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Hippy dream or total nightmare? The untold story of Isle of Wight 1970

50 years ago this week, the Hendrix-headlined festival rocked a reported 600,000, but the fallout affected how music events would be run forever. Now a more positive story is emerging

S hortly before the infamous 1970 Isle of Wight festival , Stanley Dunmore, a local public health inspector, worried about “a possible breakdown of public order … if the festival is a failure, or falls short of expectations, or the weather is bad, or facilities which the fans expect to find in the town are not available”.

His observations, made when music festivals were in their infancy, confirm some things that we know about them today – if only Billy McFarland and Ja Rule had read Dunmore’s report before the spectacular failure of Fyre festival . These events are complex and expensive to coordinate, especially in remote settings with inebriated and underprepared crowds cowed by the weather. If things go wrong, disaster can ensue.

Isle of Wight 1970 became the British festival that we associate with disaster. The myth goes that a group of young men, out to make a few quid from youthful music fans, put on the largest-ever pop festival in Britain at the time. To protect their investment and rake in gate receipts, they erected fencing around the site to contain the crowd of 600,000 and exclude troublemakers. Building on a few references in the press, the popular image is of radicals and French anarchists flooding down from Desolation Hill, which overlooked the festival site, and ripping down the fencing. In a recent article on Joni Mitchell’s performance, the Guardian reported that “fights broke out, objects were thrown, and a lot of bad acid was taken”.

But it is easy to get the wrong impression about the 1970 festival. It has been mythologised and attacked for personal and political reasons, but against most criteria other than finances (a £40,000-£60,000 loss), the evidence that I unearthed for my first book reveals a beguiling and misunderstood story. It suggests the festival was not as bad as it seems – in fact, at the time some saw it as the British Woodstock.

The first Isle of Wight festival, in 1968, attracted about 8,000 festivalgoers to Hell Field near Godshill. Three Labour-supporting brothers in their early 20s brought to the island from Derbyshire during childhood, Ray, Bill and Ronald Foulk, instigated the festival to raise funds to build a municipal indoor swimming pool.

The 1969 festival exceeded their wildest expectations. Bob Dylan , who had hardly played live since his motorbike accident in 1966, attracted the world’s media and 80,000 to 100,000 festivalgoers. Ray Foulk says the 1969 festival was not without hiccups – he told me that “the catering was not adequate; we were ripped off and the public were”, and a lack of toilets led to long queues. But the promoters learned on their feet and overcame these problems; good weather did not test the amenities at the site, now in Wootton. There was a headline performance from the Who , and Dylan’s appearance was a culturally significant moment – a pilgrimage – for the postwar generation.

It teed up the 1970 festival, one of the largest outdoor gatherings in Britain since the war, even if the figure of 600,000 is probably an overestimate. The event might not have taken place if local councillors, well-connected islanders and their Conservative MP, Mark Woodnutt, had had their way. In letters to the environment department, Woodnutt argued that the festival could cause a polio epidemic (the island had suffered one in 1949) and that the 1969 festival had “left a scene of indescribable filth”. However, he would need a high court injunction to stop the festival, and proof that the festival was a threat to public and environmental health rather than simply a nuisance.

Mindful of a a possible injunction, the Foulks’ company Fiery Creations reminded the council of the lack of trouble during the 1969 festival and the good publicity the island received because of the event. Dunmore, the health inspector, and Douglas Quantrill, the island’s chief medical officer, alleviated sanitation and safety fears, and helped coordinate organisations from macrobiotic caterers to National Rail.

Without legal recourse, local pressure groups and councillors disingenuously claimed the island lacked suitable sites for a large festival and pressured landowners into refusing to rent land. The East Afton site was only agreed in early August, weeks before the festival opened at the start of the bank holiday. The valley, flanked by a hill on National Trust property and near idyllic beaches below white cliffs, would soon host a stage, 20 turnstiles, 66 food and drink stalls, 500 toilets and 600 feet of urinals.

Reports from the time, and footage, suggest that the crowd witnessed some stunning performances. The lineup included the Who, Miles Davis, Joan Baez, Joni Mitchell, the Moody Blues, Jethro Tull, Sly and the Family Stone and Gilberto Gil; Jimi Hendrix played one of his last performances before his death. Recently rediscovered photographs taken by Peter Bull show calm and content festivalgoers, who resemble their contemporary counterparts aside from their attire, lack of mobile phones and the fact that they’re nearly all sitting down.

There were disturbances, though. A group, no more than 200 of those camping on Desolation Hill, attempted to break down the perimeter wall the day before the festival began. Later, on Sunday morning, organisers and audience argued when security cleared the inner arena for Jethro Tull’s soundcheck and to check tickets. At 4pm on Sunday afternoon, MC Rikki Farr declared the festival free (to the horror of Ray Foulk who was standing in the crowd) and, after the announcement, the inner arena wall was dismantled from the inside by ticket holders, prompting a queue of concerned workers and creditors seeking immediate payment backstage. There were 117 arrests for possession of drugs.

Conflicts do not feature prominently in the official record, however. Douglas Osmond, the chief constable of Hampshire police, dressed up like a hippy and went incognito on Desolation Hill for a day. He claimed to see less violence than at a typical football match and concluded that “people become unduly anxious about these gatherings”.

Every national newspaper reported on the festival, with some of them, glad for news in August, printing extensive coverage. These generally positive reports were punctuated by scurrilous stories about sex and drugs, outraged locals and photographs of nude (mostly female) bodies. The Sunday Mirror’s account explained: “This isn’t quite paradise. But if you are young and can look after yourself and the sun stays out and the music stays loud, it doesn’t matter.”

It is interesting, then, that a view of the festival as a disaster has come to dominate. Organisers blame the late documentary film-maker Murray Lerner. Fiery Creations and Lerner wanted to emulate the success of the 1970 Woodstock documentary, which took just under $50m at the US box office, but their Isle of Wight film did not find a distributor until 1997 and the delay caused acrimony. Ray Foulk, particularly in the second volume of his book When the World Came to the Isle of Wight, and Peter Harrigan, Fiery Creations’ publicist, allege that Lerner removed footage of isolated incidents of trouble from their context and spliced them between performances for drama. For instance, Lerner’s documentary edited the footage of arguments in the main arena on Sunday morning to include shots of some drunken jeering and stray beers thrown at a lighting tower. The film exaggerates the intensity, significance and extent of either disturbance. It was, Foulk said, “complete fakery” and “besmirched not just the festival but a whole generation of people”. Indeed, he argues that the festival was only declared free to benefit Lerner’s documentary in the first place.

The organisers also made the mistake of inviting International Times (IT), a London-based countercultural paper, to view the site under construction. As head of the British White Panthers, its editor, Mick Farren, published communiques in pamphlets and IT that encouraged resistance. He saw the increased price (to £3, about the price of a double album) and security as an affront to his left-libertarian view that music festivals should be free, and claimed that the fences, security dogs and turnstiles evoked prison camps.

After losing £6,000 on their own free festival a month before, Phun City near Worthing, the 1970 Isle of Wight festival provided Farren and his peers a chance for some agitprop myth-making to champion the radical underground. Take Jean-Jacques Lebel, the only one of the “French anarchists” that can be identified from the festival despite that phrase recurring in several accounts – thanks to his involvement in the counterculture, Lebel could amplify his role in the festival’s mythology and its political significance through the underground press.

Farren’s fear about repression and exploitation were not misplaced, but misdirected. The idea that festivals had radical potential, alongside stigma concerning festivalgoers’ propriety, took hold, and exacerbated the anxieties and prejudices of conservative Isle of Wight residents. The county council had received calls to stop pop festivals since 1969 – one letter described festivalgoers as “social parasites” – and following the 1970 event Woodnutt introduced legislation to prevent another festival on the island. The council now had complete discretion over licenses for overnight events with a crowd over 5,000, and organisers would have to give four months’ notice. Subsequently, there were no further festivals there there until 2002.

Other rural areas wanted similar control and Conservative MP Jerry Wiggin’s Night Assemblies Bill offered it. The bill proposed criminalising any outdoor gathering of 1,000 people or more between midnight and 6am unless the organisers applied to a local authority at least four months before and provided financial guarantees.

The bill did not, however, define the “pop festival” clearly and therefore threatened the right to free assembly. The National Council for Civil Liberties argued it would “stifle political opinion and prevent activity at a time when too much emphasis is being put upon law and order at the expense of justice and liberty”, and the bill failed.

It exposed, though, tension between young people, the counterculture and rural British conservatism. The vitriol aimed at pop festivals, and the types of social change that they were seen to represent, is startling. Great Western festivals ran into to trouble, for instance, in Tollesbury, Essex, in 1972 when trying to find a festival site (it ultimately settled on Bardney, Lincolnshire). The local villagers burned effigies of the organisers, Lord Harlech and the actor Stanley Baker – the type of hip capitalists that countercultural radicals also feared. A local explained that this was because the festival would cause the “sheer rape of our way of life”. The panic over festivals became a trope for bored reporters in the summertime and justification for heavy-handed policing, as those brutally attacked by Thames Valley police at the Windsor free festival in 1974 will attest.

Quantrill, meanwhile, became a public health celebrity, if there is such a thing. Councils sought him out for advice on festivals and at the Royal Society of Health Symposium in 1971 he argued, in what became a widely circulated paper, that there was little risk in a reasonably well-planned festival such as the Isle of Wight 1970. The government select committee issued an official code of practice to guide local authorities and festival organisers, undermining “anarchic” or free festivals by giving local authorities clearer grounds for injunctions if a festival did not meet the code’s expensive recommendations. Without significant capital and a willing council, it made it harder for enthusiastic amateurs such as Fiery Creations to run a festival, leaving rural landowners and posh hipsters increasingly in charge.

When you attend the modern-day music festival, however, you are, in a sense, stepping into a world made by three brothers, their friends and a handful of kindly civil servants. Think of them when you find an empty, mercifully unstained Portaloo.

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Anarchists, fire and rock'n'roll: the ultimate guide to the 1970 Isle Of Wight Festival

They thought the 1970 Isle Of Wight festival was going to be several days of peace, love and music – just like Woodstock the previous year. They thought wrong

You could make a valid argument that the 60s were all about trying to change the world, while the 70s were centred around the individual. Perhaps Jim Morrison summed it up best while performing with The Doors at the Isle of Wight Festival in 1970: “We want the world… and we want it now!” 

“A huge crowd – potentially dangerous,” filmmaker Murray Lerner recalls of the event. “A lot of hassle between the songs, but when the songs came, things quietened down. And some great classic rock performances, like The Who , Jimi Hendrix and The Doors. Joni Mitchell was great, and Miles Davis, of course.” 

People heckling the performers, fans breaking down fences and entering free of charge, anarchists disrupting the proceedings, a fire over the stage, and festival organisers being in well over their heads were just some of the ‘highlights’ of Isle of Wight 1970. 

As a result, there wouldn’t be another festival on this tiny island off the south coast of England for quite a while. Another 32 years, in fact. 

The first Isle of Wight Festival took place in 1968, supposedly when the island’s swimming pool association needed to raise money, and the idea of holding a pop event sounded like a splendid idea. The 150-acre Hayles Field (dubbed Hell’s Field) was secured, and over two days 10,000 people saw performances by The Move, Tyrannosaurus Rex, Jefferson Airplane and Arthur Brown , among others. The festival was such a success that its organisers – the Foulks brothers, Ray, Ron and Bill, together with Rikki Farr – decided to stage another one. 

With the organisers having convinced Bob Dylan to come out of exile to play his first show in years, and with The Who, The Moody Blues and The Band also on the bill, 1969’s three-day Isle of Wight Festival attracted a huge crowd of 100,000, with members of The Rolling Stones , The Beatles and Pink Floyd among the VIPs. 

Even though the second show had been massively bigger than the first, no one could have predicted the number of people who would turn up in 1970, when the festival took place over five days and featured some of the biggest names in rock, including Jimi Hendrix, The Doors and The Who. 

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Expecting a bigger audience still, a new festival site was scouted and the organisers settled on Afton Farm. But there was a problem – it was overlooked by Afton Down, a hill that offered a perfect view of the stage. It was obvious that thousands would congregate and camp out on the hill rather than pay to get in, but the site was chosen regardless. 

Murray Lerner had directed the 1967 movie Festival!, which chronicled the highlights from several years of the Newport Folk Festival in the US – including Bob Dylan’s first-ever ‘electric’ performance.

By 1970 Lerner was ready to document another outdoor music spectacle on film, and he hooked up with the Isle of Wight Festival. Almost immediately after filming began, Lerner detected an unexpected ‘vibe’ surrounding the event. “I think that whole movement began to break apart,” he said. 

“The kids got upset about the commercialisation that was going on. When you get a crowd of that many people, and one guy starts: ‘Let’s get in for nothing,’ there’s a ripple effect. So they all wanted to get in for free by smashing the fences.” 

Lerner also recalled that there was “a lot of trouble in terms of the crowd. There were no fatalities [yet]. There was the fire, which we show [in the film]. It was just a guy who was told two weeks earlier to schedule fireworks. And without thinking, he shot them off, and everyone thought, ‘Okay, the stage is being attacked by flame’ [laughs]. I thought that was it.” Luckily the fire was soon under control. 

The first two days of the 1970 event – August 26 and 27 (a Wednesday and a Thursday) – saw performances by mostly newer artists, including up-and-comers Supertramp and Terry Reid . 

But it was another relative unknown who left a big impression on Lerner: “David Bromberg received a phenomenal reception from the audience. When he got off the stage he said: ‘I’m a star!’ You would’ve thought that Bromberg was going to be the biggest star in the world that night. I think he had four encores.” 

On the Friday, by which time the attendance was reaching its peak (said to be 600,000), US band Chicago put in one of the first really outstanding displays of the festival. Although years later they became known as pop balladeers, back then were a jazz-infused powerhouse rock band with a blazing horn section that set them apart from the pack. 

Chicago’s sax player, Walter Parazaider, recalls the events leading up to their set: “They had us in a holding area, with cottages and everything, which was just spectacular. The weather was great. Isle of Wight was our first experience of [playing festivals]. And you talk about people being really young – eyes as big as silver dollars, and taking everything in. 

“The whole spectacle of it was amazing. It was massive. When you get that amount of people, just a whisper from a crowd is a roar. If you don’t keep within yourself, you could just as easily throw your horn in the crowd and run around like a lunatic, just freaking out.”

But Parazaider and the rest of Chicago needn’t have worried. “The crowd was very receptive,” he remembers. “That first album [1969’s Chicago Transit Authority ] had I’m A Man on it – a Spencer Davis Group tune – and it had gone over quite well in England. They knew the material, and we were quite well received. It was one of the highlights of our career. It was a knockout.” 

Procol Harum and The Voices Of East Harlem played later the same day, before headliners Cactus closed the Friday with a hard rockin’ set. Cactus drummer Carmine Appice recalls that the festival’s main attraction, Jimi Hendrix, had turned up early. 

“The thing that I remember the most is the fact that we were hanging out a lot backstage with Hendrix,” Appice says. “Everybody had little areas where they hung out. I remember a lot of jamming going on, with guitars and lots of banging on tabletops. At these festivals there was always a lot of drugs. We used to drink a sip of wine backstage, and you didn’t know – sometimes it would have mescaline in it or something weird. Everybody was smoking pot.

“It was cold, it was rainy. I think it was damp and foggy. I think the Isle of Wight was a bit of a disaster. That was the drag of being a headliner of those kind of festivals – by the time you go on it’s like the wee hours of the morning and your audience is going away. Look at Hendrix playing Woodstock – he had nobody there. Whereas Santana played when the place was packed.”

We used to drink a sip of wine backstage, and you didn’t know – sometimes it would have mescaline in it or something weird. Carmine Appice, Cactus

Saturday, August 29, had the most acts during a single day, with 12 very varied performers. Perhaps it was too varied. With most of the huge crowd geared up to rock to the likes of Hendrix, The Who and The Doors, when folk singer Joni Mitchell hit the stage early, trouble was brewing. A clearly ‘out of it’ guy who had got up on stage uninvited was forcibly removed. The crowd voiced their disapproval. 

Murray Lerner: “There was a famous scene where the crowd was yelling and keeping her [Joni] from singing. She decided to face-down the crowd, and was playing the piano, vamping, and almost crying. [Joni] said to the crowd: ‘We’ve put our lives into this stuff. You’re acting like tourists.’ That changed the whole tone of it. She called the crowd ‘the beast’ and she decided to face them down. She had had problems with other places and had given in. But she decided in this case not to. 

