding some existing small towns, and further isolating the community of Canyon.
Passenger service on the Sacramento Northern ended in 1941, although freight service lasted until the late '60s. The Eastport tunnel was sealed, and a landslide covered the entrance. Even as towns like Moraga exploded as suburbs, the thoroughly isolated Canyon became even more remote. By the 1960s, Canyon was a sort of hippie enclave, with an active group of avant-garde filmmakers (google "Canyon Cinematique"). There was one store in Canyon, but it had burned down. So the Berkeley bands got together to hold a benefit to rebuild the store. The flyers and ads had to include a map of the route to Canyon.
The Youngbloods were based in Cambridge, MA at this time. They spent six weeks on the West Coast during the Summer of '67, however. On this weekend, for example, they were booked at the Avalon (as they had been in June). The group had just released their second album Earth Music on RCA Records. The Youngbloods were a quartet fronted by singer (and bassist) Jesse Colin Young, guitarist (and singer) Jerry Corbitt, and Lowell "Banana" Levenger on steel guitar, banjo and piano. Their six-weeks on the West Coast were so fruitful that they moved to Marin County in September 1967, and the members remained there throughout the 20th century and beyond.
Jeff Blackburn and Sherry Snow were managed by Frank Werber of Kingston Trio fame, and they were a folk-rock duo. Often they were backed by a few rock musicians on stage. Jeff Blackburn was later in Moby Grape and then The Ducks, and he wrote "Hey Hey My My" with Neil Young. Paul Arnoldi was a folksinger from Cambridge, where he had been a member of the Charles River Valley Boys (playing bluegrass versions of Beatles hits). He was also a Berkeley graduate student.
Canyon is obscure, so we don't really know anything about the actual concert. It's still there, and East Bay residents don't know it exists. A few people I know from Moraga and Lafayette have told me that visiting Canyon is fairly odd--the locals aren't unfriendly, but they know you aren't local. I believe the Canyon General Store was rebuilt. I'm not aware of any other concerts in Canyon.
Throughout 1967, there were numerous efforts to move the Provo Park scene indoors. Berkeley High School was contiguous with the Park itself. As for the "Cafetorium," most California public schools at the time had what was called a "Multi-Purpose Room" for eating, assembly, sports and other functions. I assume that the Cafetorium was Berkeley High's version of it. The show was presented by the Berkeley Parks and Recreation Department, and admission was 50 cents. The Barb listing says "Provo Lights," and a light show signals a Fillmore-style dance concert. It also says "bring spoons," which indicates soup would be served, another feature of the outdoor Provo Park shows.
Notes From The Underground and Motor had been regulars all year at the New Orleans House, Berkeley's first rock club. Guitarist Bob Zuckerman explained the history of Motor (personal email):
My old band Motor was formed in 1966 by myself on guitar and my friend Stu Feldman on bass. Our original lead singer was Paul Wright, drummer was Ralph (can’t remember his last name right now, I’ll get it to you with some stories later - ) and Greg Turman on lead guitar. Paul left the group, and we reverted to a 4 piece. We wrote almost all of our own material, which was heavily sarcastic/humorous/political, as well as a few rock standards, blues, etc. We performed every Sunday for about two years at the so called Provo Park along with the Loading Zone, and many other groups. Stu was the guy who did the bookings (bands, times, dates). We played at all of the stop the draft week rallies, people’s park rallies, as well as local clubs. The New Orleans House was one of our regulars.July 30, 1967 Provo Park, Berkeley, CA: Loading Zone/New Delhi River Band/Lee Schipper/Anonymous Artists Of America (Sunday) free concert
Berkeley was pretty quiet for the Summer of '67. San Francisco was crowded with the Summer of Love, and there were numerous rock shows at the ballrooms and for free, so Berkeley rock fans had plenty to see elsewhere.
Anonymous Artists Of America had been formed at Stanford University in 1966, where the members were students, or else employed there Their name was a play on the idea that everyone was an artist. They lived in a rambling old mansion in the Santa Cruz Mountains, and had some equipment that had been given to them by Ken Kesey's Pranksters. Among the members was Sara Ruppenthal Garcia, Jerry's now-separated wife.
Lee Schipper (1947-2011) was a local modern jazz musician, playing vibes. He also earned a PhD in astrophysics from UC Berkeley, and worked at Lawrence labs for decades. A vibe-playing astrophysicist is as Berkeley as can be.
