Saturday, January 18, 2014

Not to be missed: Allmen Joy - Family Dog Denver, Colorado 1967-12 (Bootleg)

Size: 147 MB
Bitrate: 320
Found in OuterSpace
Artwork Included

Allmen Joy 1967-12-xx Denver,CO Family Dog [EXCELLENT uncirculated 2nd gen. stereo SBD (NOT pre-Allmans band) SUPER HEAVY Haight Ashbury ACID PSYCH GUARANTEED to bLoW yR MiNd. 

If Blue Cheer made cream cheese outta the air, then these guys musta crystalized the heavens on a good night. Some kind of a mix of Blue Cheer & Big Brother guitars, Country Joe & The Fish style ethereal moves & organ, & occasional Dead-like feedback & vocal insanity, mixed with 60s garage sounds & a nod to the Chambers Brothers... 60s West Coast manna from the vault.

Thanks to the original taper & traders! When this came along it was a welcome addition to my West Coast music library as I'd seen the name on so many cool psychedelic posters but never actually heard the band. Most everything about it is great, jamming, instrumentation & vocals & only a couple of funk numbers overdo it a bit for me, though they more than have their good moments as they contain extensive jams & feedback sessions. The drugged-out material is staggeringly great, with astonishing SUPER HEAVY psychedelic lead guitar. Nice to have entered an age where one can increase one's listening pleaure in so many ways with home mastering. 

Aside from a couple of bad splices, this is massively improved over my original tape. Anyway, according to "Fist", the band name was changed to Allmen Joy in part because of the candy bar (loved by band members) & partly, "because the band was very promiscuous & was a hit with many of the female followers"! Many posters with Allmen Joy exist as they were Avalon Ballroom regulars & played the Straight Theatre, Matrix & most Bay Area venues, toured California, & played as far afield as the Vancouver Retinal Circus. There certainly are more tapes out there. 

Please consider letting us hear some of them. In the meantime, your heart will nearly stop at times. Be sure the pacemaker & air guitar fuzzbox have fresh batteries. If you had trouble coming down from your last acid trip, however many days, months or years ago that was, then be careful with the volume on "You're Gonna Miss Me", cause it SURE ain't for those who aren't into doin' some cerebral travelin'. Pretty well guaranteed to leave whatever mind noodles ya got left all over the floor & the ghosts of Christmas past howling down your chimney. Get ready to ENJOY the Allmen Joy!

Kudos to Zongo for life support, Lochner for mikes&more & Fast Freddie for runnin' Video Dick's Record Emporium with the bathroom office full of tape decks. Thanks to Hanwaker (few among us can keep his pace). Mountains of gratitude to Davmar, D.White, Sanchez, Elliot, The Florida Kid, Kloiber, Zingg, JTW, Bershaw, Boston Gold, Dixon, Moore, Gough & SO many more for all that collecting & sharing... Royal thanks to The Man In The Palace, Doc Tinker, Brinkhoffs, Barely Eatin', Reel Master Gaule, Parrish & all the traders who housed me thru my music acquisition & travel years. Hats off to Brother Kent, Uncle Jake, Little Queenie (& her neighbor Frank) & his honor Ptomaine Thomas. Glasses raised to Byron for musical horizon expansion & much obliged to J & Thurston for keepin' my concert fires burnin' since my continental shift.

This recording demands some real volume so hang out the freak flag & hope the neighbors are on vacation. A missing link in the 60s Bay Area music puzzle & undoubtably one of the finest uploads I have offered so far on DIME. Not sure what might crawl out of the cave in the future, but this should shiver some timbers & shake some angel dust outta yr trees. Here's one from the depths of 1967 Hashbury, where & when the love children were playing on the street* & dancing in the park with rainbows in their eyes, flowers in their hair & the Allmen Joy filling their ears on many a night. (*tho' by the time I wandered there in the 70s they were huffing glue). Must be some of you DIMERs out there who remember seeing the Allmen Joy band. Here's your chance to re-live those precious days of yesterday.

I hope this one takes the cake & goes down a storm as they say & some folks take notice AND listen. It's like a mega audio fireworks display all on its own, a MELTDOWN of the first order. If you do like it, do feedback, as it does motivate one for future mastering attempts on other recordings. VERY cool to think the SF bands were paying attention to the 13th Floor Elevators as what Roky & crew were doing was off in another galaxy altogether - but just as fabulous in its own way. Come back & tell me/us how this altered your mind after you have listened thru. It should leave your synapses toasted like a night after seeing one of Owsley's ghosts. What better late xmas gift for you than an ELEVEN minute San Francisco acid rock style version of "You're Gonna Miss Me"... 