“I would say it was always on tenterhooks,” Lerner continued. “Was the crowd going to rush the stage? If they did, that would be the end. I was always worried about that, but they never did. It was really frightening when Joni was on. It’s hard to imagine when you have that many people in front of you, I can tell you that. I was always worried, because I didn’t understand what a crowd was until that festival. Then I realised there is nothing you can do – if the crowd moves, than it’s the end. You saw it in the Cincinnati thing [when fans were crushed to death trying to get into a Who concert in 1979].” 

Although Lerner pointed out that Mitchell had earned the crowd’s respect by the end of her set, their hostility prevented what could have been a festival highlight.

According to the book The Visual Documentary by John Robertson, Neil Young was going to duet with Joni but changed his mind after witnessing the friction. Young left the festival before the end of Joni’s set. 

With the crowd on edge, following Joni with Tiny Tim – an oddball bloke best-known for strumming a ukulele and singing in a warbling, irritating falsetto – might not have been a particularly good idea. But… “The audience went wild for Tiny Tim!” Lerner said. “Because it was like a campy reaction. You would have thought he was the biggest star in the world.” 

Ian Anderson of Jethro Tull (who played the following evening) remembers Tiny Tim at the Isle of Wight for a different reason: “I’ll always remember Tiny Tim refusing to go on stage until he had the money in cash in a briefcase, at his feet. Not exactly in the spirit of the age.” 

With the crowd now mellowing, legendary jazz trumpeter Miles Davis – in the midst of his groundbreaking jazz-fusion period – had the crowd in the palm of his hand.

"Miles Davis was a surprise – and really unusual. It was a revelation,” Lerner said. “The crowd really liked it. He went on, played, waved his hand at that audience and walked off. He played for approximately 38 minutes straight, without stopping.” 

After some much-needed good-time blues rock from Ten Years After , the newly formed Emerson, Lake And Palmer played what was only their second-ever gig. 

“The enduring memory is the actual physical sight of that many people,” ELP singer/bassist Greg Lake recalled of Isle of Wight 1970. “I suppose before that, the only other time you’d see that many people gathered together would have been a war. The night before, we’d played to something like 1,000 people. The next day it was 600,000.”

Lake also remembers that the festival didn’t exactly reflect the peace and love vibe that had characterised Woodstock. 

“There was a kind of random chaos taking place. In a way, it was all meant to be relaxed and ‘peace, love and have a nice day’, but there was kind of a tension about the whole thing.” 

Despite the lack of good vibes, ELP went down well with the crowd, perhaps because with their keyboards-heavy sound and classical leanings they delivered something a bit different. The band did have one dodgy moment, however, but managed to avoid an explosive – literally – situation that could have been disastrous. 

“We decided to fire these 19th-century cannons at the end of Pictures At An Exhibition – to emulate the 1812 Overture,” Lake explains. “Unknown to us, the road crew had doubled the charge in the cannons. All I can remember was seeing this huge, solid-iron cannon leave the ground! It blew a couple of people off the stage. Luckily there was no cannonball in it. Thank God!” 

In a similar way that Santana’s electrifying performance at Woodstock catapulted the then-unknown band to overnight stardom, ELP’s show-stealing performance at Isle of Wight gave the newly formed supergroup a huge career boost. 

“After that festival, the very next day ELP was on the front page of every music newspaper,” Lake remembered. “It was indeed one of those overnight sensations.” After ELP and their cannons, next up came one of the festival’s big guns – The Doors. Then in the midst of singer Jim Morrison’s Miami trial (for allegedly exposing himself on stage), the band had been granted permission to leave the US briefly to perform at the festival.

Lerner recalled: “ Jim Morrison said to me: ‘I don’t think you’re going to get an image, because our lights are low. We’re not going to change it.’ But in fact I got some beautiful images by looking into the light and making it look surrealistic and abstract. 

“The Doors were hypnotic but they had to leave right after their performance – they were on trial in Miami. They were let out just for that performance. So they had to leave right away.” 

If the crowd had been hypnotised by The Doors, they were walloped back to their senses by The Who. Still plugging their Tommy album, Pete Townshend and co put in a stellar performance that is now considered a career high point for the band. 

“The Who’s performance was really fantastic,” Lerner enthused. “A great, theatrical presentation, with huge spotlights behind them that dazzled you. The ending of Tommy was really incredible. And Naked Eye was great.” 

“And of course, Keith Moon was fantastic – playing around and having fun. He was in good shape while he was playing. I don’t know what happened afterwards [laughs].”

If the promoters were indeed attempting to model the 1970 Isle of Wight Festival after Woodstock, this was the night that it became quite evident, as three Woodstock veterans closed the evening’s entertainment: The Who, hippy-dippy folk songstress Melanie and US funksters Sly And The Family Stone. The latter were by now one of the world’s top acts, mixing social commentary in songs that appealed to both rock and dance fans. 

Family Stone sax player Jerry Martini recalls that the fans were receptive to his band. “It was good. I just remember us playing our concert, going over well, and having a great time at the nightclub they had there – it was jam-packed. I remember leaving that with a good feeling.” 

While Sly And The Family Stone’s performance at the Isle of Wight went off without a hitch, Martini admits that it wasn’t quite as magical as a certain previous performance. “I don’t think it was as good as Woodstock for us. Woodstock did the most for us, but it was way up there.” 

Sunday, August 30 was the final full day of performances, featuring the man who many considered to be the absolute headliner of the whole festival: Jimi Hendrix. In the morning, an ill-advised attempt was made to clear out the huge number of people who’d gathered for Jethro Tull’s soundcheck, to ensure that those without a five-day ticket would have to pay. 

Lerner: “The attempt to empty the arena was really funny. It was impossible. They said: ‘They’re not going to do a soundcheck unless you leave. Then [Tull manager] Terry Ellis said: ‘Don’t tell them that, because we don’t care if they’re here.’ 

“They tried all sorts of things to try to get rid of the people, but they couldn’t. They were saying stupid things. And they thought the radicals were French, so the announcer said: ‘Does anyone speak French?’ This girl came, and spoke French very crudely, so the whole crowd was sniggering. She said: ‘Those who have tickets, burn your tickets, and then we’ll know you have a ticket.’ It was stupid. You’re talking about 100,000 people. They weren’t going to leave easily.”

Soon the crowd was throwing debris at the stage. 

It was around this time that a van full of young hopefuls pulled up to the festival site. It was space rockers Hawkwind , who asked if they could play an impromptu set. The organisers said they could – but outside the festival perimeter. 

Hawkwind leader Dave Brock remembers the day well: “What you’ve got to remember is the Isle of Wight has some lovely chalk cliffs. But the actual festival itself had all of these big corrugated sheets, like a prison camp. Outside the festival there was this big canvas city, at the centre of which was this gigantic inflatable tent. It had a generator running it, and the whole thing gradually inflated up. But then the generator ran out, and the tent started sinking down! 

“Jimi Hendrix came in to see what was going on. Our saxophonist [Nik Turner] had his face halfpainted silver. I think in Hendrix’s set Jimi dedicated one of the numbers to ‘the guy down in the front with a silver face’, which was Nik. Nik got around to talking to him and asked him if he’d have a jam with us. But by the time he got there the tent was deflating and people were all standing with their hands up trying to support it – it was about eight foot high.” 

Brock also recalls drugs being passed around freely: “We all took loads of LSD. Our lead guitarist, Huey [Huw Lloyd Langton], freaked out badly. He’d been spiked up on some orange juice. Unfortunately I had some as well. Suddenly I had this great rush come over me – I was all tingly and peculiar. I had this lady with me, who took me away up to the cliff tops for a walk to try and calm me down.” 

And then there was the bedlam going on outside the gates. “There were a lot of anarchists,” Brock says. “They were all saying that when the festival has made enough money, then the fences should be destroyed. They started ripping the fences down. People threatening each other and all that. There were about 10,000 people outside.” 

Back inside the festival, an early standout performance of the final day was that of Free , who were supporting their now classic Fire And Water album. 

Murray Lerner was just one of many who was knocked out by the British blues rockers. “To me they were a revelation,” he enthuses. “I had never heard them before. I thought they were fantastic – their energy, their sensibility. And All Right Now to me was really a thrilling song.”

Soon after Free’s set, another British band also impressed Lerner – The Moody Blues: 

“It was at twilight, and the lighting was unusual. I liked the singing – it was more melodic than most of the other groups. Especially Nights In White Satin . They were sympathetic to the crowd – that I remember quite well. And the beauty of the light at the time they performed was amazing.” 

Still tripping, Hawkwind’s Dave Brock recalls making it into the main area in hope of catching The Moody Blues’ set: “After the fences came down, we actually went inside there to see some of the bands. I’d been given a Mandrax – a sleeping tablet to calm me down. I fell asleep, which was a bit of a shame, because I was quite looking forward to seeing them.” 

Anticipation for Hendrix’s performance was high and building. But before Jimi it was the turn of Jethro Tull. Leader Ian Anderson ’s memories of the festival are not very fond ones, despite the band putting in a strong performance: “Things were going around both backstage and front of house that made it a little unpleasant for everybody. It was out of control, and the organisers were struggling to keep the thing from degenerating into something quite horrible. It was perhaps a testimony to the local police, and generally the welcoming residents of the Isle of Wight, that the thing happened at all.” 

Interestingly, it was Tull’s refusal to play Woodstock that set up their Isle of Wight appearance. 

“We were invited to play Woodstock and didn’t,” Anderson says. “Mainly because I didn’t want to spend my weekend among a bunch of unwashed hippies. It was too much of a defining moment for a brand new band. It would have been the beginning and the end for us – as it was for Ten Years After. As it turned out, I think it was a defining moment in that change from the hippy ideals to the rather dark and pragmatic side of music. 

“At the Isle of Wight we knew we were unlikely to get paid, and we determined early on that this was something that we really just had to go through and try and keep a modicum of a smile on our faces. So we just kind of got on with it and did our bit. It was not a good gig, it was not a bad gig, it was just a little frenetic and a little tense.”

Not long after Tull had finished playing, the compere made an announcement that sent a palpable wave of excited anticipation through the crowd that had stayed on: “Let’s have a welcome for Billy Cox on bass, Mitch Mitchell on drums, and the man with the guitar, Jimi Hendrix.” 

Finally, the performer who many had come to the festival to see, over and above anyone else, launched into what became an almost two-hour set. But – as evidenced by the 2002 DVD Blue Wild Angel: Jimi Hendrix Live At The Isle of Wight – what was expected to be a dazzling, thrilling performance fell very short of that. 

Clearly, worryingly, something was wrong. Watched on the DVD, Hendrix appears dazed, distant; almost every song includes meandering guitar improvisation; vocal lines are fluffed. Additionally, Hendrix was constantly consulting with roadies instead of concentrating on his band’s and his own performance. 

As The Who’s Pete Townshend reminisced in the 2001 DVD 30 Years Of Maximum R&B Live : “What made me work so hard was seeing the condition that Jimi Hendrix was in. He was in such tragically bad condition physically. And I remember thanking God as I walked on the stage that I was healthy.” 

Lerner, however, disagreed: “I didn’t think he was in bad shape, I just thought he was tired,” he said. “He did great renditions of Red House and Machine Gun – which I think is as good as anything he’s ever done. Although admittedly he didn’t give the usual wild, waving around [performance]. 

“Before he went on, Jimi said: ‘How does God Save The Queen go?’ And then he played it. He said: ‘Everyone stand up for your country and your beliefs, and if you don’t, fuck you.’ Machine Gun is always great, but in this case [Hendrix said]: ‘Here’s a song for the skinheads in Birmingham. Oh yeah, and Vietnam. I almost forgot about that.’ Machine Gun goes on for about 17 minutes.”

Sadly, Jimi’s performance at Isle of Wight would be his last on British soil. Just over two weeks later he was dead, aged just 27. 

Although many people continue to assume that Hendrix closed the festival, he was actually followed by performances from Joan Baez and Leonard Cohen , who played into the early hours of the following morning, before Richie Havens closed the whole thing at daybreak. 

Lerner recalled the final performers. “[Cohen] said some very nice things about the radical movement of the time: ‘We’re a small nation, but we’re going to grow. We need our own land.’ I remember he had a lot of beautiful women singing with him – I was jealous. He had that kind of attraction, I think – the suffering poet [laughs].” “I don’t consider [Havens] the last, because he played at dawn. For me, the last was Cohen. I think [Havens] wasn’t on the stage – he was walking around singing off the stage. Singing at sunrise. It was extremely moving.” 

With the end of Havens’s set, many of the remainder of the dwindling crowd made their way to the exits – bleary-eyed, hungry and unwashed. Although catastrophe seemed to hover over the festival throughout, it never came to a head. There would be many other British festivals in the wake of the turbulent 1970 Isle of Wight, and they continue today. But it was clear that such gatherings could not get by merely on the 60s peace and love ethos. 

From now on, rock festivals were now big business, and, for many of those involved, money was now the star attraction.

Contributing writer at Classic Rock magazine since 2004. He has written for other outlets over the years, and has interviewed some of his favourite rock artists: Black Sabbath, Rush, Kiss, The Police, Devo, Sex Pistols, Ramones, Soundgarden, Meat Puppets, Blind Melon, Primus, King’s X… heck, even William Shatner! He is also the author of quite a few books, including Grunge Is Dead: The Oral History of Seattle Rock Music , A Devil on One Shoulder And An Angel on the Other: The Story of Shannon Hoon And Blind Melon , and MTV Ruled the World: The Early Years of Music Video , among others.

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I Was There When: Chicago Drives Home Transcendent Musical Experience at Tanglewood 7/21/70

• By Doug Collette

The stories behind Chicago’s vaunted appearance at Tanglewood is almost (but not quite) as fascinating as the performance itself. The original headliner for this date of the late Bill Graham’s Fillmore At Tanglewood in Lenox, Massachusetts was purportedly Joe Cocker, but neither he nor alternate choice Jimi Hendrix was unable to make the date. Now, it’s not a given the latter’s refusal of the booking led to Chicago’s, but it is known the guitar icon admired the guitar work of the late Terry Kath, so…

Adding further mystique to this piece of rock and roll history is its ready availability via the web: even though it’s never been formally sanctioned for release by Chicago itself, perhaps due to licensing issues with the estate of the aforementioned rock impresario. Such minutiae, however, turn trivial in the context of the group’s stellar performance this July night at the summer home of the Boston Symphony: even with the band on the cusp of widespread fame, based on singles culled from their sophomore album released earlier in the year, members of their burgeoning fanbase probably couldn’t expect anything so visceral or complex.

This venue’s flat sight-lines notwithstanding, as the ninety-minutes plus show progressed, the audience inside the open-air shed, as well as those further populating the lawn, no doubt found it increasingly riveting. Before too long, virtually all the attendees knew they were watching and listening to a band that was not only firing in all cylinders but also well aware of the elevated level of its musicianship. July 21, 1970, was one of those transcendent experiences music-loving concertgoers dream of.

Spurred on by Kath (who would die in 1978 in a tragic firearms accident), Chicago was equally tight and versatile as they traversed material from their debut album, Chicago Transit Authority , as well as Chicago II. A nd while “Make Me Smile” and “Colour My World” had not yet fully catapulted the band into the mainstream, the group’s dawning realization of their combined power and its effect on the attendees only added atmosphere to the event.

Chicago ran the gamut of composition and style during the course of this comfortably warm, crystal-clear night. Near-perpetual touring since the release of their debut album the previous spring had honed the ensemble’s musicianship, without leaving it rote or mechanical, so the dynamic shifts taking place in this single extended set ran the gamut: from near fifteen minutes of “It Better End Soon” to the comparatively short but sweet “Does Anybody Really Know What Time It Is?,” hard-driving horns of “25 or 6 to 4” gave way to “Free Form Piano” and only then did the septet transition smoothly into the rousing suite titled  “Ballet For A Girl In Buchanan.” including the aforementioned future hits.

The unified power in the playing had its corollary in the personal camaraderie among the band members. Taking the form of verbal acclamation of each other as well as regular rounds of delighted smiles, Chicago may have been surprising itself with the splendor of its playing here in the Berkshires, but that only heightened its infectious impact on the attendees and to a great degree helped elicit (and no doubt increase the volume of) the thunderous ovation(s) and call(s) for encore(s). Judging by the wan sound of promoter Graham’s farewell to the audience (readily available to hear on the various aforementioned internet versions, there’s little doubt everyone present was fully satiated and thoroughly drained by the time this evening concluded.

