The San Francisco sound refers to rock music performed live and recorded by San Francisco-based rock groups of the mid-1960s to early 1970s. It was associated with the counterculture community in San Francisco, particularly the Haight-Ashbury district, during these years.[1] San Francisco is a westward-looking port city, a city that at the time was 'big enough' but not manic like New York City or spread out like Los Angeles. Hence, it could support a 'scene'.[2] According to journalist Ed Vulliamy, "A core of Haight Ashbury bands played with each other, for each other"[3]
According to an announcer for a TV show that Ralph J. Gleason hosted: "In his syndicated newspaper column, Mr. Gleason has been the foremost interpreter of the sounds coming out of what he calls 'the Liverpool of the United States.' Mr. Gleason believes the San Francisco rock groups are making a serious contribution to musical history."[4] Ralph Gleason became one of the founders of what would become the rock-scene fan journal, Rolling Stone.
Characteristics
Jefferson Airplane's original personnel
The new sound, which melded many musical influences, was perhaps heralded in the live performances of Jefferson Airplane (from 1965 on), who put out an LP record earlier than nearly all the other new bands (August 1966).[5] According to writer Douglas Brinkley, celebrated author Hunter S. Thompson, one of the Bay Area cultural-scene boosters, was a big early fan of the group: "Thompson extolled the sonic energy of the Jefferson Airplane as it pulsed around the California locales that nursed the psychedelic era..."[6]
The bohemian predecessor of the hippie culture in San Francisco was the "Beat Generation" style of coffee houses and bars, whose clientele appreciated literature, a game of chess, music (in the forms of jazz and folk style), modern dance, and traditional crafts and arts like pottery and painting. Acoustic music had had an avid following far and wide, but it was "a fading world of traditional folk and Brechtian art songs."[7] The entire tone of the new subculture was different. According to biography author Robert Greenfield, "Jon McIntire [manager of the Grateful Dead from the late sixties to the mid-eighties] points out that the great contribution of the hippie culture was this projection of joy. The beatnik thing was black, cynical, and cold."[8] The Beats tended to be cagey, keeping their lives discreet (save for the few who published, in literary bursts, about their perceptions, enthusiasms, and activities); in a word, they generally “kept cool.” The young hippies were far more numerous, less wary, and had scarcely any inclination to keep their lifestyles concealed.
The new music was loud and community-connected: bands sometimes presented free concerts in Golden Gate Park and "happenings" at the city's several psychedelic clubs and ballrooms. The many bands that formed signalled a shift from one subculture to the next.
Monterey, California is about 120 road miles south of San Francisco. At the June 1967 Monterey Pop Festival, Bay Area groups performed from the same stage as established and fast-rising musical groups and well-known individual artists from the U.S., the UK, and even India. Soon after, Ralph J. Gleason and Jann Wenner, based in San Francisco, established Rolling Stone magazine (first issue's date: November 1967).
Each San Francisco band had its characteristic sound, but enough commonalities existed that there was a regional identity. By 1967, fresh and adventurous improvisation during live performance (which many heard as being epitomized by the Grateful Dead and by the "cross-talk" guitar work of Moby Grape) was one characteristic of the San Francisco sound. A louder, more prominent role for the electric bass—typically with a melodic or semi-melodic approach, and using a plush, pervasive tone—was another feature.[9] This questing bass quality has been wryly characterized as a "roving" (rather than the conventional "stay-at-home") style. In jazz it had been exuberantly pioneered by numerous musicians. A musician who was a leading example of this, Jack Casady of Jefferson Airplane (and the offshoot Hot Tuna) pioneered the approach, perhaps best represented on the album Bless Its Pointed Little Head. Phil Lesh, bassist with the Grateful Dead, furthered this sound. Lesh had developed his style on the foundation of having studied classical, brass-band, jazz, and modernist music on the violin and later the trumpet.[10]
Exploration of chordal progressions previously uncommon in rock & roll, and a freer and more powerful use of all instruments (drums and other percussion, electric guitars, keyboards, as well as the bass) went along with this "psychedelic-era" music. Brasses and reeds, such as trumpets and saxophones were rarely used, unlike in contemporary R&B and soul bands and some of the white bands from the U.S. East Coast (e.g., Blood, Sweat & Tears or Chicago). Sly & the Family Stone, a San Francisco-based group that got its start in the late 1960s, was an exception, being a racially integrated hippie band with a hefty influence from soul music, hence making use of brass instrumentation.