Allmen Joy
1967-12-xx Denver, Colorado Family Dog 
1601 West Evans Avenue

"You came here to enjoy yourselves, so why not trip out?"

Lu "Fist" Stephens - organ, vocals 
 Roger “Rog” Alan Saunders - lead electric guitar, vocals  
 Ken Zeidel - rhythm electric guitar, vocals 
 Dennis "Funky" Parker - electric bass, vocals  
 Rod Harper - drums

01. ...Walk With Me  06:38
02. Funky Broadway  11:02
03. On Broadway  09:58
04. You're Gonna Miss Me  10:55
05. Need Your Love  06:55
06. The// Merry Tripster  07:01
07. The Monkey Time  06:43
08. 'Freak Out' -> ? (instrumental)...  04:22

1. Link
2. Link

Friday, January 17, 2014

The Romantics - Seattle Washington 1984-07-20 (Bootleg)

The Romantics - US Single 1977

Size: 159 MB
Bitrate: 320
Found in DC+ World
Some Artwork

The Romantics is an American new wave band from Detroit, Michigan, formed in 1977. The band adopted the name "The Romantics" because they formed on Valentine's Day, 1977. The Romantics achieved popularity in the United States, Canada, parts of Asia, Australia, Europe, and Latin America during the first half of the 1980s on the strength of the band's songs and music videos. They were influenced by 1950s American rock and roll and 1960s American garage rock as well as British Invasion music.

The Romantics' original lineup consisted of lead vocalist, rhythm guitarist, and harmonicist Wally Palmar, lead guitarist and backing vocalist Mike Skill, bassist and backing vocalist Rich Cole, and drummer and lead vocalist Jimmy Marinos. All four band members made songwriting contributions to the group, but Palmar and Skill were considered the band's primary tunesmiths. After a few years of playing local and regional gigs in Detroit and the Midwest, this lineup of the Romantics recorded the band's self-titled debut album for Nemperor Records in 1980 with British producer Pete Solley. The group's true record debut was the 1978 single on Spider Records, "Little White Lies" / "I Can't Tell You Anything", followed that year by the Bomp single "Tell It to Carrie" / "First in Line" (on the Bomp! Records label). All of these were re-recorded later for the first LP.

The album yielded the hit "What I Like About You," which reached No. 49 in the US, No. 12 in the Netherlands, and No. 2 in Australia, where the band was especially popular.

Mike Skill left the band after the release of its second album, National Breakout, in 1981. He was replaced by lead guitarist Coz Canler. This lineup of the band recorded the album Strictly Personal in 1982, before Rich Cole left the band that year and was replaced by a returning Skill, who then became the band's bassist.

The Romantics - German EP 1984
The Romantics achieved their greatest commercial success in 1983/84 with the release of the album In Heat. The first single taken from In Heat, "Talking In Your Sleep", rose to No. 3 on the Billboard Hot 100 chart and spent two weeks at No. 1 on the Hot Dance Club Play chart. It was also a big international hit (No. 2 Canada, No. 14 Australia, No. 18 Germany, No. 20 Netherlands, No. 15 South Africa, No. 5 Sweden, No. 20 Switzerland, etc.). A second single, "One In A Million", peaked at No. 37 during the following year. The Romantics' music videos were frequently shown on the cable television network MTV during this period, solidifying the band's popularity. Also during 1983, the Romantics played well-received U.S. and international concert tours in support of In Heat, and appeared on such pop music-themed television shows as Solid Gold, American Bandstand, and Soul Train.

In 1984, drummer Jimmy Marinos left the Romantics, and he was replaced by David Petratos, who would serve as the band's drummer until 1990. This lineup recorded one album, Rhythm Romance, in 1985. Detroit keyboardist Barry Warner was also added to the band for the following 1985–1986 tour.

In the late 1980s, the Romantics discovered that their managers had been misappropriating the profits earned by the band from its hit records and live performances. Additionally, the Romantics' best known song (the aforementioned "What I Like About You") had been licensed for use in television commercials without the band's knowledge or approval. Consequently, the Romantics filed a lawsuit against their management in 1987, and the legalities involved prevented the band from recording new music until the mid-1990s.