August 4, 1967 Cafetorium, Berkeley HS, Berkeley, CA: Loading Zone/Second Coming (Friday)
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| A flyer for the opening of Bill Quarry's Concord Coliseum, at 1825 Salvio Street, with the Chocolate Watch Band on August 4, 1967 |
August 4, 1967 Concord Coliseum, Concord, CA: Chocolate Watch Band/Harbinger Complex/Virtues (Friday) Bill Quarry and Bill Vavrick Present
Bill Quarry had been one of the principal rock concert promoters in the East Bay, with his "Teens N Twenties" (TNT) company. Their principal venue had been at a roller skating rink in San Leandro, The Rollarena. In 1966 and through July 1967, Quarry had put on rock shows every Friday night at the 2000-capacity venue. Mostly they featured local East Bay bands playing cover versions, and appealed to the teenagers who cruised East 14th Street in San Leandro, just like in American Graffiti. Sometimes, though, the Rollarena had exciting headliners, like Them, The Byrds, Buffalo Springfield or Jefferson Airplane. Still, by 1967, those San Leandro teenagers wanted to go the Fillmore or Avalon, and see the real thing rather than cover bands. The Rollarena faded away by July 1967.
Quarry's next major venture was East of Berkeley, just across the hills, in Contra Costa County. Towns like Concord and Walnut Creek were booming and full of teenagers, as well, even if Walnut Creek was still full of walnut groves in those days. Parents in Contra Costa weren't too thrilled with letting their teenagers borrow the family station wagon and go to the Fillmore, so Bill Quarry planned to bring the Fillmore to Contra Costa County. The Concord Coliseum was at 1825 Salvio Street. It was a converted supermarket, apparently, with a casual, unfinished feel. There was barely a stage, and long-ago fans report that they could pretty much look bands in the eye.
Many of the groups that played Concord Coliseum were the local bands who played many of the TNT dances. Still, there were some Fillmore-level headliners. Chocolate Watch Band, for example, was easily the best band in the thriving San Jose market, and absolute rockers on stage. As for the other opening night bands, Harbinger Complex was a Rolling Stones type band from Oakland, managed by Quarry, and the Virtues were from Contra Costa. They would later evolve into the band Country Weather.
I have written at length about the forgotten history of the Concord Coliseum, as well as about other venues in the Concord area during the 60s. The Concord Coliseum to some extent ensured that Berkeley was not going to draw significant numbers of teenage fans from Contra Costa County. Of course, any Concord teenagers who could borrow the family car and get through the Caldecott Tunnel, with or without permission, was probably going all the way to San Francisco anyway.
Melvin Q Watchpocket was a Berkeley band featuring guitarist Charlie Cockey, formerly of The Jaywalkers. At various times Watchpocket had backed Dino Valenti (when he wasn’t in jail) and was also affiliated with Moby Grape/Airplane manager Mathew Katz. Also in the band were bassist Ralph Burns Kellogg and guitarist Bruce Stephens (and presumably a drummer). Kellogg and Stephens were from the Sacramento area, and they would go on to form Mint Tattoo and later join Blue Cheer.
The Skins were an occasional group that featured four conga players. Typically they played between sets at the Fillmore. Local jazz vibraphonist Ulysses S Crockett was a sometime member of The Skins.
August 25, 1967 Cafetorium, Berkeley HS, Berkeley, CA: Motor/Hastings Street Opera (Friday)
August 27, 1967 Provo Park, Berkeley, CA: free concert (Sunday)
The Berkeley Barb did not list any bands, but invited readers to "come and be happy."
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| Purple Earthquake guitarist Robbie Dunbar at the Berkeley Teen Center, ca 1966 (photo from Cream Puff War #2) |
September 1, 1967 Cafetorium, Berkeley HS, Berkeley, CA: Purple Earthquake/Colours (Friday)
Purple Earthquake had formed in 1966 at Berkeley High School. After various evolutions, they would go on to become the group Earth Quake. As Earth Quake, the band would release two early-70s album on A&M Records, and then started their own label Beserkley Records. Earth Quake would be anchors of the East Bay club scene throughout the 1970s. Purple Earthquake and Earth Quake were inspired by hard-driving British invasion bands like the Yardbirds, rather than jamming the blues like other Bay Area bands. Guitarist Robbie Dunbar and bassist Stan Miller were in Purple Earthquake and Earth Quake for the entire life of the band.
Colours is unknown to me.
September 3, 1967 Provo Park, Berkeley, CA: Motor/Hastings Street Opera/Crystal C (Sunday) free concert
Crystal C is unknown to me.