Setlist:  Chicago – Tanglewood Lenox, MA –  July 21, 1970

Intro In The Country Free Form Piano Does Anybody Really Know What Time It Is? 25 or 6 to 4 Poem for the People   I Don’t Want Your Money Mother It Better End Soon Beginnings Ballet For A Girl In Buchannon (Make Me Smile) / So Much To Say, So Much To Give 06:40 Colour My World / Make Me Smile I’m a Man Terry Kath Outro;

Bill Graham Closing Announcements.

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4 responses.

I was there at my first live concert at 15 years old. Awesome to see it again. A real flashback. I think the ticket was printed “Joe Chicago” Didn’t know what to expect.

I consider this the best video taped Chicago concert in the “Terry Kath” era. I’ve seen them with and without Kath and I hate to say it but they just don’t seem to match the musical intensity. Yes, I realize they are older and only three original members remain, but their music is such that even as I’ve played most of their tunes a trumpeter in various bands, the intensity and excitement of playing those horn trio parts in a rock setting is just incredibly exciting ESPECIALLY if you have a lead guitar of Kath’s caliber—a leader who really HAD to control things on stage,. Though Keith Howland is a tremendously talented guitarist with great musicianship in all areas—–ensemble and solo as well as rhythm- he’s a different style guitarist . Maybe if Lamm would write some soloistic stuff for him , the excitement could return in a different yet equal way. Will always love them. anyway. THey are the best musicians in the rock world.

I was there! A fan – and 16 years old counselor at a local camp in Connecticut – this concert immortalised them. The music was powerful and the musicianship was crazy. I’d seen most of the greats: Joplin, The Doors, The Won. The Stones – yet this July date remains the single best concert I’d ever seen. Good to see it’s not been forgotten.

My late sister and her husband lived in the last house you saw on road up South Mt. headed to the venue’ Had tix and was fired up for the Cocker road show,then heard it would be Hendrix…OK,we’ll take that in a heartbeat. Then Chicago…you mean CTA,those guys who cover Spencer Davis so well. I guess that will be OK;I’m staying about 7 minutes from Tanglewood. 3 of us,2 joints n 1 cold bottle of Boones Farm and Holy Shit who the fk do we have here. I’ve got a solid 50 years plus of live rock shows and nobody has knocked this show out of my All Time top 10 shows. Just the incredible surprise of how hard this band cooked for 90 mins.I’m not a prisoner of Rock n Roll,Bruce,I’m a volunteer.

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Joe Cocker’s ‘Mad Dogs & Englishmen’: Inside the Triumph and Trauma of a Legendary Tour

By David Browne

David Browne

When singer Rita Coolidge attended the premiere of Mad Dogs & Englishmen , the 1971 doc that chronicled the Joe Cocker –fronted tour of the same name, the experience was far from celebratory. “I started shaking and crying and it all came back to me,” she says. “I got up and left and got in my little VW and drove home. My friends were so worried about me that they followed me. I don’t know if I’m over it yet.”

Although it’s become something of a footnote in pop history, the Mad Dogs & Englishmen tour was historic: It captured British soul singer Cocker at the peak of his career, and its joyful blend of gospel, soul, blues, and every other type of Americana powered the double album that documented the 1970 run into the Top 10 (with Cocker’s remake of the Box Tops’ “The Letter” also a hit). It also made a star out of bandleader Leon Russell, who exuded bad-boy cool on screen. But the run of shows was also fraught: An already frazzled Cocker was frustrated that Russell was in command, drugging and partying were daily occurrences, and out of the blue, drummer Jim Gordon, then Coolidge’s boyfriend, punched her so hard that she slammed against a wall.

The saga of that tour — and a tribute concert that reunited many of its participants — is newly told in Learning to Live Together: The Return of Mad Dogs & Englishmen,  a doc that will premiere at the Woodstock Film Festival later this month before arriving for a limited theatrical run in October via Abramorama. Directed by Jesse Lauter, the film time-shifts between the 1970 tour (with clips from the first Mad Dogs movie), footage from the commemorative gig at the Lockn’ Festival in 2015, and interviews with the surviving players of the original shows. Also offering insights are Steve Earle and manager Jon Landau, who each caught a Mad Dogs show back in the day, and longtime Rolling Stone  writer David Fricke.

But given the often dramatic and sometimes disturbing back story of the tour, what started as a straightforward film about that moment in time and the 2015 reunion became more than that. “While they were filming, they realized there was more meat on the bone than we thought,” says Derek Trucks, whose Tedeschi Trucks Band, co-fronted by his wife Susan Tedeschi, served as the backing band at the tribute gig. Of the sometimes unsettling moments that the movie explores, Trucks says, “It’s a tough place to go, but if you avoid that stuff, it starts to feel disingenuous at times.”

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The Mad Dogs tour was chaotic both on paper and in practice. Cocker, already coping with an overwhelming wave of post-Woodstock fame, was told by immigration authorities that he had to tour right away or lose his working papers. Coolidge says the actual reason was the dark underbelly of the sometimes mobbed-up music business. “It wasn’t so much about not working in the States but, ‘If you don’t do this tour, you’ll get your legs broken,’ ” she says. “That was common knowledge in the group — that threats had been made that if Joe didn’t do the tour, he would be hurt.”

With only a week to prepare, Russell was hired to pull together a 10-piece band — and a 10-person group of backup singers called the Space Choir — and rehearse for the 48-show run. Cocker, Russell told RS in 2015 , “was pretty wrecked when we started out. I said, ‘Does it sound good to you?’ and he said, ‘It never sounds right to me.’ I didn’t know how to take that. So I said, ‘Shit, I’ll just do whatever I want.’ ” The tour manager, Sherman “Smitty” Jones, was a former pimp, and Cocker was seen tossing down any and every pill given to him on the way to the stage. “It was party-party-party,” says Coolidge, who says she abstained from most of that. “They were having orgies every night. I would hear about them the next day.”

By the end of the shows, Cocker was fried and broke. “Joe was just worn out and so beat up and penniless,” Coolidge says. “The heart went out of him for a while. He just disappeared inside himself.”

The Tedeschi Trucks Band, which had modeled itself after the size and horn-rooted arrangements of that ensemble, had long wanted Cocker to join them onstage and perform cuts from throughout Cocker’s career. All involved had finally settled on doing such a show at Lockn’ in 2014 — part of the festival’s tradition of presenting a special, one-time get-together each year. Cocker bowed out at the last minute, but a few months later everyone knew why; he had been battling lung cancer and died that December. Tedeschi and Trucks decided to proceed with the Mad Dogs & Englishmen tribute plan anyway, to honor both the album and Cocker.

When the notoriously reclusive Russell agreed to come aboard, having previously joined the Tedeschi Trucks Band onstage, others expressed interest. “I was concerned that there wouldn’t be enough of us left alive to make it worth the while,” Coolidge laughs. She also adds, more seriously, “I also knew Leon was having some pretty serious health problems. I was concerned about him being put in a position that would tax his frailties.”

But by showtime, the lineup included former Mad Dogs like Coolidge; singers Claudia Lennear, Pamela Polland, and brothers Daniel and Matthew Moore; keyboardist Chris Stainton; and percussionists Chuck Blackwell and Bobby Torres. (Gordon, currently in prison for killing his mother, was not invited, and the tour’s other drummer, Jim Keltner, respectfully bowed out in light of his disinterest in traveling.) As Tedeschi Trucks booking agent and movie co-producer Wayne Forte says, the criteria for inviting players was “healthy, alive, and not in jail.”

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The nearly four-hour Lockn’ show went off with few hitches; Warren Haynes, the Black Crowes’ Chris Robinson, and Widespread Panic’s John Bell filled in for Cocker at various points (Dave Mason also sang lead on his “Feelin’ Alright”). At the last minute, Russell agreed to reprise “The Ballad of Mad Dogs & Englishmen,” the solo Russell studio recording heard in the original doc. Despite his health issues, which led to his death in 2016 after a heart attack, Russell held up for the entire show and, despite his surface crustiness, marveled at the stability of the Tedeschi Trucks lineup compared to the original Mad Dogs crew. “Leon was shocked by how long we’ve been together,” says Tedeschi. “He said, ‘How do you keep nine or 12 people together this long?’ They did it for a year and they had to all take time off.”

During interviews for the documentary, some of the tour’s tangled personal relationships emerged. “There were so many different undercurrents of emotions we weren’t aware of,” says Trucks, “but we could feel it.” Numerous hookups are hinted at. Coolidge, who was in a relationship with Russell before the tour, says the two had overcome their past difficulties. “In the years right after the tour, I’d see him and he would pretend I wasn’t there — he would look right past me,” she says. “He finally relaxed, one or two of his marriages later. Things got resolved over the years.”

When Cocker crashed hard after the tour, some of the criticisms were leveled at Russell, who more or less ran the shows. In Learning to Live Together , Russell, who could be guarded, addresses the backlash he experienced, saying he wished Cocker had come to his defense. “I could definitely sense resentments for it, like he almost couldn’t win in that situation,” says Lauter. “Doing this show was almost like his way of healing his relationship with Joe. That’s why I titled the movie Learning to Live Together . Everyone had musical and romantic and business relationships, and you pick up on how everyone was trying to figure it all out back then.”

Adds Lauter, “When it comes down to it, the film is ultimately a story about the great generational bridge and healer that is music. We knew it the moment the band started playing ‘The Letter,’ the first song at the first rehearsal, and you could hear Claudia’s backing vocal cut through the Space Choir. All the resentments, past drama and trauma were out the window.”

The movie’s dramatic highpoint arrives when Coolidge recalls the moment Gordon punched her in a hotel, after he’d invited her to step outside a room where a party was going on. “I know people are tired of talking about the #MeToo movement,” Coolidge says, “but it was very real, even back then, and it’s important to talk about that stuff. As a child I was never hit by an adult, or by anybody. Jim was four times my size and I was 100 pounds; he could have pinched me and it would have been enough. I had a huge shiner and I had to go onstage with it. Everybody knew it. I needed them to be part of my protection since I couldn’t do it myself.”

Forte says there was talk of how much of the backstage drama, including Coolidge’s unsettling story, to include. “There was a lot of conversation going back and forth: Is all that going to be a potential downer?” he says. “You don’t want to have people walk out of the movie depressed. But I, for one, felt it’s part of the story. It needed to be in there.” Adds Tedeschi, “It’s real life. Things happen and people like to know about someone who has gone through those things and made it through the dark side. It’s not all bad and dark.”

Transforming footage old and new into a feature film proved to be a daunting task, which accounts for the six-year delay between concert and movie. Unable to find a big-money investor, the producers raised more than $700,000 from various parties, then spent two years clearing the rights to songs by Bob Dylan, the Beatles, and others whose tunes were performed on the Mad Dogs & Englishmen album. Lauter had hoped to include some of the rumored hundreds of hours of outtakes from the original doc (which Russell, in the movie, wryly calls “300 hours’ worth of really X-rated stuff”), but those were never unearthed. (Whether those reels were misplaced or perished in the 2005 fire at Universal Music’s storage facility remains unclear.) Learning to Live Together only includes portions of the Lockn’ show, but Trucks says a live album of the complete show will be released at some point.

Coolidge, at press time, had not yet seen the film. But it seems unlikely that her traumatic experience at that premiere, 50 years ago, will repeat itself. “We’re a lot older, so there were no triggers,” the now–76-year-old singer says. “I didn’t feel like I was really back there. Hopefully you gain some wisdom and grace with age. Looking at it from this part of my life, I really valued the experience. I remembered the good parts and have no regrets.”

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Miles Davis at the 1970 Isle of Wight Music Festival: What really happened

Jon Newey Tuesday, October 12, 2021

Miles Davis played the biggest gig of his career when he brought his groundbreaking new Bitches Brew band to the 1970 Isle of Wight Music Festival, still the largest ever music event to take place in the UK. Jon Newey was there to witness this historic weekend

By midday on Saturday 29 August, the writhing sea of flesh flowing into the already over-crowded and primitive infrastructure of the vast makeshift arena was on an unprecedented scale, and more were arriving every minute. From the stage the size of the audience must have seemed beyond imagination. The numbers for the 1970 Isle of Wight Music Festival estimated by the Guinness Book of World Records were between 600,000 – 700,000, which still remains the biggest audience for a music festival in the UK. Often referred to as Britain’s Woodstock, and somewhat overshadowed in the media by that 1969 landmark American event, they both shared the dubious distinction of being declared a free festival after the attendance grew unmanageable and was overrun by tens of thousands of ticketless hippies. In the IOW’s case, a contingent of French anarchists and revolutionaries, protest-hardened from Paris 1968, also showed up and toppled fences, insisting all music should be free. Interestingly there was nary a Bobby in sight.

For Miles Davis , used to playing smoky jazz clubs with audiences up to 300 or so plus the odd summer jazz festival such as Newport, where the audience numbered around 5,000, the sheer mass of humanity stretching as far as the eye could see that weekend of Friday 28 - Sunday 30 August must have shaken even his suave demeanor. In the event, it would turn out to be the biggest audience that he, or any other jazz musician, would ever play for.

Miles Davis at the 1970 Isle of Wight Music Festival (photo: Charles Everest)

Davis, then 44, and one of the final names to be added to the bill, knew the scene was changing – and how. Jazz clubs had been closing down and reopening as rock clubs and discotheques, and the young collegiate audience that jazz had attracted from the late 1940s, through the 1950s and into the 1960s was fast moving to the new underground rock music, influenced by blues, jazz, folk and psychedelia.

Davis knew he had to remodel or be sidelined by fast changing events and his new electric band, who’d recently played the hippie shrines, San Francisco’s Fillmore Auditorium and New York’s Fillmore East, could stand tall both musically and visually among the forward-looking, cross-genre IOW festival line-up, which ranged from rock giants Jimi Hendrix, The Who, The Doors, Free, Jethro Tull and Emerson, Lake & Palmer to the powerhouse funk and soul of Sly & the Family Stone and Voices Of East Harlem; key singer-songwriters, Leonard Cohen, Joni Mitchell and Joan Baez, folk-jazz artists such as Pentangle, Richie Havens, Gilberto Gil and Caetano Veloso, and jazz influenced, horn-laden rock bands Chicago and Lighthouse.

Some of the critics were talking about how aloof I was, but that didn’t bother me; I had been this same way all of my life

The underground paper Friends (later known as Frendz ) referred to Miles’ addition as ‘the strangest choice of the festival… definitely the most musically satisfying,’ while Record Mirror ventured: “Miles Davis is going to be the one to watch. Miles is going to give the Isle of Wight that extra dimension”. And they weren’t wrong.

The festival line-up echoed the wide-open eclectic taste of the period as many rock fans were ravenous for new music while discovering jazz for the first time – hardly a giant step considering most rock bands of any worth then improvised at length and spoke freely of their jazz influences. There was talk too of Miles and Hendrix getting together afterwards to record in London, possibly with Gil Evans.

However, Miles went back to New York and Hendrix to three European festival dates before returning to London and tragically dying on 18 September of inhalation of vomit due to barbiturate intoxication. A potential meeting of the spirits, so near but yet so far.

We were flown in by helicopter because of traffic. Seeing all those people was a really awesome feeling, this is what Miles had wanted to get to and there it was. We were all pretty blown away. Jazz bands had never played for that big an audience before. It was also one of the best performances that we played as a band

When I first pitched up on Friday lunchtime at the East Afton Farm site, situated on the island’s western flank, the mellow sunrise had soon cast aside any early mist to reveal a gloriously hot day, which thankfully dictated the weather for the entire weekend. The audience had already expanded out of the festival site up the side and length of Afton Down, now dubbed Devastation Hill, much to the organiser’s annoyance. It was a vast, undulating encampment of tribes, tents and Tibetan scarves, wreathed in marijuana, cigarette and incense smoke and gathered before the largest outdoor stage and WEM PA speaker towers constructed up to that point. A veritable temple of sound for a generation in motion.

When Miles arrived on the island he was accompanied by his girlfriend Jackie Battle, (not Betty Davis who gets tagged in photos, according to Miles’ autobiography) and his band, now including new saxophonist Gary Bartz alongside Keith Jarrett, Chick Corea, Dave Holland, Jack DeJohnette and Airto Moreira.

In the 12 months since recording Bitches Brew and turning the jazz world on its head, his foot had barely been off the pedal. Not content with forging a whole new direction with this iconic recording, he’d also cut the tracks that later became Big Fun , as well as recording Jack Johnson , tracking three live albums, Live-Evil , Black Beauty and At Fillmore , (all released in 1971), and playing numerous concerts in the USA and Europe.