"Rock & roll" was the point of departure for the new music. But well known stars of rock & roll "were being called fifties primitives" by this time.[11] This was the period when "rock" was differentiating itself from rock & roll, partly due to the upshot of the British Invasion.[12] Among these British acts, according to music journalist Chris Smith, writing in his book on the most influential albums in American popular music, the Beatles inspired the emergence of the San Francisco psychedelic scene following their incorporation of folk rock on the 1965 album Rubber Soul, which reflected the reciprocal influences shared between the group and Bob Dylan.[13] San Francisco historian Charles Perry recalled that in Haight-Ashbury, "You could party hop all night and hear nothing but Rubber Soul",[14] and that "More than ever the Beatles were the soundtrack of the Haight-Ashbury, Berkeley and the whole circuit."[15] In San Francisco, musical influences came in from not only London, Liverpool and Manchester, but also included the bi-coastal American folk music revival of the 1950s and 1960s, the Chicagoelectric blues scene, the soul music scenes in Detroit, Memphis, and Muscle Shoals, jazz styles of various eras and regions. A number of key San Francisco rock musicians of the era cited John Coltrane and his circle of leading-edge jazz musicians as important influences.
The journalist Ed Vulliamy wrote: "The Summer of Love had an empress, and her name was Janis Joplin."[16] Women, in a few cases, enjoyed an equal status with men as stars in the San Francisco rock scene—but these few instances signaled a shift that has continued in the U.S. music scene. Both Grace Slick (singing with Jefferson Airplane) and Joplin (singing initially with Big Brother & the Holding Company) gained a substantial following locally and, before long, across the country.[17]
Coming of age in the San Francisco Bay Area, famed singer/songwriter Stevie Nicks gained her first performing experience there in the 1960s with Lindsey Buckingham and his band. Nicks and Buckingham went on to bring that San Francisco sound to established British rock band Fleetwood Mac when they both joined in 1975.
Performances of an international super group like the Beatles were hosted in a huge venue like the Cow Palace. At first, the local Bay Area bands played in smaller ones. The early band venues, while the new SF scene was emerging from folk and folk-rock beginnings, were often places like the Matrix nightclub. As audiences grew, and audience dancing became customary, performances moved into venues with more floor space, such as the Longshoreman's Hall, the Fillmore Auditorium, the Avalon Ballroom, Winterland, and the Carousel Ballroom (which was later renamed Fillmore West). Outdoor performances, often organized by the band members themselves and their friends, also played their part.
Because San Francisco had an especially vibrant and attractive countercultural scene in the latter half of the 1960s, musicians from elsewhere (along with the famous hip multitude) came there. Some stayed and became part of the scene. Examples include the Sir Douglas Quintet, whose music took on more of the character of the San Francisco sound, while yet retaining some of its original Texas flavor, Mother Earth, fronted by female lead singer Tracy Nelson, who relocated to the Bay Area from Nashville, and the Electric Flag, bringing Chicago blues to the Bay Area care of former Paul Butterfield Blues Band guitarist Mike Bloomfield. Steve Miller (who formed the Steve Miller Band) was from Wisconsin, by way of Chicago and New York City while bandmate Boz Scaggs originally called Texas home.
AM and FM radio
The San Francisco bands' music was everything that AM-radio pop music wasn't. Their performances contrasted with the "standard three-minute track" that had become a cliché of the pop-music industry, due to the requirements of AM radio, to the sound capacity of the 45 RPM record, and to the limited potentials of many pop songs and song treatments. It is true that many of the San Francisco bands did record "three-minute" tracks when they desired pop-music station airplay for a song. But in live performance, the bands would often share their improvisatory zest by playing a given song or sequence for as long as five or six minutes, and occasionally for as long as half an hour.