September 10, 1967 Provo Park, Berkeley, CA: Mad River/Notes From Underground/Savage Resurrection/Hades Blues Works (Sunday) free concert
Savage Resurrection were mostly teenager band from Richmonc, led by then-16-year-old guitarist Randy Hammon, a cousin of Blue Cheer drummer Paul Whaley. They would release their only album on Mercury Records in 1968.
Hades Blues Works was from Berkeley. In various forms they would be part of the Berkeley club scene until 1973. There is a recording of them from 1971.
September 17, 1967 Provo Park, Berkeley, CA: Cleanliness and Godliness Skiffle Band/New Delhi River Band/Strawberry Window (Sunday) free concert
On the weekend of September 22, yet another rock venue opened in Alameda County, this time far South of Berkeley. The Yellow Brick Road opened in Fremont, then a somewhat rural town dominated by the Ford factory (now a Tesla plant). The Yellow Brick Road was focused on teenage rock fans, and modeled on The Barn in Scotts Valley. Fremont seems like an odd place for a psychedelic outpost, but there were intrigued teenagers all over the Bay Area.
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| A Berkeley Barb display ad for Initial Shock's performance on Sunday, September 24 in Provo Park |
September 24, 1967 Provo Park, Berkeley, CA Initial Shock/others (Sunday) free concert
Initial Shock was newly arrived from Montana. Guitarist Bill ‘Mojo’ Collins had been assigned to an Air Force base there, and had stayed there for a while to play lucrative bar gigs. The band eventually left Montana for warmer weather and a chance to make it bigger. Initial Shock arrived in the Bay Area with a pretty concrete plan for success. They immediately started to play free concerts, and had the foresight to take out an ad in the Berkeley Barb (above), to make sure they got noticed.
September 29, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Second Coming/Motor (Friday)
In the beginning of 1967, it was clear that Berkeley and the East Bay were competing with San Francisco as a locus for rock concerts. Certainly Berkeley, Oakland and the East Bay suburbs were contributing a huge number of rock fans to the Fillmore, Avalon and elsewhere. Berkeley now had its first permanent rock club, New Orleans House, North of campus at 1505 San Pablo Avenue, so there was a regular place for original rock bands to play. Yet no venue really took hold, nor did any one promoter.
In mid-1967, the 3500-seat Berkeley Community Theater was too large for most rock shows, and the newly-opened Oakland Coliseum Arena was way out of scale. That would change by 1968, but in Fall '67 neither were really viable. UC Berkeley buildings, like Pauley Ballroom, had their own scheduling conflicts and other barriers, and no Fillmore-size venue found any traction in Berkeley or anywhere near it.
There were still some rock concerts in Berkeley and the East Bay in the Fall of 1967, but for the time being the action was mainly in San Francisco.
One of the biggest Berkeley rock shows in the Fall of '67 was actually disguised as a jazz show. Based on the metadata, it looks like UC Berkeley would finance a jazz show, so some clever hippies managed to get the Grateful Dead on the bill with Charles Lloyd and Bola Sete. Note that the poster does not suggest that the Dead are a rock band, and they aren't holding electric instruments. Besides being a paying gig, the Dead were probably quite pleased to be on the bill--they were friendly with Charles Lloyd, and Jerry Garcia and Phil Lesh, at least, wanted to be taken seriously. The show was booked for the afternoon. Phil Elwood of the Examiner reviewed the show, and said about 5000 attended. Elwood said that the Lloyd group was great, but that the Dead weren't particularly exciting (save for Garcia), and did not inspire the crowd to dance.
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| The Grateful Dead on stage at UC Berkeley's Greek Theatre, October 1, 1967. Note that there is only one drummer, and that there are only six amps in the backline, one near Pigpen, and four as the PA, a few less than they would bring in later decades. Old Deadheads will also note folding chairs right up to the lip of the stage, instead of the general admission pit of the 1980s. |
With respect to the history of the Grateful Dead, this was the first of their 29 appearances at the Greek Theatre. In general, the 8500-capacity bowl was too large for rock events at the time, and in any case as a University facility, its availability was often limited. Nonetheless, even at the time, the location, sightlines and superior acoustics of the Greek were widely recognized. We know from Elwood's review that the Dead played for an hour. Our only other evidence is a photo of the band onstage (above).