Former Blondie drummer Clem Burke replaced David Petratos as the Romantics' drummer in 1990. For much of the 1990s, the Romantics played obscure performances in small venues, largely forgotten and out of the public spotlight.

The Romantics' fortunes began to rise again in the middle of the 1990s, as the band's success in its lawsuit against its former management freed the band to record again (and ensured that future earnings from the licensing of Romantics songs would go to the band). The first fruit of the band's new recording activity was the 1993 EP Made In Detroit. Several Romantics greatest hits packages were issued during the 1990s, as was the live album The King Biscuit Flower Hour Presents: The Romantics Live In Concert, a 1996 release of an October, 1983 recording of a Romantics concert in San Antonio, Texas at the height of the band's popularity.

Jimmy Marinos, the Romantics' original drummer, temporarily returned to the band for a series of performances in 1996-1997 (with Clem Burke returning to the Romantics' drumstool after Marinos departed again), and late 1990s nostalgia for 1980s pop culture caused a minor resurgence of interest in the band. In 2003, twenty years after the release of their most commercially successful album, In Heat, the Romantics released 61/49 – a more roots rock and blues-oriented record than the band's previous efforts. The album was not a great commercial success, but won the Romantics a newfound critical respect that they had not enjoyed during their popular and commercial heyday in the early 1980s. 61/49 also offered proof that despite the band's years out of the public spotlight, the Romantics remain a potent musical unit.

A fourth drummer, Brad Elvis, replaced Clem Burke as the Romantics' regular drummer in 2004 after Burke returned full-time to a reactivated Blondie. Clem Burke continues to perform with The Romantics when Brad Elvis is not available. Most recently, Burke played with The Romantics on March 6, 2010 at the Frisco Art Festival. During the encore, The Romantics were joined by students from The Paul Green School of Rock Music, which was the basis for School of Rock, the 2003 American comedy film from Paramount Pictures, starring Jack Black.

The Romantics continue to play live concerts today (with occasional guest performances by previous members Jimmy Marinos, Rich Cole, Clem Burke and David Petratos). The band is said to currently be working on a follow up to 61/49. [Wikipedia]


The Band:
Wally Palmar vocals guitar 
 Coz Canler guitar
 Mike Skill bass vocals
 David Petratos drums

01. Intro 
02. When I Look In Your Eyes
03. Do Me Any Way You Wanna
04. Rock You Up
05. A Night Like This
06. One In A Million
07. Got Me Where You Want Me
08. Talking In Your Sleep
09. Open Up Your Door 
10. Diggin' On You
11. Around And Around
12. She's Got Everything
13. Route 66
14. Get Down Get With It
15. Shake A Tail Feather
16. What I Like About You
17. Little Latin Lupe Lu 
18. Outro

1. Link
2. Link
The Romantics Promo Picture

Thursday, January 16, 2014

The Doors - Isle of Wight Festival 1970-08-29 (Bootleg)

Size: 159 MB
Bitrate: 320
Found in DC++ World
Artwork Included

Dust out your Doors collection. Finally, from the vault of an anonymous Doors fan, comes a previously unsurfaced audio recording. Consider it a surprise present to Doors fans on Jim Morrison's birthday.

For years, The Doors' performance at the Isle Of Wight has only been available in an edited or incomplete form. The most popular release, "Palace Of Exile," is missing over a minute in the middle of "The End" and the intro to "When The Music's Over" is severly edited. Audience recordings of the show are missing "Roadhouse Blues." Previously on this site someone offered a matrix of the audience and soundboard sources in order to recreate the complete concert in the best quality available. Now for the first time, we have a master DAT source for the COMPLETE Isle Of Wight concert in perfect soundboard quality. At almost 70 minutes total, this is as good as it gets until an official release gets made -- if one is ever made.

This comes direct from the multi-track master recording. Quality is near perfect. The only downside is that the stereo separation isn't very good. It sounds like it's an unmixed copy of the multi-track master. So you'll hear Ray's organ more in the center than it should be and Ray's vocals are mixed way down so you don't hear them at all during "Break On Through" and other songs. (A good thing for some?) Still, I would place the overall quality as better than "Palace Of Exile." Little to no hiss. Bass level is much more reasonable. Sharper sound quality overall.