Keith Jarrett in a trance (photo: Eagle Rock Entertainment)

At the IOW festival, the presence of producers Teo Macero and engineer Stan Tonkel, along with the Pye Mobile Recording Studio suggested the tapes would be rolling here too. Just as well, as this extraordinary, short-lived line-up only lasted three concerts. A week before, on 18 August, they played the Berkshire Music Center in Tanglewood, Massachusetts on a bill sandwiched between Santana and Voices of East Harlem, and the Isle of Wight turned out to be their final performance. Barely two weeks later Corea and Holland quit to form Circle with Anthony Braxton and Barry Altshul

By the Saturday afternoon the playful peace ‘n’ love atmosphere began to get a little frayed around the edges, with drug squad officers dressed in hippy clothes infiltrating the crowd, and confrontations between gatecrashers and hired security guards with Alsatian dogs. Joni Mitchell’s solo acoustic set was first disrupted by a noisy helicopter which had the audience booing and shouting at it, before being further unsettled by an American hippie known as Yogi Joe, who Mitchell had previously known from a yoga session. He’d crawled onto the stage and sat by her piano before attempting to grab the microphone to speak to the crowd. Rapidly he was grabbed and dragged off stage where he continued to berate the organisers about how it should be a free festival. His incursion had Mitchell briefly in tears, though she finished her set to a standing ovation.

Meanwhile, Miles had showed up prior to Mitchell taking the stage and was introduced to her by festival MC Rikki Farr before he wandered backstage to hang-out by the mobile recording unit, talking with Macero. His moody, aloof glare suggested he didn’t exactly share the festival’s community spirit, a point that was picked up by Melody Maker in its post-festival coverage. Somewhere it hit a nerve and stayed. Two decades later Miles referred to it in his autobiography: “Some of the critics were talking about how aloof I was, but that didn’t bother me; I had been this same way all of my life.”

Miles pointed his midnight blue lacquered, gold-etched horn at the sun’s descending rays, narrowed his eyes and let rip with a feral, morse code-like blast

The festival’s DJ Jeff Dexter, a key figure on London’s underground music scene since 1967, was backstage where the atmosphere veered between late running chaos and hippie cool as Tiny Tim’s psychedelic vaudeville entourage arrived for their afternoon set.

“I attempted to engage Miles in conversation but he was somewhat negative about the rock bands, festival vibe and Tiny Tim’s wacky antics,” says Dexter. “He didn’t really talk much, though Rikki Farr, who was a big Miles fan, was embarrassingly all over him. Miles’s attitude was certainly in contrast to most of the other musicians.”

But now though it was the trumpeter’s turn. As dusk approached, the band cranked up a jagged funk vamp before Miles took to the stage, street-cool in red leather jacket, studded jeans and silver stack-heel shoes. While some artists were, not unnaturally, overawed by the vast size of the audience, Miles and the band appeared unfazed and slammed into their set with such ferocity that it jerked the audience around me from its stoned afternoon ennui into a bustle of excited head-turners. Miles pointed his midnight blue lacquered, gold-etched horn at the sun’s descending rays, narrowed his eyes and let rip with a feral, morse code-like blast. This was jazz Jim, but not as we knew it.

Underpinned by the relentless drive of Dave Holland’s circular James Brown-like electric bass figure, Jack DeJohnette’s hustling boogaloo and Airto’s nagging cuica, Miles squirted hard clusters of notes and jabbing trills, freezing the front rows with his terse boxer’s stare before Gary Bartz stepped forward to double with him on ‘Directions’ angular theme, uncoiling into a snaking, eastern tinged soprano improvisation. The tension built, the band empathy locking into a thick, churning groove stretched every which way by the warp-factor keyboards. Miles dipped his head and on cue the band turned down the heat as he breathed a languid five note motif over a deep reverberating bass drone and rattling shekere, signaling the route to ‘Bitches Brew’. Amidst the dust, heat and chaos of this enormous event, and surrounded by the loudest, most electric line-up he’d yet played with, Miles was still and centered, listening hard to the music’s in-the-moment creativity, navigating direction with ‘coded-phrases’ as this continuous modal free-funk improvisation pushed the “sound of surprise” into another dimension.

We helicoptered in. It was totally chaotic. A surreal experience standing on stage in front of the mass of people. Hard to tell what they got from the stage or what they didn’t get. It seemed to be like a massive beach party. Backstage was even more chaotic than out front. That was a fun band though! It was nice to see so many people enjoying hanging out together. For me it was a blip in time. The real thrill was playing with Miles and that band. Keith and I were on opposite sides of the stage. His instrument and my instrument sounded awful. The trumpet, saxophone, drums, percussion and bass won the day.

He opened out on long sustained trumpet notes and pinched squeals while Holland and DeJohnette nudged the ebb and flow, ratcheted the pressure and built a deeper, smoking funk force, almost Meters-like in its greasy swagger. Jack’s wide grin and Holland’s boyish smile told all, it was as though the music was playing them. Bartz re-entered the fray with a slow burn alto solo while Corea, poised and purposeful, wound slippery lines around the more experimental Jarrett, whose head and body vibrated to every note, twisting and turning, dipping and diving, lost in a personal dance with the music.

In the space of the 11 days since Davis played Tanglewood (recorded by Columbia and finally released as part of Bitches Brew 40th Anniversary box set), the band now sounded harder, funkier and in places freer. Corea and Jarrett may have been using inferior hired keyboards at the IOW – Corea a Hohner Electra piano and Jarrett an RMI electric piano/organ – but both were treated with primitive but strikingly atmospheric effects, including distortion, wah-wah and phase shifter, twisting and contouring the sound into wild new shapes. They were placed on opposite sides of the stage and their probing lines and spacey textures would spin off and collide with each other (monitoring was primitive back then), ramping up the intensity and contrapuntal tension of the music.

Like Tanglewood’s similar set, this 38-minute long uninterrupted piece also took in ‘It’s About That Time’, a short quote from ‘Sanctuary’, ‘Spanish Key’ and then closed out with ‘The Theme’. When asked afterwards what this piece was called, Miles, said: “Call it anything” which became the title of Macero’s 17-minute edit of the performance on the CBS triple LP, The First Great Rock Festivals of the Seventies – Isle of Wight/Atlanta Pop Festival , released in August 1971.

Thankfully the entire weekend was caught on film by director Murray Lerner and a crack team of cameramen. Unlike Woodstock though, the footage didn’t turn into a blockbuster movie. Due to all manner of artistic differences and financial arguments between the organisers, Lerner and lawyers, it took over 25 years to surface as Message to Love , first shown on BBC TV in 1995. It featured a shortish edit of Miles’ set alongside most of the big names, and included backstage and audience footage and commentary, Rikki Farr’s on-stage rants at the fence topplers and a retired IOW naval commander complaining of communist plots and “hippies fucking in the bushes”.

Five years later individual DVD releases started to appear from Eagle Rock containing complete artists’ performances, and in 2004 the full 38-minute Davis set was issued as Miles Electric – A Different Kind Of Blue , which also included recently filmed interviews with all the remaining band members (this DVD was reviewed in Jazzwise Feb 2005). It remains one of the most intense and mesmerising filmed performances from his entire career as he brought his new music to a younger, more diverse audience surfing the wave of the counter-cultural zeitgeist, many of whom, including this writer, would subsequently rush out to buy Bitches Brew and help it become one of the biggest-selling jazz albums of all time.

Murray Lerner’s film not only captures up close the fiery, seat-of-the pants intensity of the performance, but also some of Miles’ most fleetingly intimate and melancholic moments, caught in profile and silhouetted against the falling dusk as his final note is carried off into the cool evening air. He pauses to look at the crowd before slinging his jacket and bag over his shoulder and departing the stage while the band builds to a climatic, drone-like finish. In the deepening shadows behind the amplifier backline he stops for a moment as the crowd erupts into a standing ovation, screaming for an encore. A half-smile plays across his lips as he looks, momentarily, like he might return to the stage to give them more. But he’s Miles Davis, he doesn’t have to.

This article originally appeared in the August 2020 issue of Jazzwise. Never miss an issue – subscribe today!

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The Who Tour 1970

The Who Tour 1970 was a series of performances and tours by The Who in support of both their Tommy and Live at Leeds albums.

• 2 Live releases
• 3 Tour band
• 4.1 European Opera House and live recording dates
• 4.2 US tour
• 4.3 August–September dates
• 4.4 UK tour
• 5 Tour dates
• 7 References
• 8 External links

As in most of 1969 , the band's stage act was dominated by the stage performance of the rock opera Tommy , which had been the centerpiece of their show since the previous spring. The year began with the group bringing Tommy to various European opera houses , a trend they had begun in December 1969 when they performed at the London Coliseum . Included were January stops at the Champs-Elysees Theatre in Paris, the Royal Theatre in Copenhagen, and three opera houses in Germany. The band then focused again on recording a live album, having abandoned the idea of wading through the hours of tape they had from recording shows during their North American tour the previous autumn. While 14 February Leeds University and 15 February Hull City Hall performances were both recorded, only the Leeds recording was deemed suitable for release, as the bass track was inadvertently not captured during the first few songs at the Hull show. The result was the legendary Live at Leeds , which became a hallmark live rock album and has been released three more times since its initial May 1970 debut (the 2010 "Super Deluxe" edition would include both the Leeds and Hull performances for the first time).

After beginning recording sessions for a planned new album, the group returned to the United States for a 30-day tour in June to support Live at Leeds . In the year since the release of Tommy , the group had become rock superstars and now commanded considerably larger venues than on previous stints in the country, when they played mostly in theatres and colleges. The tour began with the band's final opera house date, as they performed two shows at New York City's Metropolitan Opera House in what was erroneously billed as their final performance of Tommy (which in reality was kept in their act for the rest of 1970). While the rock opera remained the focal point of the set, the band also featured their latest single, " The Seeker " on this tour, although it was dropped after only two weeks and would not be performed again until 2000 . They also added some material from their in-progress album (eventually abandoned in favour of Townshend's Lifehouse project), performing " Water " and "I Don't Even Know Myself" regularly; " Naked Eye ", although unfinished in the studio, was performed in various arrangements on the tour as well, generally during the long show-ending jams catalysed by " My Generation ". The group's stage show on this tour would basically remain for the rest of the year.

Following the American tour, the band was one of the headlining acts at the Isle of Wight Festival 1970 and embarked on a short European tour shortly afterward. A number of shows in the United Kingdom followed, the last being a Christmas benefit concert at The Roundhouse in London where they included what was intended to be the last complete performance of Tommy , although it would be played again a few times in 1989 . Townshend would lead the group into his Lifehouse vision when they began performing in 1971.

Live releases

Live material from 1970 (excluding TV appearances where the band mimed to pre-recorded material) has appeared on a number of different releases:

• The show of 14 February at Leeds University has been released four separate times as Live at Leeds ; the Deluxe and Super Deluxe editions include edited versions of the complete show, although out of sequence.
• " Substitute ", " See Me, Feel Me ", " Young Man Blues ", " Summertime Blues ", " Shakin' All Over ", and some of Townshend's dialogue from Leeds appear on the Thirty Years of Maximum R&B box set.
• " Magic Bus " from Leeds appears on the Greatest Hits Live compilation album.
• " Happy Jack " from Leeds appears on The Kids Are Alright soundtrack.
• " Summertime Blues " from Leeds appears on the Hooligans compilation album.
• The show of 15 February at Hull City Hall was included as part of the Live at Leeds Super Deluxe Edition; since the bass track was inadvertently not recorded during the first few songs, the bass track from the previous day's Leeds performance of these same songs was used.
• " Happy Jack " and " I'm a Boy " from Hull appear on the Greatest Hits Live compilation album.
• " Happy Jack ", " I'm a Boy ", and " A Quick One, While He's Away " from Hull appear on the View from a Backstage Pass live compilation album.
• " Heaven and Hell ", " I Can't Explain ", and " Water " on the Thirty Years of Maximum R&B Live video and DVD come from the show of 7 July at Tanglewood Music Shed in Lenox, Massachusetts , although these were not included on the 2009 re-release.
• The live album Live at the Isle of Wight Festival 1970 contains the group's entire performance at the Isle of Wight Festival 1970 , recorded on 29 August.
• The Live at the Isle of Wight Festival 1970 video and DVD contains much of the group's performance, though out of sequence.
• The film Message to Love , a documentary of the 1970 Isle of Wight Festival, includes " Young Man Blues " and " Naked Eye ".
• " Young Man Blues " and "I Don't Even Know Myself" on the Thirty Years of Maximum R&B Live video and DVD also come from the Isle of Wight Festival.
• Roger Daltrey  - lead vocals, tambourine, harmonica
• Pete Townshend  - lead guitar, vocals
• John Entwistle  - bass guitar, vocals
• Keith Moon  - drums

Typical set lists

European opera house and live recording dates.

The band played several shows in various opera houses in Europe starting on 16 January at the Champs-Elysees Theatre in Paris, as well as two shows in February that were recorded for the purposes of a live album. The set for these shows was the same as in late 1969, with shows again ending with long versions of " My Generation " that included themes from Tommy and other instrumental passages. The group also played a short series of university shows in England in April and May, but no set list information for these dates has surfaced.

All songs written by Pete Townshend unless otherwise specified.

• " Heaven and Hell " ( John Entwistle )
• " I Can't Explain "
• " Fortune Teller " ( Naomi Neville )
• " Young Man Blues " ( Mose Allison )
• " Substitute "
• " Happy Jack "
• " I'm a Boy "
• " A Quick One, While He's Away "
• " Overture "
• " It's a Boy "
• " Amazing Journey "
• " Eyesight to the Blind " ( Sonny Boy Williamson II )
• " Christmas "
• " The Acid Queen "
• " Pinball Wizard "
• " Do You Think It's Alright? "
• " Fiddle About " ( John Entwistle )
• " Tommy Can You Hear Me? "
• " There's a Doctor "
• " Go to the Mirror! "
• " Smash the Mirror "
• " Miracle Cure "
• " Sally Simpson "
• " I'm Free "
• " Tommy's Holiday Camp " ( Keith Moon )
• " We're Not Gonna Take It "/" See Me, Feel Me "
• " Summertime Blues " ( Eddie Cochran , Jerry Capehart )
• " Shakin' All Over " ( Johnny Kidd )
• " Spoonful " ( Willie Dixon ) (not played every night)
• " My Generation " (usually including "See Me, Feel Me", "Naked Eye (instrumental)", "Coming Out To Get You" and "Sparks".)
• " Magic Bus " (performed at least once, at Leeds University on 14 February)

"Fortune Teller", "Tattoo", "Happy Jack", "I'm a Boy", and "A Quick One, While He's Away" were all dropped after these dates.

A 30-day tour of the United States began with two shows at the Metropolitan Opera House in New York City on 7 June, concluding with a show at Tanglewood Music Shed in Lenox, Massachusetts on 7 July that was filmed for an aborted TV special. The set for the tour was altered somewhat to allow for four new songs, " The Seeker " (dropped after two weeks), " Water ", "I Don't Even Know Myself", and occasional performances of " Naked Eye ".

• " The Seeker " (dropped after 19 June)
• "I Don't Even Know Myself" (not played every night)
• " Fiddle About "
• " Tommy, Can You Hear Me? "
• " Sally Simpson " (dropped after 9 June)
• " My Generation " (usually including "See Me, Feel Me", "Naked Eye (instrumental)" and "Sparks". "I Don't Even Know Myself" was included on 14 June.)
• " Naked Eye " (not played every night)

There were some set list substitutions, variations, and order switches during the tour. Some other songs were played which are not in the above lists:

• Performed on 7 June (early show).
• Performed on 14 June.
• Performed on 15 and 19 June.
• Performed during " My Generation " on 7 July.

August–September dates

Following the US tour, the group played several dates in England, then the Isle of Wight Festival ; a short European tour followed. The set was the same as on the previous tour, with the exception of " Shakin' All Over " now segueing into the rock standard " Twist and Shout "; the band also stopped including Tommy themes in their long versions of " My Generation " and often moved it into " Naked Eye " and " Magic Bus ".

The band finished the year with sporadic dates in the United Kingdom starting on 6 October in Cardiff , Wales. These were the last dates in which they showcased Tommy , which would not be performed in complete form again until 1989. They continued to play the same basic set as in August and September, occasionally adding loose versions of Free 's " All Right Now " towards the end of the show. Their last performance of the year was at a charity benefit at The Roundhouse in London on 20 December, which also featured Elton John . Of note is that this tour is the last in the group's history in which no live recordings have surfaced.