The photo tells us a number of interesting things. First of all, it is an article of faith in Deadhead lore that Mickey Hart jammed with the Dead for the second set at the Straight Theater in San Francisco on September 30, 1967, and was immediately asked to join the band. While that is certainly true, here is a photo of the gig from the very next day and there is only one drummer. So at the very least it tells us that Hart did not actually join the band on stage immediately. It is generally thought that Hart's first on-stage performance as a regular member of the band was November 10 at the Shrine in Los Angeles.
Second, and more telling for anyone who either saw the Grateful Dead at the Greek in the 1980s, or quite frankly has seen any rock act at the Greek since then, look at how few amplifiers there are for the Dead. I count six amps in the back-line, plus one just to Pigpen's right. Whether that amp was just for Pig or something like a monitor isn't clear. We also see two pairs of amps on either side of the stage. Presumably they sent out the vocals and drums, but did they also reinforce the sound of the guitars and organ? If they did, I don't see any cables from the backline to the side of the stage, so I don't know how they would have done it (incidentally, Owsley would not rejoin the band as soundman until August 2, 1968, so it's not his fault).
For one thing, the Dead would have been considerably quieter than they would be in later years, with their towers of speakers. More interestingly, however, most Deadheads have a distinct impression of how the 1967 Dead sounded, based mainly on a few surviving board tapes from that era. The stage configuration that we see, however, suggests a very different sound. Given the relative size of the Greek and the limited number of amps, the sound may have varied dramatically based on where you might have been sitting. Some instruments may have been barely audible in some parts of the bowl, possibly accounting for the dry reception noted by Elwood.
Still, Elwood reported that 5000 attended the show, so it must have been a relative success, even if UC Berkeley did not have a direct economic stake in the result.
Live Oak Park, at 1301 Shattuck Avenue in Berkeley (roughly encompassed by Shattuck, Walnut, Rose and Eunice), had been a park since the 19th century. By the 20th century, there was a community center and public gardens. A small theater was also in the park. Bill Ham, an original Family Dog partner and a light show pioneer, had put together an ensemble that presented lights and music as a performance separate from touring rock bands. The group was called Light Sound Dimension (hey--get it?), and presented shows at different places for extended runs. In October, they had a run at the Little Theater in Live Oak Park.
The musical accompaniment for Light Sound Dimension was provided by jazz musicians with their foot in the rock world. The standard lineup was Fred Marshall on 8-string bass, Jerry Granelli on drums (ex-Vince Guaraldi) and Noel Jewkes on saxophone. Later in the year, Light Sound Dimension had an extended runs in San Francisco at The Audium (at 309 4th Avenue) and at 1572 California (near Polk), but it never really got traction. Light shows had been an essential part of the early Fillmore and Avalon scene, but even by 1967 fans were far more interested in the music rather than the stage presentation.
Initially, the Provo Park free concerts had been a prime opportunity for bands looking to attract fans. That was still true, but as the record companies moved in and the San Francisco market expanded, established Berkeley bands had less incentive to play for free in the park.
It appears Second Coming broke up after this booking. Guitarist Vic Smith would go on to form Sky Blue, and later Grootna. I don't know anything about Zuckerman Clavichord, but I do know that guitarist Bob Zuckerman (from Motor, and later Deacon and The Suprelles) was not a member. Liquid Blues Band is unknown to me.
October 9, 1967 Pauley Ballroom, UC Berkeley, Berkeley, CA: Lightnin' Hopkins/Cleanliness & Godliness Skiffle Band/Clifton Chenier and His Louisiana Zydeco Band (Monday) Pretentious Folk Front Presents
In general, my Berkeley rock concert history has avoided noting folk, jazz and blues bookings, since otherwise the narrative would come unglued. Oddly, however, this blues booking at Pauley Ballroom has a peculiar Berkeley rock history angle, and that's my beat. UC Berkeley had (and probably still has) a provision that approved student organizations can use University facilities for a nominal fee. Thus, for example, the newly-formed Rhetoric Students Association could use a Department Lounge to show a movie (to pick an example purely at random, of course, and even received funds to pay for the rental (the movie was the 1968 documentary Revolution). Back on November 5, 1965 Country Joe McDonald and Barry Melton had played their first indoor show on the UC Berkeley Campus, in the main lecture hall of the Life Sciences Building (known as "2000 LSB" to generations of Berkeley undergraduates). Headlining the event were poet Allen Ginsberg and New York folk activists The Fugs.