Bay area resident Tom Donahue was a veteran disc jockey, songwriter, music-act manager, and concert producer (with an associate, he had produced the Beatles’ last show in their final public tour); he was inspired to revive a moribund radio station, KMPX, in early 1967. Donahue, inaugurating the first FM-radio rock station in San Francisco, intended to showcase this new genre of music.[18] He was uniquely qualified, being savvy and enthusiastic about jazz, R&B, Soul, and ethnic music.[19] An important departure in this new era of "album oriented radio" (AOR) was that show hosts felt free to play lengthy tracks or two or more tracks at a stretch from a good record album.
According to cultural anthropologist Micaela di Leonardo, the San Francisco music scene was "a workshop for progressive soul", with the radio station KDIA in particular playing a role in showcasing the music of acts like Sly and the Family Stone.[20]
Psychedelic rock is a rock music genre that is inspired, influenced, or representative of psychedelic culture, which is centered on perception-altering hallucinogenic drugs. The music incorporated new electronic sound effects and recording techniques, extended instrumental solos, and improvisation. Many psychedelic groups differ in style, and the label is often applied spuriously.
The Summer of Love was a major social phenomenon that occurred in San Francisco during the summer of 1967. As many as 100,000 people, mostly young people, hippies, beatniks, and 1960s counterculture figures, converged in San Francisco's Haight-Ashbury district and Golden Gate Park. More broadly, the Summer of Love encompassed hippie culture, spiritual awakening, hallucinogenic drugs, anti-war sentiment, and free love throughout the West Coast of the United States, and as far away as New York City. An episode of the PBS documentary series American Experience referred to the Summer of Love as "the largest migration of young people in the history of America".
Psychedelia usually refers to a style or aesthetic that is resembled in the psychedelic subculture of the 1960s and the psychedelic experience produced by certain psychoactive substances. This includes psychedelic art, psychedelic music and style of dress during that era. This was primarily generated by people who used psychedelic drugs such as LSD, mescaline and psilocybin and also non-users who were participants and aficionados of this subculture. Psychedelic art and music typically recreate or reflect the experience of altered consciousness. Psychedelic art uses highly distorted, surreal visuals, bright colors and full spectrums and animation to evoke, convey, or enhance the psychedelic experience.
A Hippie, also spelled hippy, especially in British English, is someone associated with the counterculture of the 1960s, originally a youth movement that began in the United States during or around 1964 and spread to different countries around the world. The word hippie came from hipster and was used to describe beatniks who moved into New York City's Greenwich Village, San Francisco's Haight-Ashbury district, and Chicago's Old Town community. The term hippie was used in print by San Francisco writer Michael Fallon, helping popularize use of the term in the media, although the tag was seen elsewhere earlier.
Jefferson Airplane was an American rock band formed in San Francisco, California in 1965 that became one of the pioneering bands of psychedelic rock. The group defined the San Francisco Sound and was the first from the Bay Area to achieve international commercial success. They headlined the Monterey Pop Festival (1967), Woodstock (1969), Altamont Free Concert (1969), and the first Isle of Wight Festival (1968) in England. Their 1967 breakout album Surrealistic Pillow was one of the most significant recordings of the Summer of Love. Two songs from that album, "Somebody to Love" and "White Rabbit", are among Rolling Stone's "500 Greatest Songs of All Time".
The Human Be-In was an event held in San Francisco's Golden Gate Park Polo Fields on January 14, 1967. It was a prelude to San Francisco's Summer of Love, which made the Haight-Ashbury district a symbol of American counterculture and introduced the word "psychedelic" to suburbia.
Ralph Joseph Gleason was an American music critic and columnist. He contributed for many years to the San Francisco Chronicle, was a founding editor of Rolling Stone magazine, and cofounder of the Monterey Jazz Festival. A pioneering jazz and rock critic, he helped the San Francisco Chronicle transition into the rock era.
Haight-Ashbury is a district of San Francisco, California, named for the intersection of Haight and Ashbury streets. It is also called the Haight and the Upper Haight. The neighborhood is known as one of the main centers of the counterculture of the 1960s.