Now just what did I do to the original recording before posting it here? Thankfully, not much. There were a handful of clicks/pops throughout the recording that I removed individually using Adobe Audition. (The glitch during the announcer's introduction is on the original tape and couldn't be repaired without cutting it down.) I also swapped the channels so that Robby's guitar is in the right channel where it should be. The biggest change I made was balancing the channel levels and bringing everything up. This small change really punched up the sound compared to the original transfer. There was no EQ or other tricky business involved. Sounds pretty damn good, if I do say so myself. If anyone wants the original transfer, I'm open to trades.

One small note: About 4:29 into "The End," the music drops out for about 5 seconds and you only hear Jim's voice. Not sure why, but "Palace" doesn't have this mixing error. Also, regarding the date of this performance: The Doors were scheduled to play on August 29th, Saturday night, but didn't actually get on stage until 2:00am on Sunday morning, August 30th. Hence the date I have listed. (Date information taken from Greg Shaw's book, The Doors On The Road.)

A big thank you to the Doors fan who shared this rare tape. He/She wishes to remain anonymous on this one. I'm merely acting as middleman, and I'm happy to do so.

The 1970 Isle of Wight Festival was held between 26th and 31st August 1970 at East Afton Farm, an area on the western side of the Isle of Wight. It was the last of three consecutive music festivals to take place on the island between 1968 and 1970 and widely acknowledged as the largest musical event of its time, greater than the attendance of Woodstock. Although estimates vary, the Guinness Book of Records estimated that over 600,000 people attended.

The preceding Isle of Wight Festivals had already gained a good reputation in 1968 and 1969 by featuring acts such as Jefferson Airplane, T. Rex, The Move, Pretty Things, Joe Cocker, The Who and Bob Dylan in his first performance since his 1966 motorcycle accident.

The 1970 version, following Woodstock in the previous year, set out to move one step forward and enlisted Jimi Hendrix. With Hendrix confirmed, artists such as Chicago, The Doors, The Who, Joan Baez, and Free willingly took up the chance to play there. The event had a magnificent but impractical site, since the prevailing wind blew the sound sideways across the venue, and the sound system had to be augmented by Pink Floyd's PA. There was a strong, but inconsistent line up, and the logistical nightmare of transporting 600,000 people onto an island with a population of less than 100,000.

Political and logistical difficulties resulted in the organisers eventually realising that the festival would not make a profit and declaring it to be "a free festival", although the majority of the audience had paid for tickets in advance, and the event was filmed contemporaneously. However, at the time, the commercial failings of the festival ensured it would be the last event of its kind on the Isle of Wight for thirty-two years.

The Doors - France Single 1967
The opposition to the proposed 1970 Festival from the residents of the Isle of Wight was much better coordinated than it had been in previous years. The Isle of Wight was a favourite retirement destination of the British well-heeled, and a haven of the yachting set, and many of the traditional residents deplored the huge influx of 'hippies' and 'freaks'. This lead to the introduction of the "Isle of Wight County Council Act 1971" designed to control any further happenings of this kind. Renting a few acres of suitable farmland to hold a music festival had in earlier years been a simple commercial matter between the promoters and one of the local farmers, but by 1970 this had become subject to approval decisions from several local council committees who were heavily lobbied by residents' associations opposing the festival. As a result of this public scrutiny, the preferred ideal location for the third Festival was blocked, and the promoters in the end had no choice but to accept the only venue on offer by the authorities - East Afton Farm, Afton Down, a site that was in many ways deliberately selected to be unsuitable for their purpose. One unintended result of the pick of location was that, since it was overlooked by a large hill, a significant number of people were able to watch the proceedings for free.

Wednesday 26th: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby. 

Thursday 27th: Gary Farr, Supertramp, Andy Roberts Everyone, Howl, Black Widow, Groundhogs, Terry Reid, Gilberto Gil. 

Friday 28th: Fairfield Parlour, Arrival, Lighthouse, Taste, Tony Joe White, Chicago, Family, Procol Harum, The Voices of East Harlem, Cactus. 

Saturday 29th: John Sebastian, Shawn Phillips, Lighthouse, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson Lake and Palmer, The Doors, The Who, Melanie, Sly and the Family Stone. Mungo Jerry were there but decided not to play.Tiny Tim with Islanders Cas Caswell bass & Jack Richards drums. 