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| The Pretentious Folk Front presented The Fugs and Country Joe and The Fish at 2000 LSB on November 5, 1965. Joe and Barry had not yet "gone electric." |
In order to use 2000 LSB, a student group had to ask for it. Bass player Richard Saunders, then a UC undergraduate, formed a group called The Pretentious Folk Front. Saunders joined Joe and Barry too, making them an acoustic trio. On April 29, 1967, the Pretentious Folk Front reappeared to sponsor a show at Hearst Gym, the women's facility, with Country Joe & The Fish and the Cleanliness and Godliness Skiffle Band. Saunders, still an undergraduate, was by this time a member of the CGSB. Here in Fall '67, the Pretentious Folk Front made a final appearance, with the CGSB supporting the blues of Lightnin' Hopkins and Zydeco with Clifton Chenier. Saunders graduated in 1968 and became an engineer for BART.October 13, 1967 Lower Sproul Plaza, UC Berkeley, Berkeley, CA: Mad River (Friday) Send-off for Caravan for Washington, sponsored by Campus Mobilization Committee
In UC-Berkeley speak, what is properly named Sproul Plaza is often called "Upper Sproul." Down a staircase to the West is a paved area known as "Lower Sproul," currently bracketed by the Student Union building, Eshleman Hall, a cafe and the Zellerbach Auditorium. Lower Sproul had been constructed in the early 1960s, and by '67 was complete save for Zellerbach. The space that would hold Zellerbach (on the Western edge) was still a grassy softball field. UC liked to use Lower Sproul for public events, often including rock bands. I myself saw many rock bands for free at lunchtime shows at Lower Sproul in the late 70s.
Of course, the reason the University liked rock shows in Lower Sproul was that it drowned out any protests being held in the more public Upper Sproul. A loud rock band drew a bigger crowd of casual undergraduates than any protest. In this case, there was a formal anti-war event, with the concert approved by the University. The Administration saw this as a lesser evil than an unsponsored, and thus uncontrollable, demonstration in Upper Sproul. While Mad River's members were surely opposed to the Vietnam War, and played many activist events, they were certainly aware that playing a protest event helped build their audience, too.
October 15, 1967 Berkeley Community Theater, Berkeley, CA: The Doors/Notes From The Underground/The Generation (Sunday) 3:00 pm and 7:30 pm Del-Bar Productions with MC-Tom Donahue
The Doors, meanwhile, were bigger than ever. "Light My Fire" had been huge, and in September 1967 the band released their second album, Strange Days." The single "People Are Strange" would reach #3 on the Billboard charts. By late '67, The Doors had broken out of the underground, as the handsome Morrison had been picked up by the likes of 16 Magazine. This popularity affected the Doors credibility somewhat in the late 60s, but over time this sort of imaginary dispute has been forgotten. At this time, Tom Donahue was the prime-time dj at KMPX-fm, the very first underground "free-form" rock radio station.
With two shows, that meant The Doors were selling 7000 tickets, including a Sunday night show. Opening the show were Notes From The Underground, who counted as a hip local band. The Generation were from Redwood City (on the Peninsula), featuring singer Lydia Pense. Pense and others in The Generation would go on to form Cold Blood. According to no less an authority than Bill Champlin, The Generation were the first Bay Area band to play rock with a horn section, and they set the table for many bands to follow, including The Sons of Champlin, Tower of Power and The Loading Zone themselves (who had a horn section by late 1967).
October 21, 1967 Oakland Coliseum Arena, Oakland, CA: Righteous Brothers (Saturday)
The Righteous Brothers were a "blue-eyed soul" duo, white men singing Rhythm & Blues. Bill Medley and Bobby Hatfield had joined forces in 1963. They had scored big hits with "Little Latin Lupe Lu" in 1963, and their classic "You've Lost That Lovin' Feeling" in 1964. Their show was only the third rock concert at the Oakland Coliseum Arena, which had only opened in Fall of 1966. Paul Revere and The Raiders had played there on February 18, and Eric Burdon and The Animals had headlined an absolute debacle of a concert on March 25. Per the review, only 4000 of the 15,000+ seats were filled. The Coliseum Arena was really too large for rock music at the time.
Nobody reviewed the likes of Paul Revere or The Righteous Brothers, as the concerts were considered personal appearances rather than artistic presentations. We have no idea how it sold, how the sound was, or who the opening acts here. The one revealing detail here is that whoever the promoters were, they put an ad in the hip Berkeley Barb, with the semiotics of a psychedelic concert at the Fillmore. Hippies liked soul music, too, and an ad in the Barb was the best way to reach them.