Acid rock is a loosely defined type of rock music that evolved out of the mid-1960s garage punk movement and helped launch the psychedelic subculture. While the term has sometimes been used interchangeably with "psychedelic rock", acid rock also specifically refers to a more musically intense, rawer, or heavier subgenre or sibling of psychedelic rock. Named after lysergic acid diethylamide (LSD), the style is generally defined by heavy, distorted guitars and often contains lyrics with drug references and long improvised jams.
Chester Leo "Chet" Helms, often called the father of San Francisco's 1967 "Summer of Love," was a music promoter and a counterculture figure in San Francisco during its hippie period in the mid- to-late 1960s.
The Psychedelic era was the time of social, musical and artistic change influenced by psychedelic drugs, occurring from the mid-1960s to the mid-1970s. The era was defined by the proliferation of LSD and its following influence in the development of psychedelic music and psychedelic film in the Western world.
Rock Robert Scully was an American music manager, best known as one of the managers of the rock band the Grateful Dead from 1965 to 1985.
Robert Wesley Wilson was an American artist and one of the leading designers of psychedelic posters. Best known for designing posters for Bill Graham of The Fillmore in San Francisco, he invented a style that is now synonymous with the peace movement, the psychedelic era and the 1960s. In particular, he was known for inventing and popularizing a "psychedelic" font around 1966 that made the letters look like they were moving or melting.
Psychedelic music is a wide range of popular music styles and genres influenced by 1960s psychedelia, a subculture of people who used psychedelic drugs such as DMT, LSD, mescaline, and psilocybin mushrooms, to experience synesthesia and altered states of consciousness. Psychedelic music may also aim to enhance the experience of using these drugs and has been found to have a significant influence on psychedelic therapy.
Herb “Herbie” Greene is an American photographer known for his portraits of musicians and bands from San Francisco's counterculture in the 1960s and 1970s. Many of his images were published by Rolling Stone, by record labels, and in books. Greene's photographed subjects include the Grateful Dead, Janis Joplin, Grace Slick, Led Zeppelin, Rod Stewart, Jeff Beck, The Pointer Sisters, Carlos Santana, and Sly Stone.
Autumn Records was a 1960s San Francisco–based pop record label. Among the notable acts on its roster was The Beau Brummels, a band who released a pair of top 20 singles, "Laugh, Laugh" and "Just a Little".
The Acid Tests were a series of parties held by author Ken Kesey primarily in the San Francisco Bay Area during the mid-1960s, centered on the use of and advocacy for the psychedelic drug LSD, commonly known as "acid". LSD was not made illegal in California until October 6, 1966.
The hippie subculture began its development as a youth movement in the United States during the early 1960s and then developed around the world.
The Mantra-Rock Dance was a counterculture music event held on January 29, 1967, at the Avalon Ballroom in San Francisco. It was organized by followers of the International Society for Krishna Consciousness (ISKCON) as an opportunity for its founder, A. C. Bhaktivedanta Swami Prabhupada, to address a wider public. It was also a promotional and fundraising effort for their first center on the West Coast of the United States.
In May1966, Zal Yanovsky and Steve Boone of the American folk-rock band the Lovin' Spoonful were arrested in San Francisco, California, for possessing one ounce of marijuana. The Spoonful were at the height of their success, and Yanovsky, a Canadian, worried that a conviction would lead to his deportation and a breakup of the band. To avoid this eventuality, he and Boone cooperated with law enforcement, revealing their drug source to an undercover agent at a party a week after their initial arrest.
↑ Smith, Chris (2009). 101 Albums That Changed Popular Music. New York, NY: Oxford University Press. p.36. ISBN978-0-19-537371-4.
↑ Gould, Jonathan (2007). Can't Buy Me Love: The Beatles, Britain and America. London: Piatkus. p.345. ISBN978-0-7499-2988-6.
↑ Sheffield, Rob (2017). Dreaming the Beatles: The Love Story of One Band and the Whole World. New York, NY: HarperCollins. p.97. ISBN978-0-06-220765-4.
↑ Vulliamy, Ed "Love and Haight". The Guardian / The Observer. 20 May 2007. Retrieved from Web October 1, 2013
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