Sunday 30th: Good News, Kris Kristofferson, Ralph McTell, Heaven, Free, Donovan, Pentangle, Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens, Hawkwind 

The Doors - Germany Single 1967
A new site 
"The new site will cover three hundred acres and is set up in such a way as to provide people with an entire self-contained community, without infringing on the rights of local inhabitants." Rikki Farr 

The original plan was to hold the Festival at Churchill's Farm, Calbourne, a landlocked site west of Newport, the Island's capital. However, a Select Committee of the County Council found this unsuitable - 'the land is high and is known to be both windy and damp' - but agreed instead to East Afton Farm, Freshwater. 

The new site was situated on a flat plain just off the main Newport-Freshwater road in the heart of the quiet and mysterious West Wight. It was overshadowed by the massive chalk bulk of Afton Down and - further to the west - the granite monument to Alfred, Lord Tennyson, and Tennyson Down itself as it curved away to the Needles, and the sea. 

Ron 'Turner' Smith: 
"Ray Foulk and I spent most of the winter, one or two nights a week, talking about it, designing it, drawing it out - until the plan finally evolved. We went across and saw Mark Woodnutt about a site, to see if the County Council would join with us. I got the impression that Woodnutt wanted a slice of the action; he thought there was good money to be made. 

"Ronnie and Ray joined me over at Woodnutt's house; we had agreed that we were not going to pass any money over to Woodnutt, so he stiffened his opposition. We got a convoy of vehicles to move out to Churchill's Farm where we hoped to pitch our site, when Ray - who had been in County Hall that morning - came steaming down the road to say, "They've blocked us here; we can use a field at Afton Farm." When we saw it, it was obvious they wanted to smash us, because the land was overlooked by Afton Down, and we knew immediately there would be as many people outside as in." 

The Doors Promotional Poster (Wespac, 1969)
An all-star line-up 
By early June, the only acts definitely booked were the Who, Richie Havens, Chicago, Pentangle and Mungo Jerry. The DJs were to be Rikki Farr and 'blond, bespectacled authority on progressive music', Jeff Dexter. 

In early June, another piece of the jigsaw fell into place when Fiery Creations announced that the top attraction at the Festival would be Joan Baez, 'in the same spot that Dylan occupied on the Sunday night last year', and as an exclusive performance - her first for three years in Britain. As her husband was currently in prison in the States for draft evasion, she had refused to appear in her own country since Woodstock. The Doors would headline on Friday, Hendrix would top the bill on Saturday, and two further names had been added to Sunday's bill - John Sebastian and James Taylor. 

Preparing for the masses 

Tickets for the weekend would cost £3. Press Officer Peter Harrigan talked about possible problems, and how they planned to overcome them. 

"This is our third festival. For the first one we brought Jefferson Airplane over. We got 10,000 people and the stage was just the back of two lorries. Last year we had Bob Dylan and something like 150,000 came to see him. We were only expecting 50,000 and to be quite honest the facilities - toilets, catering etc - were strained. We have learned a lot from the past and this year we are planning everything with a figure of 200,000 in mind. If we do get more - and we have carried out surveys; there is a lot of exaggeration with the numbers at pop festivals - there will be relief toilets and things like that ready for use. 

The Doors - Single US 1967
"The fact that we are on an Island will help ease the situation; people won't be able to bring their cars over, so we won't have long jams. Ferries will be running all night and local companies are organising the transport to the actual site. There will be large camping areas all around the arena - 

"We have spent over £100,000 on getting the artists to appear, and about the same on preparing the site. We could have spent less on facilities and made a huge profit, but people would have been disappointed and they wouldn't come again next year. That's not what we want. We want this to become an annual event. We want it to last." 

Meanwhile, Leonard Cohen, Joni Mitchell, the Moody Blues, Family and taste had all now been confirmed, as had been the debut performances of Emerson, Lake And Palmer. 

On July 23 the formal agreement - between the IOW County Council and Fiery Creations - that the Festival could take place was duly signed. 

Ron Smith: 

"It took three or four weeks to build the basic site; we set up a workshop in an old button factory in Middleton, where we constructed fibre-glass loo seats. We had nine diggers on the site, and piped several miles of ditches, as well as a hundred taps and stand-pipes, and over a thousand loos, built over deep trenches. At that time, the water supply for all of Freshwater was restricted to one eight-inch main at the foot of the Down so they tapped some supplies that had been used in the Crimean War on top of Headon Warren and added this to the system, as well as some brackish water which came from Freshwater pumping station. 