• List of The Who tours and performances
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External links

• The Who Online Concert Guide
• The Boy Who Heard Music
• The Who's Tommy
• Who's for Tennis?
• Rock Is Dead—Long Live Rock!
• The Roots of Tommy
• The Who's Tommy Pinball Wizard
• Who Covers Who?
• " A Tale of Two Springfields "
• Awards and nominations
• Musical equipment
• Track Records
• Ramport Studios
• The Rolling Stones Rock and Roll Circus
• Kim McLagan
• Chapel House, Twickenham
• Ashdown House, Oxfordshire
• Tara, Chertsey
• Holmshurst Manor
• Compilation albums
• Live albums
• Soundtracks
• Tommy (1975 film)
• The Who's Tommy (1992 musical)
• Tommy and Quadrophenia Live
• Live at the Isle of Wight Festival 1970
• Live at Leeds
• The Who Tour 1969
• 1989 reunion tour
• The Smithereens Play Tommy
• Two's Missing
• Tommy (1975 soundtrack)
• My Generation
• A Quick One
• The Who Sell Out
• Quadrophenia
• The Who by Numbers
• Who Are You
• Face Dances
• Endless Wire
• Use dmy dates from June 2014
• EngvarB from June 2014
• 1970 concert tours
• The Who concert tours
• Tommy (rock opera)
• Concert tours of Europe
• Concert tours of North America
• Pages with script errors

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Category : Tour de France 1970

Subcategories.

This category has the following 2 subcategories, out of 2 total.

• Tour de France 1970 in La Rochelle ‎ (6 F)
• Yellow jerseys of the Tour de France in 1970 ‎ (5 F)

Media in category "Tour de France 1970"

The following 9 files are in this category, out of 9 total.

• 1970 events in France
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REVIEW OF BOB DYLAN 1970

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Bob Dylan. Bob Dylan 1970. 3 CDs, Sony Legacy, Columbia Records, 2021.

REVIEW BY David Thurmaier, University of Missouri, Kansas City

In Chronicles, Volume One , Bob Dylan casually describes the two albums he released in 1970 ( Self Portrait and New Morning ): “I released one album (a double one) where I just threw everything I could think of at the wall and whatever stuck, released it, and then went back and scooped up everything that didn’t stick and released that too.” Dylan’s methods of working in the studio are legendary, quickly recording batches of songs, but these sessions were somewhat different. For one thing, many of the songs included on Self Portrait (released in June 1970) were covers, and not just from the expected traditional folk repertoire; instead, Dylan covered songs by his contemporaries like Paul Simon’s “The Boxer,” and Gordon Lightfoot’s “Early Mornin’ Rain,” in addition to oddities like Rodgers and Hart’s “Blue Moon,” live cuts from his Isle of Wight performance with The Band the previous year, and several songs credited to “traditional.” In addition, the songs featured more unusual arrangements, some with choirs and strings, resulting in a markedly different sonic experience. Some of the songs were delivered in Dylan’s “crooning” Nashville Skyline voice, whereas others displayed his usual raspy vocal timbre (occasionally both appear in the same song). The result was an album largely panned by critics, though it experienced some chart success, climbing to #4 in the US and #1 in the UK. When New Morning was released in October 1970, and was comprised of all original songs, critics and the public exhaled strongly, pleased that Dylan was “back.” Not clear at the time of release was that some of the songs for both Self Portrait and New Morning were recorded during the same sessions, as Dylan alludes to in the earlier quote. And this new release of Bob Dylan 1970 (hereafter 1970 ) helps complete the genesis and development of these two recordings.

Ostensibly released as a copyright-extension set for Sony/Universal to protect the recordings from going into European public domain, 1970 follows in a series of similar Dylan albums with titles of years (e.g., 1963 , 1964 , etc.) containing numerous alternate takes presented in one collection. This three-CD set unearths 74 tracks of previously unreleased material presented chronologically from ten different sessions in 1970. If one were to combine the tracks from 1970 with those from the same sessions released on 2013’s Another Self Portrait (1969-71) , a reasonably complete picture of Dylan’s studio activities during 1970 emerges. Whereas Another Self Portrait was curated to provide a more varied and flowing listening experience, containing music from 1969 and 1971 as well, 1970 presents its sessions in order, with multiple takes, jams, and some studio chatter so the listener can feel like a fly on the wall hearing the songs take shape. Though there are a few cuts from Self Portrait (e.g., “Alberta” and “Woogie Boogie”), most of the set consists of myriad diverse covers, the session with George Harrison, and many alternate versions of songs from New Morning . 

First, let’s get the “star power” aspect of the collection out of the way. One could reasonably assume the collection would attract fans of Dylan and the Beatles due to the cover billing of “special guest George Harrison.” As is well known, Dylan and Harrison were friends for many years, beginning when Dylan infamously introduced the Beatles to marijuana in 1964, followed by a Thanksgiving holiday Harrison spent at Dylan’s Woodstock house in 1968, Dylan’s rousing performance at Harrison’s Concert For Bangladesh in 1971, and becoming bandmates in the Traveling Wilburys in the late 1980s/early 1990s. When Harrison joined Dylan in Columbia Studio B in New York on May 1, 1970, the Beatles had officially broken up and Harrison would not commence work on All Things Must Pass for another month (incidentally, starting the album with a Harrison-Dylan original, “I’d Have You Anytime”). Harrison happened to be in New York that day doing an interview with Howard Smith, and he joined Dylan in the studio. The thought of two friends and icons spending the day in the studio together sounds tantalizing. Rolling Stone even published a story in their May 28, 1970 issue called “Bob Dylan’s Secret Recording Session with George Harrison and Friends.” The story notes that the session was “kind of a nice, loose thing,” Dylan sang Beatles songs, and Harrison sang Dylan songs. Add Charlie Daniels on bass, producer Bob Johnston on keyboards, and session drummer Russ Kunkel and one should have the formula for a solid musical collaboration.

What did the quintet play that day? The selections can be divided into three categories: old Dylan originals (“Song To Woody,” “Mama, You Been On My Mind” [which Harrison would also record, later released on Early Takes, Vol. 1 ], “Just Like Tom Thumb’s Blues,” “One Too Many Mornings,” “Gates Of Eden,” “I Don’t Believe You (She Acts Like We’ve Never Met),” “I Threw It All Away,” “Honey, Just Allow Me One More Chance,” “Rainy Day Women #12 & 35,” “It Ain’t Me Babe”); seemingly random covers by other artists (“Yesterday,” “Da Doo Ron Ron,” “I Met Him On A Sunday,” “Cupid,” “All I Have To Do Is Dream,” “Matchbox,” “Your True Love,” “Ghost Riders in the Sky”); and some recent Dylan originals (“Telephone Wire,” “Fishing Blues,” “Sign On The Window,” and “If Not For You”). To say that most of this material is essential or even rewards repeated listening would be an overstatement. If one did not know Harrison was at this session, his contributions could easily be missed. He sings background vocals on nine of the songs, though his parts are understated and often barely audible. By contrast, Harrison’s guitar work occasionally shows some of his idiosyncratic touches, but sounds mostly like he is learning the songs (or asking others for the chords). On the one hand, hearing two music legends plow through a plenitude of Dylan and rock classics can be occasionally interesting and fun — “Song To Woody” is transformed into a rollicking waltz, “Mama, You Been On My Mind” is refashioned as a country march with some tasty guitar from Harrison, Dylan and Harrison have fun on a pair of Carl Perkins songs, and the duo does a fairly successful Everly Brothers imitation on “All I Have To Do Is Dream” — but on the other hand, many of the songs are marred by plodding bass by Daniels, as well as some truly desultory performances (e.g., “Yesterday”). But, despite its lack of varnish, it is nice to have an official release of this session for historical completion. 

If the Dylan/Harrison jamming is not really worth the price of admission, how does the rest of the material stack up on 1970 ? As someone who enjoys hearing the creative process of a song or album take shape, I would argue that there is some valuable material on these discs. For example, one can trace the development of several songs from New Morning that appear here in multiple takes. Let’s consider “If Not For You,” a song that Dylan recorded numerous times, and which Harrison later covered on All Things Must Pass . The session on May 1 with Harrison includes the version already released on The Bootleg Series, Volumes 1-3 , but 1970 also contains four additional takes done that same day: 

• Take 1 features Dylan on piano, is fairly slow with lots of bass noodling and the musicians learning the parts, ending in a breakdown.
• Take 2 has Dylan on acoustic guitar, is even slower, with busier bass and some awkwardness in the drums.
• Take 3 improves substantially, with more parts added, including the harmonica. This take is similar in spirit to the version on The Bootleg Series, Volumes 1-3 . 
• Another take is included (track 17), and the band reverts to the slow version, with lumbering drums and Dylan back on piano.

When the sessions reassemble on June 2, with David Bromberg, Ron Cornelius (guitar), Al Kooper (organ), Daniels, Kunkel, and unidentified background vocalists, the sound of the song becomes more countrified as heard in two takes. We hear a jaunty piano part, dobro, and a particularly raspy Dylan vocal familiar on New Morning , accentuated by a summer cold. The final versions of “If Not For You” appear on the August 12 session, where Dylan completely rerecords the song with Buzzy Feiten, Harvey Brooks, and Kooper in a different key, much faster, and similar to the final version on New Morning . Even though Dylan’s recording methods were often brisk, this set reveals his experimentation with “If Not For You” over several months in different styles. Beginning with the Harrison session on May 1, and ending with the August session, listeners can hear the song’s transformation to its final form on New Morning . For Harrison fans, this process is interesting because his own conception of the song on All Things Must Pass seems to originate in the May 1 session, and would later get the full Phil Spector treatment, whereas Dylan took the song in a completely different direction.

With this material in mind, is 1970 worth getting? It was not released on streaming services, so one has to buy the three-CD set (reasonably priced on Amazon at $16.79). One also gets liner notes by Michael Simmons that allude to the poor reviews of Self Portrait and give basic details and insights about the songs recorded on these sessions, highlighting how Dylan “recovers traditional folk, country, and blues, and then-current pop and country music.” Complete information for each session is also included, with the dates, titles, and personnel, as well as some photos from the era. For anyone interested in this mysterious and often-overlooked period in Dylan’s career, 1970 will be valuable as a reference and for its history. One may not listen often to the repetitive and ragged sessions, but this set is recommended for Dylan fans. 

Dylan Review

Dylan Review is published by Curfew Gull, a 501(c)(3) non-profit corporation.

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Previous Gig

17 Jul 2012

Jun 14, 1970 – Anaheim, CA, US

1 thought on “jun 14, 1970 – anaheim, ca, us”.

I not only attended this show, but had a back stage pass… I was 17 at the time. I took a picture of Pete at his dressing room, and he was shaking the hand of a photographer, wearing his white Boiler Suit, Boots, and carrying a Red Gibson SG Pro (I believe). In the background of the picture, Roger Daltry was sitting on a couch, talking with John Sebastian.

After the Who’s set, I walked on stage, while Roger was off to the side chatting up the ladies, and actually got a pair of Keith’s drumsticks! I remember walking towards them and Roger saying Keith’d kill me if he came out and saw me! Guess it’s a good thing he didn’t come out!

I will be seeing the band once again Feb 8 2013 at the HArd Rock, Las Vegas. Can’t wait!

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Black Sabbath Concerts 1970s

• View history

January 13, 1970 Henry's Blues House, Birmingham, ENG (supported by Climax Chicago, Duster Bennett & Graham Bond)

January 24, 1970 Polesworth Memorial Hall, Tamworth, ENG (supported by The Dave Harris Disc-K-Tek Show)

February 5, 1970 Sophia Gardens Pavilion, Cardiff, WAL (Cardiff Arts Center Project, with Pink Floyd, Quintessence, Daddy Longlegs, Gary Farr, Heaven, Tea & Symphony, and Ron Geesin)

February 6, 1970 Mothers, Birmingham, ENG (supported by John Peel)

February 10, 1970 Banklands Youth Club, Workington, ENG

February 13, 1970 Workington College of Further Education, Workington, ENG (Valentine's Dance, supported by Confucius)

February 16, 1970 New Friarage Hall, Aylesbury, ENG (supported by Farm)

February 21, 1970 Temple Club, London, ENG (supported by Titus Groan)

February 28, 1970 Toft's, Folkestone, ENG

March 4, 1970 Berlin Concert House, Berlin, GER

Black Sabbath Tour:

March 8, 1970 Wilton Hall, Milton Keynes, ENG (supported by Writing On the Wall)

March 9, 1970 Roundhouse, London, ENG (Atomic Sunrise Festival, with Quintessence and Gypsy)

March 11, 1970 Mother's Club, Birmingham, ENG

March 13, 1970 Marquee, London, ENG

March 14, 1970 Manchester University, Manchester, ENG (supported by Stack Waddy)

March 15, 1970 St. George's Hall, Bradford, ENG (supporting Blodwyn Pig)

March 16, 1970 Marquee, London, ENG (supported by Grisby Dyke & Straight Lace)

March 18, 1970 The Cosmo, London, ENG (Oxfam Dance, supporting Andromeda)

March 19, 1970 Hounds, London, ENG

March 22, 1970 Nottingham Boat Club, Nottingham, ENG

March 25, 1970 Mother's Club, Birmingham, ENG (supported by Grisby Dyke & Straight Lace)

March 28, 1970 Temple Club, London, ENG (supported by Gypsy and Sour Milk Sea)

March 29, 1970 Victoria Park, London, ENG (Free Easter Festival, with John Lennon & Yoko Ono, Amazing Grace, Agula, Curved Air, J.J. Jackson's Dilemma, Alan Rushton, The Scratch Orchestra, Shy Limbs, The Spontaneous Music Ensemble, The Sunflower Brass Band, Liverpool Scene, Toe Fat, and The Crazy World of Arthur Brown)

March 30, 1970 Ernst Merck Halle, Hamburg, GER ( Hamburger Pop & Blues Festival , with Alexis Korner, Amon Duul II, Chicken Shack, Day of Phoenix, East of Eden, Flaming Youth, Frumpy, The Greatest Show On Earth, Hardin & York, Killing Floor, Man, Marsupilami, Renaissance, Sphinx Tush, Steamhammer, The Groundhogs, The Nice, Tomorrow's Gift, and Warm Dust)

March 31, 1970 Banklands Youth Club, Workington, ENG

April 3, 1970 Star Hotel, Croydon, ENG (supported by White Lightning)

April 5, 1970 Lyceum, London, ENG (supporting Steamhammer, with Gin House, Flare, and Anne Nightingale)

April 8, 1970 Mothers, Birmingham, ENG (cancelled)

April 9, 1970 Mayfair Ballroom, Newcastle, ENG (supporting Taste, with Dogg)

April 10, 1970 King's Hall, Stoke, ENG (supported by Juicy Lucy)

April 11, 1970 Toft's, Folkestone, ENG

April 12, 1970 Groovesville Wake Arms, Epping, ENG

April 16, 1970 Empire Rooms, London, ENG (Kilburn Polytechnic SU Charity Week Dance, supported by Hardin & York & Van Der Graaf Generator)

April 17, 1970 Van Dike Club, Plymouth, ENG

April 18, 1970 Pied Bull, London, ENG

April 19, 1970 Civic Theater, Darlington, ENG

April 20, 1970 Pied Bull, London, ENG

April 21, 1970 Town Hall, Birmingham, ENG (supported by The Egg)

April 22, 1970 Odeon, Watford, ENG (supported by Caravan)

April 23, 1970 Mayfair Ballroom, Newcastle, ENG (supported by Taste)

April 24, 1970 Starlight Ballroom, Crawley, ENG

April 25, 1970 Grugahalle, Essen, GER (International Essen Blues & Pop Festival, with Burnin Red Ivanhoe, The Edgar Broughton Band, Ekseption, Hardin & York, It's a Beautiful Day, Johnny Winter, The Keef Hartley Band, Kraftwerk, Krokodil, Little Free Rock, Marsha Hunt, Missus Beastly, Organisation, The Oscar Benton Blues Band, Renaissance, Rhinoceros, Taj Mahal, Ten Wheel Drive, The Flock, The Greatest Show on Earth, The Groundhogs, The Third Ear Band, Xhol Caravan)

April 26, 1970 Royal Albert Hall, London, ENG (cancelled)

April 27, 1970 Montreux Casino, Montreux, SUI (Galas de la Rose d'Or, with Antoine, Jeannie Bennett, Nimo Ferrer, Flirtation, R.B. Greaves, Half-a-Crown, Kathy Kovacs, Ashton Gardner & Dyke, and The New York Rock & Roll Ensemble)

April 29, 1970 Electric Circus, Lausanne, SUI

May 2, 1970 Hellfire Cavern, High Wycombe, ENG

May 3, 1970 The Castle, Richmond, ENG (cancelled)

May 3, 1970 Angel, Godalming, ENG

May 7, 1970 Top Spot, Scarborough, ENG

May 8, 1970 IL Rondo, Leicester, ENG

May 9, 1970 Bradford University, Bradford, ENG

May 10, 1970 Redcar Jazz Club, Redcar, ENG

May 13, 1970 Hatherton Hall, Walsall, ENG (supported by Slam Hammer)

May 14, 1970 Marquee, London, ENG (supported by Bakerloo)

May 15, 1970 Eel Pie Island Hotel, Twickenham, ENG (supported by Tiny Clanger)

May 16, 1970 Alexis Disco, Salisbury, ENG

May 17, 1970 Jephson Gardens Pavilion, Leamington Spa, ENG (supported by Galliard)

May 18, 1970 King's Head Blues Club, London, ENG (supported by Ipsissimus)

May 19, 1970 Assembly Rooms, Surbiton, ENG

May 20, 1970 Judges Hall, Tonypandy, WAL (unconfirmed)

May 21, 1970 Ritz, Bournemouth, ENG

May 22, 1970 Blackwood Institute, Glamorgan, WAL (cancelled?)