October 27, 1967 [Gym], Cal State Hayward, Hayward, CA: Big Brother and The Holding Company/Good Nabors (Friday)
In California, the psychedelic rock scene grew out of folk music scenes at places like San Francisco State, San Jose State, Stanford and UC Berkeley. The local folkies turned on, plugged in and found a drummer, and psychedelic blues bands were born. Big Brother And The Holding Company had Peninsula folk roots, for example, and Janis Joplin and bassist Peter Albin had played folk clubs in the Peninsula, South Bay and San Francisco. By 1967, Mainstream Records had released the band's debut album, recorded the previous year and already outdated. Still, songs like "Down On Me" and "Combination Of The Two" gave an audio clue of how powerful Janis and Big Brother could be. I assume the show was in the Gym, which likely could absorb about 2000. During this period, Big Brother played a lot of shows at junior colleges and similar schools in California. Within two years, Janis Joplin would be far too big for such gigs.
Hayward was 20 miles South of Berkeley, roughly between Oakland and San Jose. The population had grown steadily as the Bay Area expanded. In 1960, Hayward had 72,000 people, and by 1970 it would have 93,000 (in 2020 it had 162,000). Cal State Hayward had opened in 1959 as Alameda County State College. The new campus in the Hayward foothills, at 25800 Carlos Bee Boulevard, had opened in 1961. By 1963 the school had been re-named Cal State Hayward and had started to expand (today California State University, East Bay has 13,000 students). There's no doubt that Cal State Hayward students in 1967 had long hair and liked rock music, but the recent vintage of the school meant there wasn't a bohemian core of dropout folk musicians to go psychedelic, like at other schools. So there was the occasional rock show at Cal State Hayward, but the school wasn't a regular venue. UC Berkeley students and hippies would never venture down to Hayward, anyway, so presumably Hayward students got their rock and roll doses in San Francisco, like everyone else.
Opening act Good Nabors was presumably a local band, but they are unknown to me.
November 4, 1967 Walden Center, Berkeley, CA: Loading Zone/The Generation (Saturday) 1:00-4:00 pm.
The Walden Center was (and is) a private school in Berkeley, at 2446 McKinley (between Dwight and Channing). The school had been founded in 1958 by Conscientious Objectors. I presume this was a fundraiser or benefit of some type.
Status Report: Berkeley At The End of 1967
By November, 1967, the city of Berkeley, UC Berkeley and Oakland are no longer hosts to significant rock concerts, the kind that feature bands with records. There are folk and blues shows at the Berkeley Community Theater, and there are rock shows most nights at New Orleans House, Berkeley's only rock club. But there are no viable venues for rock promoters in Berkeley and Oakland. Berkeley Community Theater and Oakland Coliseum Arena are too large for the rock market, and the Fillmore and Avalon are more popular venues for East Bay hippies and college students anyway. Some of the major bands start recording or going on national tours, and are no longer available to play smaller weekend gigs at places like Pauley Ballroom.
By late 1968, the Berkeley rock concert scene will change dramatically. Bill Graham will move from the Fillmore to the much larger Fillmore West, to accommodate the growing rock market. Berkeley Community Theater will no longer seem unreasonably large. As rock explodes, enormously popular bands like Cream, Jimi Hendrix Experience and Blind Faith will be able to pack the Coliseum. By the end of 1969, the Rolling Stones will sell out two shows at the Coliseum. But for 1967, the rock concert had retreated in the Berkeley, Oakland and Alameda County.
[Hoist a pint--at the Rifle Volunteer pub, if you can--for friend, co-conspirator and inspiration Ross Hannan. As the fate of this blog and Chicken On A Unicycle are now beyond my powers, future posts in this series will be on my Rock Archaeology blog]
Other Posts in the East Bay Concert Series
Berkeley and East Bay Concerts, September-December 1965 (Berkeley I)
Berkeley and East Bay Concerts, January-March 1966 (Berkeley II)
Berkeley and East Bay Concerts, April-June 1966 (Berkeley III)
Berkeley and East Bay Concerts, July-September 1966 (Berkeley IV)
Berkeley and East Bay Concerts, October-December 1966 (Berkeley V)
Berkeley and East Bay Concerts, January-March 1967 ('67 Berkeley III)
Berkeley and East Bay Concerts, April-June 1967 ('67 Berkeley VI)
Provo Park, Berkeley Concerts, 1967-69
For the previous post in the '67 Berkeley series (July 12, 1967 Oakland Auditorium Arena), see here
For the Berkeley, Oakland and East Bay Rock History Navigation Tracker, see here
Chicken On A Unicycle
I believe the box next to Pigpen is the Leslie rotating speaker cabinet for his B3.
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