"Much to my regret now, we also removed a couple of miles of fences - we fetched in scaffolding from all over the country - and of course we had French, Italian and Spanish anarchists camping there. One night, they decided to break the fence down. I was called to the scene, met their leaders and talked them into a quiet mood, and sent Ronnie for some Mars bars, which I distributed free - and it shut 'em up. 

"The Festival went on. The editor of a leading architects' magazine was overwhelmed by it all. "You're building a small city here!" He devoted that month's main article to the pop festival." 

The thirty-eight acre grass arena was to be completely surrounded by nine inch double walling, between which a ring road would run, allowing shops and other amenity areas to be serviced. There would be complete catering facilities and every type of food and refreshment would be available from over eighty serving areas, including restaurants. Licensed bars would open, on site, from 11am to 11pm. 

Elaborate sanitation arrangements were to include over 1,200 closets, half a mile of urinals and a hundred water points. Litter would be dealt with by using over 2,500 waste-paper sacks daily and a continuous sanitation and disposal service. 

There was to be a special welfare enclosure, a full equipped field hospital, a church tent, a Release ten - for those suffering bad trips - and a police-controlled lost property office. 

Over 300 acres were to be available for camping space, free of charge for people, and marquees for people with no tent of their own. On sale at the site were to be disposable sleeping bags, made of paper and foam rubber. With unconscious humour, it was stated that these had been tested under arctic conditions and should last in the Island climate for at least a week - 

The world's largest festival in the eyes of the parish clerk - the simple world of the Freshwater parish clerk. Here is the sort of man who could report the sinking of the Titanic as displacing a lot of water, and causing needless damage to a perfectly formed iceberg, while worrying about possible improprieties in the mixed lifeboats. 

Every seat and piece of grass 'taken over' by hippies - litter everywhere in the village, a couldn't-care-less attitude by all fans, baskets and bins being completely ignored. Bread in short supply. Buses filled by hippies with no chance for public. Considerable excrement over side of Downs (Mrs A., who reported this, felt and looked quite ill). I had to phone Health Department and ask for it to be disinfected because of the stench. Mrs T. of The Artist reported eighteen brooches missing after two or three hippies had been in her shop. Now a considerable crop of all sorts of inferior trading vans in many parts, leaving considerable litter nearby. Mr F., High Street, reported an indecency outside his shop at 8am. He told those involved that the village was not used to such behaviour and he would send for police if they did not move on. 

Noise - all night Discotecque (sic). 

Took a walk over Afton Down; very few pop fans in the actual arena, but plenty on the hillside. Footpath 28 (Desolation Row) a dreadful looking sight. 

Mr C. reported that in mid-afternoon he saw sexual indecency at a culvert, near side of Afton Manor gate. 

Mrs H. reported that at 10.30pm a stark naked man jumped out and danced in front of her car. 

Reports of extensive nude bathing at Compton Beach: Did Police ignore this sort of thing? Mrs A. witnessed one nude couple who passed her by saying, "There's nothing else left for kicks." 

The arena looked squalid, with large piles of rubbish, tins and so on at various points among the fans; the lower site was oozing and squelching near the water taps and it was a relief to step onto the highway. We had left our son there, and he later went into the Arena for several hours … it was interesting that he too wanted everything washed after he returned home. - Parish Clerk 
My own abiding memory as I set off for home and a warm bath was of watching one poor unfortunate fall into the slit trench which served as a mass open-air commode. That and a great feeling of excitement, exhaustion and fellow feeling. Society was more of a garden, less of a jungle, in those far-off days. May they return. 

The END 
In one of the most honest accounts of the Afton event, T.P. Kelsey stated the view from the arena, a personal summation of what those five days of music meant to those who experienced them, a blueprint for a more hopeful future. 

"And when it was all over and the long files of fans were waiting for their transport back home, I felt most of them must have been proud to have been part of the third Isle of Wight Festival of Music. For the festival provided an alternative society. A society where people forgot their own particular class, creed, race or religion and were able to live together and do the simple things of life on a friendly basis. There's something in that, I'm sure. Think about it."

01. Back Door Man  04:18
02. Break On Through  04:53
03. When the Music's Over  13:31
04. Ship Of Fools 07:37
05. Roadhouse Blues  06:07
06. Light My Fire  14:21
07. Medley >  
08. The End 18:18

1. Link
2. Link