May 23, 1970 Plumpton Racecourse, Lewes, ENG (A Bank Holiday Festival, with Audience, Black Widow, Chicken Shack, Christine Perfect, Fairfield Parlour, Ginger Baker's Air Force, Gra, Hard Meat, Jan Dukes de Grey, Judas Jump, Julie Driscoll, King Crimson, May Blitz, Richie Havens, Roy Harper, Savoy Brown, The Gun, The Keith Tippett Group, Van der Graaf Generator, and Warm Dust)

May 24, 1970 Torch Club, Stoke-On-Trent, ENG

May 28, 1970 McIllroy's Ballroom, Swindon, ENG

May 29, 1970 Corn Exchange, Cambridge, ENG

May 30, 1970 Winter Gardens, Malvern, ENG (supported by Sidewinder)

May 31, 1970 Winter Gardens, Cleethorpes, ENG

June 2, 1970 Olympia, London, ENG ( Extravaganza '70 , supporting Wild Angels)

June 5, 1970 Green's Playhouse, Glasgow, SCOT (supported by Family and Chicken Shack)

June 6, 1970 Usher Hall, Edinburgh, SCOT (supported by Family and Chicken Shack)

June 7, 1970 Groovesville Wake Arms, Epping, ENG (supported by Family and Chicken Shack)

June 8, 1970 Music Hall, Aberdeen, SCOT (supported by Family and Chicken Shack)

June 10, 1970 Fox on the Hill, London, ENG (supported by D.J. Bob Stevens)

June 12, 1970 Lancaster University, Lancaster, ENG

June 13, 1970 Winter Gardens Pavilion, Weston-super-Mare, ENG (supported by Brass Syndrome, The Lizard Sounds Discotheque with D.J. Paul, The Mike Slocombe Combo, and Kaleidoscope Lightshow)

June 14, 1970 The Greyhound, London, ENG (supported by D.J. Bob Stevens)

June 15, 1970 Churchill College, Cambridge, ENG

June 20, 1970 Frankfurt Cycling Stadium, Frankfurt, GER (Open Air Rock Circus, with Ashton Gardner & Dyke, Badfinger, Bo Diddley, Chicken Shack, Chuck Berry, Deep Purple, The Edgar Broughton Band, Family, Heavy Jelly, Jackie Lomax, Little Free Rock, Nosferatu, Screaming Lord Sutch, Steamhammer, and The Byrds)

June 21, 1970 Klein Flottbek Derby Square, Hamburg, GER (Big Gig Open Air Festival, with Colosseum, East of Eden, Family, Gentle Giant, Humble Pie, Keith Emerson, Mungo Jerry, Rare Bird, and Uriah Heep)

June 22, 1970 Essen, GER

June 25, 1970 Domed Hall, Hanover, GER (supported by Magic and Life & Groups)

June 26, 1970 Free University Main Auditorium, Berlin, GER (supported by Frumpy and Hairy Chapter)

June 27, 1970 Beat Club, Langelsheim, GER

June 28, 1970 Saint Roche Park, Ciney, BEL

July 1, 1970 Marquay Club, Torquay, ENG (supported by Adolphus Rebirth and Blue Blood)

July 4, 1970 Dreamland Ballroom, Margate, ENG

July 5, 1970 East Sea Hall, Kiel, GER (Progressive Pop Festival, with Hardin & York, The Groundhogs, Frumpy, Sphinx, Tush, Tomorrow's Gift, and Beautique In Corporation)

July 8, 1970 Marquee, London, ENG (supported by Harry The Horse)

July 10, 1970 Eissportstadion, Munich, GER ( Euro Pop '70 A-Z Musik Festival , with Amon Duul II, Atomic Rooster, Black Widow, Brinsley Schwarz, Bronco, Deep Purple, East of Eden, The Edgar Broughton Band, Free, Golden Earring, Hard Meat, Jody Grind, Juicy Lucy, Mighty Baby, Out of Focus, Savoy Brown, Status Quo, Steamhammer, Taste, Traffic, and Van Der Graaf Generator)

July 11, 1970 Lincolnshire Showground, Lincoln, ENG (Baston Festival)

July 16-19, 1970 Fillmore West, San Francisco, CA (Postponed)

July 17, 1970 Lyceum, London, ENG (Klooks At the Lyceum, with Yes, Uriah Heep, Clark Hutchinston, Big Lil, DJ Andy Dunkley, and First Light Show)

July 18, 1970 Civic Hall, Dunstable, ENG

July 21-24, 1970 Whiskey a Go-Go, Los Angeles, CA (Postponed)

July 25, 1970 Olympic Theater, Los Angeles, CA (Postponed)

July 25, 1970 Rhodes Center, Bishop's Stortford, ENG

July 27-30, 1970 Beavers, Chicago, IL (Postponed)

July 29, 1970 Town Hall, Torquay, ENG

July 31-August 2, 1970 Fillmore East, New York City, NY (Postponed)

August 8, 1970 Plumpton Racecourse, Lewes, ENG (National Jazz & Blues Festival, with Audience, Brian Davison's Every Which Way, Burnin Red Ivanhoe, Caravan, Cat Stevens, Chris Barber, Clark-Hutchinson, The Climax Blues Band, Colosseum, Dada, Daddy Longlegs, Deep Purple, East of Eden, Family, Fat Mattress, Fotheringay, Granny's Intentions, Hard Meat, Hardin & York, Jackson Heights, Juicy Lucy, The Keef Hartley Band, Made in Sweden, Magna Carta, Patto, Peter Green, Quatermass, Rare Bird, Steamhammer, The Strawbs, Taste, The Groundhogs, The Incredible String Band, Turley Richards, Van Der Graaf Generator, The Wild Angels, Wishbone Ash, and Yes)

August 12, 1970 Fantasio Club, Dortmund, GER

August 21, 1970 Beguinage, Bilzen, BEL (Jazz-Bilzen, with Amazing Mistery, Annie Ross, Arthur Conley, The Babs Robert Quintet, Badfinger, Bismark, Burning Plague, Cat Stevens, Dizzy Gillespie, Djengis Khan, Doctor Down Trip, Eddie Boyd, Etienne Verschueren, Freddie Hubbard, Guy Mortier, Jan Ptaszyn Wroblewski, The Johnny Dover Big Band, Kate's Kennel Kate, Kevin Ayers, Kleptomania, May Blitz, Pierre Favre, Rare Bird, Screaming Lord Sutch, Stu Martin, The Dream, The Humblebums, The Kinks, The Wild Angels, and Willy Rogg)

August 22, 1970 Betuws Spectacle, Beusichem, NED (Betuwse Popfestival, with Golden Earring, The Wild Angels, Arthur Brown & The Gass, The Kinks, Cat Stevens, The Dream, May Blitz (cancelled), and Bismarck (cancelled))

August 25, 1970 Studio X, Bielefeld, GER

August 30, 1970 Casino De Montreux, Montreux, SUI (Cancelled until the next day, with Taste)

August 31, 1970 Casino De Montreux, Montreux, SUI (Rescheduled from the previous day with Taste & Cactus. The Doors cancelled)

Paranoid Tour:

September 11, 1970 Brangwyn Hall, Swansea, WAL

September 12, 1970 SPA Royal Hall, Bridlington, ENG (cancelled)

September 13, 1970 The Greyhound, London, ENG (supported by Stevens)

September 14, 1970 King's Head, London, ENG

September 15, 1970 Marquee, London, ENG (supported by The Dog That Bit People)

September 18, 1970 Sisters Club, London, ENG (cancelled)

September 20, 1970 L'Olympia, Paris, FRA (supported by Manfred Mann Chapter III)

September 22, 1970 Basel, SUI (supported by Manfred Mann Chapter III)

September 23, 1970 Zurich, SUI (supported by Manfred Mann Chapter III)

September 24, 1970 Lausanne, SUI (supported by Manfred Mann Chapter III)

September 25, 1970 Paradiso, Amsterdam, NED (supported by Manfred Mann Chapter III)

September 26, 1970 Ahoy, Rotterdam, NED (supported by Manfred Mann Chapter III)

September 27, 1970 The Hague, NED (supported by Manfred Mann Chapter III)

September 30, 1970 Prince's Park, Southport, ENG (supported by Manfred Mann Chapter III)

October 1, 1970 Antwerp, BEL (supported by Manfred Mann Chapter III)

October 2, 1970 't Kuipke, Ghent, BEL (supported by Manfred Mann Chapter III)

October 3-4, 1970 Theater 140, Brussels, BEL (supported by Manfred Mann Chapter III)

October 8, 1970 Hjoerring Gymnasium, Hjoerring, DEN (cancelled)

October 9, 1970 Dronningborg Hall, Randers, DEN (cancelled)

October 10, 1970 House of Culture, Helsinki, FIN (cancelled)

October 13, 1970 Marquee, London, ENG (cancelled)

October 16, 1970 Mayfair Ballroom, Birmingham, ENG (The 1st Midland All-Night Head Rock Explosion, with Trapeze, Galliard, Rock Rebellion, and Rockin' Chair)

October 17, 1970 Queen Mary College, London, ENG (supported by Principal Edward's Magical Theater Farrm and Manfred Mann Chapter III)

October 18, 1970 King's Head Blues Club, London, ENG (supported by Kripple Vision)

October 20, 1970 South Parade Pier, Portsmouth, ENG

October 23, 1970 Mayfair Ballroom, Newcastle, ENG (supported by Manfred Mann Chapter III and Audience)

October 24, 1970 Newark Showground, Newark, ENG (cancelled appearance, due to an injury to Tony Iommi)

October 25, 1970 Pavilion Theater, Bournemouth, ENG

October 26, 1970 Royal Festival Hall, London, ENG (supporting Emerson, Lake, & Palmer, with Freedom. Drummer Bobby Harrison of Procol Harum joined for "Freedom")

October 30, 1970 Rowan University Esbjornson Gymnasium, Glassboro, NJ (supported by Haystacks Balboa)

October 31, 1970 The Patio, Coral Gables, FL (supporting Canned Heat)

November 1, 1970 Ungano's Ritz Theater, New York City, NY

November 2, 1970 Club X, Rochester, NY (supported by Cactus)

November 4, 1970 Haybarn Theater, Plainfield, VT (cancelled due to severe and unexpected snowstorms stranding the band in Rochester)

November 7, 1970 University of Maine, Portland, ME (supported by Badfinger and Mungo Jerry)

November 9, 1970 Ohio Theater, Columbus, OH (supporting Jethro Tull)

November 10, 1970 Fillmore East, New York City, NY (2 shows. Supporting The Faces, with The Pig Light Show and If)

November 11-15, 1970 Whisky-A-Go-Go, West Hollywood, CA (2 shows each night, supporting Alice Cooper (on 11th), with Ashton Gardner and Dyke & The Glass Family)

November 19-22, 1970 Fillmore West, San Francisco, CA (2 shows each night, supporting Love & The James Gang, with Sugarloaf)

November 25-26, 1970 Eastown Theater, Detroit, MI (supporting Savoy Brown, with Quatermass)

November 27, 1970 Sunshine Inn, Asbury Park, NJ (supported by Cactus & Steel Mill)

November 28, 1970 Century's Paramus Theater, Paramus, NJ

December 5, 1970 Liverpool Stadium, Liverpool, ENG (supported by Yes, East of Eden, & Stray)

December 12, 1970 KB Hall, Copenhagen, DEN (supported by Daisy)

December 13, 1970 Amsterdam Concert Hall, Amsterdam, NED

December 14, 1970 Mercator Hall, Duisburg, GER

December 18, 1970 Pan-South Sports Hall, Wanne-Eickel, GER

December 19-20, 1970 L'Olympia, Paris, FRA (supported by Freedom)

January 7, 1971 City Hall, Hull, England (supported by Freedom and Curved Air (who cancelled))

January 8, 1971 Town Hall, Birmingham, England (supported by Freedom and Curved Air)

January 9, 1971 Colston Hall, Bristol, England (supported by Freedom and Curved Air)

January 11, 1971 Guildhall, Southampton, England (supported by Freedom and Curved Air)

January 14, 1971 Oval Hall, Sheffield, England (supported by Freedom and Curved Air)

January 15, 1971 Empire Theater, Edinburgh, Scotland (supported by Freedom and Curved Air)

January 16, 1971 Music Hall, Aberdeen, Scotland (supported by Freedom and Curved Air)

January 18, 1971 City Hall, Newcastle, England (supported by Freedom and Curved Air)

January 19, 1971 Albert Hall, Nottingham, England (supported by Freedom and Curved Air)

January 20, 1971 Free Trade Hall, Manchester, England (supported by Freedom and Curved Air)

January 23, 1971 Leeds University, Leeds, England (supported by Freedom and Curved Air)

January 29, 1971 Wellington, New Zealand (cancelled)

January 31, 1971 Myponga Festival Site, Myponga, Australia (Myponga Pop Festival, with Billy Thorpe & The Aztecs, Bla, Chain, Company Caine, The Coney Island Jug Band, Daddy Cool, Desiderata, Fanny Adams, Fraternity, Hippo, John Graham & Margaret RoadKnight, The Sons of the Vegetal Mother, Spectrum, Steve Foster & Blackfire, Storyville, Sunshine, Uncle Jack, and War Machine)

February 6, 1971 De Doelen, Rotterdam, Netherlands

February 17, 1971 Sunshine Inn, Asbury Park, NJ (supported by Sun Mash, Dirt Road, and Phoenix)

February 18, 1971 Union Catholic High School, Scotch Plains, NJ (supported by Everyman)

February 19-20, 1971 Fillmore East, New York City, NY (2 shows 8.00 & 11.30, supported by The J. Geils Band & Sir Lord Baltimore)

February 22, 1971 Seattle Center Coliseum, Seattle, WA (supporting Mountain)

February 23-24, 1971 Inglewood Forum, Inglewood, CA (supporting Grand Funk Railroad, with Ten Years After)

February 25, 1971 Reno, NV

February 26, 1971 Salt Palace, Salt Lake City, UT (supporting Mountain)

February 27, 1971 Denver Coliseum, Denver, CO (supporting Mountain)

February 28, 1971 Centennial Concert Hall, Winnipeg, MB (supported by Salt)

March 1, 1971 Overton Park Shell, Memphis, TN

March 2, 1971 Carmichael Auditorium, Chapel Hill, NC (supporting Fleetwood Mac)

March 4, 1971 Bayfront Center, St. Petersburg, FL (supporting Fleetwood Mac)

March 5, 1971 Orlando Sports Stadium, Orlando, FL (supporting Fleetwood Mac)

March 6, 1971 Pirates World, Dania, FL (supporting Fleetwood Mac)

March 7, 1971 Painters Mill Music Fair, Owings Mills, MD (supporting Fleetwood Mac)

March 8, 1971 Virginia Beach Dome, Virginia Beach, VA (supported by Sir Lord Baltimore)

March 9, 1971 Century's Paramus Theatre, Paramus, NJ (2 shows 6.30 & 9.00, supported by Spider)

March 11, 1971 William & Mary College Blow Gym, Williamsburg, VA (supported by Sir Lord Baltimore)

March 12-13, 1971 Fox Theater, Hackensack, NJ (cancelled)

March 12-13, 1971 Eastown Theatre, Detroit, MI (supporting Fleetwood Mac, with Sir Lord Baltimore)

March 15, 1971 Pabst Theater, Milwaukee, WI (supported by Sir Lord Baltimore)

March 16, 1971 Kansas City Memorial Hall, Kansas City, MO (supported by The J. Geils Band)

March 17, 1971 Fillmore Market, Toronto, ON

March 19, 1971 Public Auditorium, Cleveland, OH (cancelled)

March 21, 1971 The Annex, St. Louis, MO

March 24, 1971 Music Hall, Oklahoma City, OK (supporting Mountain)

March 25, 1971 Henry Levitt Arena, Wichita, KS (supporting Mountain)

March 26, 1971 Memorial Auditorium, Dallas, TX

March 27, 1971 Warehouse, New Orleans, LA (supported by Seatrain and Melting Pot)

March 28, 1971 Municipal Auditorium, San Antonio, TX (supporting Mountain)

March 29, 1971 Sam Houston Coliseum, Houston, TX (supporting Mountain)

March 30, 1971 Rock Pile, Hempstead, NY (supported by Sir Lord Baltimore and Dust)

March 31, 1971 Onondaga War Memorial Auditorium, Syracuse, NY (2 shows, supporting Mountain)

April 1, 1971 War Memorial Auditorium, Rochester, NY (supporting Mountain)

April 2, 1971 Spectrum, Philadelphia, PA (supporting Mountain, with Humble Pie)

April 4, 1971 Alexandria Roller Rink, Alexandria, VA (supported by Humble Pie)

April 14, 1971 KB Hall, Copenhagen, Denmark (supported by Jonathan Swift)

April 15, 1971 Fyns Forum, Odense, Denmark (supported by Jonathan Swift)

April 16, 1971 Vejilby Risskov Hall, Aarhus, Denmark (supported by Jonathan Swift)

April 17, 1971 Holstebro Hall, Holstebro, Denmark (supported by Jonathan Swift)

April 18, 1971 Falkoner Theater, Copenhagen, Denmark (supported by Jonathan Swift)

April 20, 1971 Concert Hall, Stockholm, Sweden (supported by Jonathan Swift)

April 21, 1971 Concert Hall, Gothenburg, Sweden (supported by Jonathan Swift)

April 22, 1971 Njaard Hall, Oslo, Norway (supported by Jonathan Swift and Salen)

April 23, 1971 Konsertpaleet, Bergen, Norway (supported by Jonathan Swift)

April 24, 1971 Sandnes Pier, Sandnes, Norway (supported by Jonathan Swift)

April 26, 1971 Royal Albert Hall, London, England (supported by Jonathan Swift)

Master of Reality Tour:

July 1, 1971 St. Paul Auditorium, St. Paul, MN (supported by Bloodrock)

July 2, 1971 Public Auditorium, Cleveland, OH (supported by Brewer & Shipley and Sweathog)

July 4, 1971 Michigan State Fairgrounds, Detroit, MI (Outdoor Rock Fest, with The Amboy Dukes, The Seigal-Schwall Band, Alex Taylor, Brownsville Station, The Blues Project, The J. Geils Band, and Savage Grace)

July 7, 1971 Municipal Auditorium, Atlanta, GA

July 10, 1971 Curtis Hixon Convention Hall, Tampa, FL

July 11, 1971 Boutwell Auditorium, Birmingham, AL

July 14, 1971 Spectrum, Philadelphia, PA (supported by King Crimson)

July 15, 1971 Howard Stein's Capitol Theater, Rye, NY (2 shows, supported by Yes and Humble Pie)

July 16, 1971 Eastown Theater, Detroit, MI (cancelled)

July 17, 1971 Hampton Beach Casino, Hampton, NH

July 18, 1971 Borough Of York Stadium, Toronto, ON ('Beggar's Banquet Dance' festival show, with 3 Dog Night, Humble Pie, Grease Band, Yes, and The Guess Who)

July 19, 1971 Ottawa Auditorium, Ottawa, ON (supported by Yes and Alice Cooper)

July 20, 1971 State Farm Show Arena, Harrisburg, PA (supported by Black Oak Arkansas)

July 24, 1971 Convention Hall, Asbury Park, NJ (2 shows)

July 27, 1971 Civic Center, Salem, VA

July 28, 1971 Gaelic Park, Bronx, NY (supported by Black Oak Arkansas & Alice Cooper)

July 30, 1971 Rhode Island Auditorium, Providence, RI (supported by Black Oak Arkansas)

August 3, 1971 Sports Stadium, Orlando, FL (supported by Sweat Hog)

August 6, 1971 Orpheum Theater, Boston, MA

August 7, 1971 Macon Coliseum, Macon, GA

August 8, 1971 Cincinnati Gardens, Cincinnati, OH (supported by Alice Cooper, Edgar Winter's White Trash, and Humble Pie)

August 12, 1971 Auditorium Theater, Chicago, IL (supported by Mountain Bus)

August 13, 1971 Union Square Park, New York, NY (supported by Ultra Violet, The Mark Markham Group, and Eleven)

August 14, 1971 Ungano's Ritz, New York, NY (supported by Sweat Hog)

August 15, 1971 Long Island Arena, Commack, NY

August 16, 1971 Place Des Nations, Montreal, QC

August 17, 1971 Hampton Beach Ballroom, Hampton, NH

August 21, 1971 Ungano's Ritz, New York, NY

August 31, 1971 Jai Alai Fronton Hall, Miami, FL

September 4, 1971 Rhein Peninsula, Speyer, Germany (British Rock Meeting, with Beggars Opera, Bul, Curved Air, Deep Purple, East of Eden, The Faces, Fairport Convention, Family, Fleetwood Mac, Gentle Giant, The Groundhogs, Hardin & York, Jerusalem, Juicy Lucy, Mick Abrahams, Osibisa, and Rory Gallagher)

September 5, 1971 Weiner Stadthalle Hall D, Vienna, Austria (British Superstar 48 Hours Festival, with Ashton, Gardner, & Dyke, Beggars Opera, Curved Air, Deep Purple, East of Eden, The Faces, Fairport Convention, Family, Fleetwood Mac, Gentle Giant, Hardin & York, Juicy Lucy, The Mick Abrahams Band, Osibisa, Rory Gallagher, Stone the Crows, and The Groundhogs)

September 7, 1971 Favorita Park, Palmero, Italy (Palmero Pop Festival, with Amanda, Aum Kaivalya, Bill Coleman, Bobby Solo, Clan Free, Claudio Rocchi, Colosseum, Delirium, Doreen Beatty, The Dutch Swing College Band, Edith Peters, Fausto Leali, The Fholks, Fred Bongusto, The House Band, I Rovers, The Jimmy Smith Trio, Livin' Blues, Machine Gun Blue, Mack Porter, Manfred Mann's Earth Band, Minnie Minoprio, Nuova Idea, Omega, Patrizia Meoni, Percussion, Plode, Rosanna Fratello, The Russell Wickham Jazz Band, Sal Genovese & The Enzo Randisi Trio, Sergio Denis, The Spontaneous Music Ensemble & Julie Driscoll, Stephane Grappelli, Stormy Six, The Pebbles, The Players, The Smithfields, The Stars of Faith, The Turtles, Toad, Tucky Buzzard, Up With People, and Yigal Bashan)

September 10, 1971 Onondaga War Memorial Auditorium, Syracuse, NY (supporting Led Zeppelin)

September 11, 1971 War Memorial Auditorium, Rochester, NY (supporting Led Zeppelin)

September 18, 1971 Civic Arena, Pittsburgh, PA

September 20, 1971 Overton Park Shell, Memphis, TN

September 23, 1971 Auditorium Theater, Chicago, IL (supported by Mountain Bus)

September 25, 1971 Long Beach Arena, Long Beach, CA (supported by Stoneground & Sweathog)

September 26, 1971 Convention Hall, San Diego, CA

September 27, 1971 Sam Houston Coliseum, Houston, TX

September 28, 1971 Municipal Auditorium, San Antonio, TX (supported by Edgar Winter's White Trash & Sweathog)

October 1-2, 1971 Winterland, San Francisco, CA (supported by Edgar Winter's White Trash & Sweathog)

October 5, 1971 Whiskey a Go-Go, Los Angeles, CA

October 6, 1971 Fairgrounds, Reno, NV

October 7, 1971 Forum, Inglewood, CA (Unconfirmed)

October 8, 1971 Seattle Arena, Seattle, WA

October 9, 1971 Memorial Auditorium, Sacramento, CA

October 10 1971 H.I.C. Arena, Honolulu, HI (supported by Sweathog)

October 14, 1971 Coliseum, Portland, OR (supported by Edgar Winter's White Trash featuring Jerry LaCroix & Sweathog)

October 15, 1971 Coliseum, Amarillo, TX (supported by Sweathog)

October 17, 1971 Celebrity Theater, Phoenix, AZ (supported by Sweathog)

October 18, 1971 Coliseum, Denver, CO (supported by Sweathog)

October 19, 1971 Pershing Auditorium, Pershing, NE (supported by Edgar Winter's White Trash & Sweathog)

October 20, 1971 Memorial Hall, Kansas City, MO

October 22, 1971 Academy of Music, New York City, NY

October 28, 1971 Community War Memorial Auditorium, Rochester, NY

November 16, 1971 Guildhall, Southampton, ENG (cancelled due to illness of 3 band members)

December 3, 1971 Rotterdam, NED

December 4, 1971 Paradiso, Amsterdam, NED (supported by Ten Years After)

December 6, 1971 KB Hall, Copenhagen, DEN

December 16, 1971 Grugahalle, Essen, GER (cancelled)

January 24-25, 1972 Town Hall, Birmingham, ENG (supported by Wild Turkey)

January 27, 1972 Town Hall, Oxford, ENG (supported by Wild Turkey)

January 28, 1972 Green's Playhouse, Glasgow, SCOT (supported by Wild Turkey)

January 29, 1972 Empire Theatre, Edinburgh, SCOT (supported by Wild Turkey)

January 30, 1972 Market Hall, Carlisle, ENG (Charity Gig, supported by Wild Turkey)

January 31, 1972 Liverpool Stadium, Liverpool, ENG (supported by Wild Turkey)

February 1, 1972 De Montfort Hall, Leicester, ENG (supported by Wild Turkey)

February 3, 1972 Guildhall, Portsmouth, ENG (supported by Wild Turkey)

February 4, 1972 Free Trade Hall, Manchester, ENG (supported by Wild Turkey)

February 5, 1972 City Hall, Newcastle, ENG (supported by Wild Turkey)

February 6, 1972 Civic Hall, Wolverhampton, ENG (supported by Wild Turkey)

February 7, 1972 Colston Hall, Bristol, ENG (supported by Wild Turkey)

February 8, 1972 City Hall, Sheffield, ENG (Cancelled. supported by Wild Turkey. Postponed until February 21st)

February 9, 1972 St. George's Hall, Bradford, ENG (Cancelled. supported by Wild Turkey. Postponed until February 24th)

February 10, 1972 Dome, Brighton, ENG (supported by Wild Turkey)

February 11, 1972 Winter Gardens, Bournemouth, ENG (supported by Wild Turkey)

February 13, 1972 Victoria Hall, Hanley, ENG (supported by Wild Turkey)

February 17, 1972 Royal Albert Hall, London, ENG (supported by Wild Turkey)

February 19, 1972 Leeds University, Leeds, ENG (supported by Wild Turkey)

February 21, 1972 City Hall, Sheffield, ENG (supported by Wild Turkey. Rescheduled from February 8th)

February 24, 1972 St. George's Hall, Bradford, ENG (supported by Wild Turkey. Rescheduled from February 9th)

Black Sabbath US Tour 1972

March 1, 1972 Cumberland Memorial Arena, Fayetteville, AR (supported by Bang)

March 2, 1972 Miami Beach Convention Hall, Miami, FL (supported by Wild Turkey)

March 3, 1972 Memorial Coliseum, Jacksonville, FL (supported by Wild Turkey)

March 4, 1972 West Palm Beach Auditorium, West Palm Beach, FL (supported by Wild Turkey)

March 5, 1972 St. Petersburg, FL (supported by Wild Turkey)

March 6, 1972 Dorton Arena, Raleigh, NC (supported by Wild Turkey & Sweat Hog)

March 7, 1972 Park Center, Charlotte, NC (supported by Wild Turkey & White Witch)

March 9, 1972 Veterans Memorial Coliseum, Columbus, OH (supported by Wild Turkey)

March 10-11, 1972 Winterland, San Francisco, CA (supported by Yes, Wild Turkey, & REO Speedwagon)

March 12, 1972 Seattle Center Arena, Seattle, WA (supported by Yes & Wild Turkey)

March 13, 1972 Coliseum - Exhibition Park, Vancouver, BC (Unconfirmed)

March 14, 1972 Spokane Coliseum, Spokane, WA (supported by Yes & Wild Turkey)

March 15, 1972 Forum, Los Angeles, CA (supported by Yes & Wild Turkey)

March 16, 1972 Community Center Convention Hall, Tuscon, AZ (supported by Yes & Wild Turkey)

March 17, 1972 Swing Auditorium, San Bernardino, CA (supported by Yes & Wild Turkey)

March 18, 1972 Sports Arena, San Diego, CA (supported by Yes & Wild Turkey)

March 19, 1972 Convention Center Rotunda, Las Vegas, NV (supported by Yes & Wild Turkey)

March 21, 1972 St. Paul Auditorium, St. Paul, MN (supported by Yes and Wild Turkey)

March 22, 1972 Cobo Hall, Detroit, MI (supported by Yes & Wild Turkey)

March 23, 1972 Quebec City Coliseum, Quebec City, QC (supported by Wild Turkey)

March 24, 1972 Forum, Montreal, QC (supported by Wild Turkey)

March 25, 1972 War Memorial Auditorium, Rochester, NY (supported by Wild Turkey)

March 26, 1972 Civic Center, Salem, VA (supported by Wild Turkey)

March 27, 1972 Civic Arena, Pittsburgh, PA (supported by Wild Turkey)

March 28, 1972 Detroit, MI (supported by Wild Turkey)

March 29, 1972 Spectrum, Philadelphia, PA (supported by Edgar Winter and Wild Turkey)

March 30, 1972 New Haven Arena, New Haven, CT (supported by Wild Turkey)

March 31, 1972 Civic Center, Charleston, WV (supported by Wild Turkey)

April 1, 1972 Greensboro Coliseum, Greensboro, NC

April 2, 1972 Capitol Theater, Passaic, NJ (supported by The Pig Light Show)

April 3, 1972 Vega Baja, Puerto Rico (cancelled due to US not letting them play there, due to Vietnam war?)

April 7 & 9, 1972 Festival Hall, Osaka, Japan (cancelled due to failure to get visas to the country because of Ozzy Osbourne's criminal record)

May 7, 1972 L'Olympia, Paris, France

Volume 4 Tour:

July 7, 1972 Wildwood Convention Hall, Wildwood, NJ (supported by Black Oak Arkansas)

July 8, 1972 International Pocono Raceway, Long Pond, PA ( Concert 10 , cancelled, Black Sabbath ended up not performing)

July 13, 1972 Arie Crown Theater, Chicago, IL (supported by The Groundhogs)

July 14, 1972 Winnebago County Fairgrounds, Pecatonica, IL (supported by The Groundhogs)

July 15, 1972 Hara Arena, Dayton, OH (supported by The Groundhogs)

July 17, 1972 Akron Rubber Bowl, Akron, OH (supported by Humble Pie, Edgar Winter, The Groundhogs (cancelled), and Ramatam)

July 22, 1972 Atlanta Municipal Auditorium, Atlanta, GA (supported by Blue Oyster Cult)

July 23, 1972 Ellis Memorial Auditorium, Memphis, TN (supported by Blue Oyster Cult)

July 25, 1972 Richmond Coliseum, Richmond, VA (supported by Blue Oyster Cult)

July 27, 1972 Nassau Coliseum, Hempstead, NY (supported by Blue Oyster Cult and The J. Geils Band)

July 28, 1972 Cole Field House, College Park, MD (cancelled)

July 29, 1972 Convention Hall, Asbury Park, NJ (supported by Black Oak Arkansas)

July 30, 1972 Rhode Island Auditorium, Providence, RI (supported by Bedlam and Blue Oyster Cult)

August 24, 1972 Music Hall, Charleston, SC (supported by Gentle Giant)

August 25, 1972 Municipal Auditorium, Nashville, TN (cancelled due to Ozzy Osbourne throat problems)

August 29, 1972 Civic Theater, Akron, OH (supported by Gentle Giant)

August 30, 1972 Civic Coliseum, Knoxville, TN (supported by Argent and Gentle Giant)

August 31, 1972 Cobo Arena, Detroit, MI (supported by Edgar Winter and Gentle Giant)

September 1, 1972 Civic Center, Savannah, GA (cancelled due to Ozzy Osbourne throat problems)

September 2, 1972 Bull Island, Griffin, IN (cancelled due to transportation difficulties and wanting more money)

September 5, 1972 Minneapolis Armory, Minneapolis, MN (supported by Gentle Giant and Jo Jo Gunne)

September 6, 1972 Freedom Hall, Louisville, KY (supported by Gentle Giant)

September 7, 1972 Mississippi Coliseum, Jackson, MS (supported by Argent and Gentle Giant)

September 8, 1972 Municipal Auditorium, New Orleans, LA (supported by Gentle Giant)

September 9, 1972 Municipal Auditorium, Mobile, AL (supported by Gentle Giant)

September 10, 1972 Sports Arena, San Diego, CA (supported by Gentle Giant)

September 11, 1972 Salt Palace, Salt Lake City, UT (supported by Malo and Gentle Giant)

September 13, 1972 Memorial Coliseum, Portland, OR (supported by Gentle Giant)

September 15, 1972 Hollywood Bowl, Los Angeles, CA (supported by Gentle Giant, Captain Beyond, and Mark Almond)

September 16, 1972 Civic Auditorium, Sacramento, CA (cancelled due to illness and exhaustion of several band members)

September 17, 1972 Honolulu International Center, Honolulu, HI (cancelled due to illness and exhaustion of several band members)

January 5, 1973 Wellington, NZ (supported by Ticket)

January 7, 1973 Wadham Road, Ngaruawahia, NZ (Ngaruawahia Music Festival, with Ticket, Fairport Convention, Blerta, Dragon, The Las De Da's, Mammal, Max Merritt & The Meteors, Corben Simpson, Split Enz, The Bulldogs All-Star Goodtime Band, Powerhouse, Orb, and Butler)

Black Sabbath Australian Tour 1973

January 13, 1973 Kooyong Stadium, Melbourne, AUS (supported by Ticket)

January 16-17, 1973 Hordern Pavilion, Sydney, AUS (supported by Buffalo and Ticket)

January 18, 1973 Festival Hall, Brisbane, AUS (supported by Ticket)

January 19, 1973 Apollo Stadium, Adelaide, AUS (supported by Ticket)

February 15, 1973 Ernst Merck Hall, Hamburg, Germany

February 16, 1973 Amsterdam Concert House, Amsterdam, Netherlands (supported by Badger)

February 17, 1973 Vannes Island Sports Center, Paris, France (supported by Badger)

February 18, 1973 Lyon Labor Market, Lyon, France (supported by Badger)

February 19, 1973 Bologna Sports Palace, Bologna, Italy (supported by Badger)

February 21, 1973 EIB Building, Brescia, Italy (supported by Badger)

February 22, 1973 City of Vicenza Sports Palace, Vicenza, Italy (supported by Badger)

February 23, 1973 Rome Sports Palace, Rome, Italy (supported by Badger)

February 25, 1973 Eulach Hall, Winterthur, Switzerland (supported by Badger)

February 26, 1973 Lowenbraukeller, Munich, Germany (Pop Carnival)

February 27, 1973 Stadthalle, Offenbach, Germany

February 28, 1973 Kaiserslautern Exhibition Hall, Kaiserslautern, Germany (supported by Badger)

March 2, 1973 Forest National, Brussels, Belgium (supported by Badger)

March 3, 1973 L'Olympia, Paris, France (supported by Badger)

March 9, 1973 Green's Playhouse, Glasgow, Scotland (supported by Badger & Necromandus)

March 10, 1973 Liverpool Stadium, Liverpool, England (supported by Badger, Nutz & Necromandus)

March 11, 1973 Hard Rock, Manchester, England (supported by Badger & Necromandus)

March 12-13, 1973 Mayfair Suite, Birmingham, England (supported by Badger & Necromandus)

March 14, 1973 Capitol Theater, Cardiff, Wales (supported by Badger & Necromandus)

March 15, 1973 Winter Gardens, Bournemouth, England (supported by Badger & Necromandus)

March 16-17, 1973 Rainbow, London, England (supported by Badger & Necromandus)

March 18, 1973 City Hall, Newcastle, England (supported by Badger & Necromandus)

April 2, 1973 International Amphitheater, Chicago, IL (cancelled)

April 4, 1973 San Juan, Puerto Rico

April 27-28, 1973 Cascais, Portugal (cancelled)

July 21, 1973 Radstadion, Frankfurt, GER (cancelled appearance, "2 Summer Rock Festival", with Paul McCartney & Wings (who cancelled), Sly And The Family Stone, The Faces, Rory Gallagher, Canned Heat (who cancelled), Jon Hiseman's Tempest, The Spencer Davis Group. Chuck Berry & Keith Moon also made unscheduled appearances)

August 2, 1973 Alexandra Palace, London, ENG (London Music Festival 1973, supported by Groundhogs, Stray, Jonesy)

Sabbath Bloody Sabbath Tour:

December 9, 1973 Odeon, Newcastle, ENG (supported by Highway)

December 11, 1973 Colston Hall, Bristol, ENG

December 14, 1973 Odeon, Birmingham, ENG

December 17, 1973 De Montfort Hall, Leicester, ENG

January 11, 1974 Scandinavium, Gothenburg, Sweden

January 12, 1974 Falkoner Theater, Copenhagen, Denmark

January 14, 1974 Amsterdam Concert Hall, Amsterdam, Netherlands

January 15, 1974 Kortrijk Hall, Kortrijk, Belgium

January 16, 1974 Hanover Music Hall, Hanover, Germany

January 17, 1974 Phillips Hall, Dusseldorf, Germany

January 18, 1974 Beaulieu Palace, Lausanne, Switzerland

January 19, 1974 Messehalle, Sindelfingen, Germany

January 31, 1974 Hersheypark Arena, Derry, PA (supported by Blue Oyster Cult and White Witch)

February 1, 1974 Civic Arena, Pittsburgh, PA

February 3, 1974 Cobo Arena, Detroit, MI (supported by Bedlam and Spooky Tooth)

February 4, 1974 Cincinnati Gardens, Cincinnati, OH (supported by Bob Seger)

February 5, 1974 Broome County Arena, Binghamton, NY (cancelled due to Ozzy Osbourne vocal issues)

February 7, 1974 Omni, Atlanta, GA (supported by Spooky Tooth)

February 9, 1974 Spectrum, Philadelphia, PA (supported by Bedlam and Black Oak Arkansas)

February 10, 1974 Dane County Coliseum, Madison, WI (supported by Bedlam)

February 11, 1974 International Amphitheater, Chicago, IL (supported by Bedlam)

February 12, 1974 Kiel Auditorium, St. Louis, MO (supported by Bedlam)

February 13, 1974 Louisville Gardens, Louisville, KY (supported by Bedlam)

February 15, 1974 West Palm Beach Auditorium, West Palm Beach, FL (supported by Bedlam)

February 16, 1974 Memorial Coliseum, Jacksonville, FL (supported by Bedlam and Black Oak Arkansas (cancelled))

February 17, 1974 Carolina Coliseum, Columbia, SC

February 18, 1974 Civic Coliseum, Knoxville, TN

February 19, 1974 Capital Center, Landover, MD (supported by Uriah Heep)

February 20, 1974 Memorial Auditorium, Buffalo, NY (supported by Bedlam and The James Gang)

February 21, 1974 Civic Center, Providence, RI (supported by Blue Oyster Cult and Bedlam)

February 22, 1974 War Memorial Auditorium, Rochester, NY (supported by Blue Oyster Cult and Bedlam)

February 23, 1974 Bowen Fieldhouse, Ypsilanti, MI (supported by Bedlam)

February 24, 1974 Greensboro Coliseum, Greensboro, NC (supported by Bedlam)

February 25, 1974 Nassau Coliseum, Uniondale, NY (supported by Bedlam, Lynyrd Skynyrd, and Blue Oyster Cult (cancelled))

April 6, 1974 Ontario Motor Speedway, Ontario, CA ( California Jam , with Black Oak Arkansas, Deep Purple, The Eagles, Earth, Wind, & Fire, Emerson, Lake, & Palmer, Rare Earth, and Seals & Crofts)

April 13, 1974 Civic Center, Charleston, SC

May 17, 1974 St. George's Hall, Bradford, ENG (supported by Black Oak Arkansas)

May 19, 1974 Trentham Gardens, Stoke, ENG (supported by Black Oak Arkansas)

May 21, 1974 Hammersmith Odeon, London, ENG (supported by Black Oak Arkansas)

May 23, 1974 Empire Theatre, Liverpool, ENG (supported by Black Oak Arkansas)

May 24, 1974 Free Trade Hall, Manchester, ENG (supported by Black Oak Arkansas)

May 25, 1974 Gaumont Theatre, Southampton, ENG (supported by Black Oak Arkansas)

May 26, 1974 Fairfield Halls, Croydon, ENG (supported by Black Oak Arkansas)

May 28, 1974 Apollo Theatre, Glasgow, SCOT (supported by Black Oak Arkansas)

May 29, 1974 Odeon, Edinburgh, SCOT (supported by Black Oak Arkansas)

May 30, 1974 City Hall, Sheffield, ENG (supported by Black Oak Arkansas)

May 31, 1974 Winter Gardens, Bournemouth, ENG (supported by Black Oak Arkansas)

June 2, 1974 Granada Theatre, London, ENG (supported by Black Oak Arkansas)

June 8, 1974 Odeon, Newcastle, ENG (supported by Black Oak Arkansas)

June 9, 1974 Coventry Theatre, Coventry, ENG (supported by Black Oak Arkansas)

August 15, 1974 Central Park, New York City, NY (cancelled due to cancellation of festival)

November 5, 1974 Horden Pavilion, Sydney, AUS (supported by AC/DC)

November 7, 1974 Festival Hall, Brisbane, AUS (supported by AC/DC)

November 9-11, 1974 Horden Pavilion, Sydney, AUS (supported by AC/DC)

November 12, 1974 Festival Hall, Melbourne, AUS

November 14, 1974 Memorial Drive Park, Adelaide, AUS (supported by Status Quo)

November 16, 1974 Hordern Pavilion, Sydney, AUS

Lineup #2- May 1975-October 1977

• Ozzy Osbourne- vocals
• Tony Iommi- guitars
• Geezer Butler- bass
• Bill Ward- drums
• Gerry Woodruffe- keyboards

Sabotage Tour:

July 14, 1975 Sports Arena, Toledo, OH (supported by The Leslie West Band)

July 16-17, 1975 International Amphitheater, Chicago, IL (supported by Slade)

July 19, 1975 Pershing Auditorium, Lincoln, NE (supported by Brownsville Station)

July 20, 1975 Parade Stadium, Minneapolis, MN (supported by Skogie, Brownsville Station, and Wet Willie (cancelled))

July 24, 1975 Municipal Auditorium, Atlanta, GA (supported by Frampton's Camel)

July 25, 1975 Civic Center, Savannah, GA (supported by Frampton's Camel and Ruby Starr & Grey Ghost)

July 26, 1975 Civic Center, Lakeland, FL (supported by Frampton's Camel and Ruby Starr & Grey Ghost (cancelled))

July 27, 1975 West Palm Beach Auditorium, West Palm Beach, FL (supported by Frampton's Camel, Jo Jo Gunne, and Ruby Starr & Grey Ghost)

August 1, 1975 Cobo Arena, Detroit, MI (supported by The Leslie West Band)

August 2, 1975 Civic Center, Baltimore, MD (supported by KISS)

August 3, 1975 Civic Center, Providence, RI (supported by KISS)

August 4, 1975 Madison Square Garden, New York City, NY

August 5, 1975 Convention Hall, Asbury Park, NJ (supported by Fire Ballet)

August 6, 1975 Spectrum, Philadelphia, PA (supported by Status Quo and Slade)

August 10, 1975 Civic Center, Springfield, MA (supported by The Leslie West Band)

August 14, 1975 Orpheum Theater, Boston, MA (supported by KISS)

August 22, 1975 Municipal Auditorium, San Antonio, TX

August 23, 1975 Sam Houston Coliseum, Houston, TX

August 24, 1975 Memorial Auditorium, Dallas, TX (supported by Brownsville Station)

August 26, 1975 El Paso County Coliseum, El Paso, TX

August 27, 1975 Civic Auditorium, Albuquerque, NM

August 28, 1975 Communty Center, Tucson, AZ

August 30, 1975 Community Theater, Sacramento, CA (supported by Mahogany Rush and Ruby Starr & Grey Ghost)

August 31, 1975 Winterland, San Francisco, CA (supported by Mahogany Rush, Ruby Starr & Grey Ghost, and The Leslie West Band (cancelled))

September 1, 1975 Madera Speedway, Fresno, CA (supporting Rod Stewart & The Faces, with Lynyrd Skynyrd & Fleetwood Mac)

September 3, 1975 Forum, Inglewood, CA (supported by Ruby Starr & Grey Ghost)

September 4, 1975 Civic Auditorium, Santa Monica, CA

September 5, 1975 Orange Show Stadium, San Bernardino, CA (Starlite Festival, with Lynyrd Skynyrd, Peter Frampton, and Brownsville Station)

September 6, 1975 Sports Arena, San Diego, CA

September 7, 1975 Long Beach Arena, Long Beach, CA (supported by Ruby Starr & Grey Ghost)

September 8, 1975 Convention Center, Las Vegas, NV

September 11, 1975 Spokane Coliseum, Spokane, WA

September 12, 1975 Seattle Center Arena, Seattle, WA (supported by Mahogany Rush)

September 13, 1975 Memorial Coliseum, Portland, OR

September 14, 1975 Pacific Coliseum, Vancouver, BC

September 15, 1975 Convention Center, Winnipeg, MB (cancelled)

October 9, 1975 Empire Theatre, Liverpool, ENG (supported by Bandy Legs)

October 10, 1975 Odeon, Birmingham, ENG (supported by Bandy Legs)

October 11, 1975 Odeon, Southampton, ENG (supported by Bandy Legs)

October 12, 1975 Colston Hall, Bristol, ENG (supported by Bandy Legs)

October 15, 1975 St. George's Hall, Bradford, ENG (supported by Bandy Legs)

October 16, 1975 City Hall, Sheffield, ENG (supported by Bandy Legs)

October 18, 1975 City Hall, Newcastle, ENG (supported by Bandy Legs)

October 19, 1975 Apollo, Glasgow, SCOT (supported by Bandy Legs)

October 21, 1975 Lewisham Odeon, London, ENG (supported by Bandy Legs)

October 22, 1975 Hammersmith Odeon, London, ENG (supported by Bandy Legs)

October 26, 1975 Falkoner Theater, Copenhagen, DEN (supported by Chapman & Whitney's Streetwalkers)

October 27, 1975 Scandinavium, Gothenburg, SWE (supported by Chapman & Whitney's Streetwalkers)

October 28, 1975 Amsterdam Concert Hall, Amsterdam, NED (supported by Chapman & Whitney's Streetwalkers)

October 29, 1975 Stadthalle, Offenbach, GER (supported by Chapman & Whitney's Streetwalkers)

October 30, 1975 Circus Krone, Munich, GER (supported by Chapman & Whitney's Streetwalkers)

November 1, 1975 Frederich Ebert Hall, Ludwigshafen, GER (supported by ZZ Top & Chapman & Whitney's Streetwalkers)

November 2, 1975 Phillipshalle, Dusseldorf, GER (supported by ZZ Top and Chapman & Whitney's Streetwalkers)

November 4, 1975 AFAS Circus Theater, The Hague, NED

November 5, 1975 Mutuality Theater, Paris, FRA (cancelled)

November 13, 1975 Capitol Theatre, Cardiff, WAL (postponed until November 22nd)

November 14, 1975 Free Trade Hall, Manchester, ENG (cancelled due to Ozzy Osbourne motorcycle accident)

November 21, 1975 Gaumont State Theatre, London, ENG

November 22, 1975 Capitol Theatre, Cardiff, WAL (rescheduled from November 13th)

December 3, 1975 Madison Square Garden, New York City, NY (supported by Aerosmith)

December 5, 1975 Indiana Convention Center, Indianapolis, IN (supported by Kansas)

December 6, 1975 Freedom Hall, Johnson City, TN (supported by Manfred Mann, Ruby Starr & Grey Ghost)

December 7, 1975 Greensboro Coliseum, Greensboro, NC (supported by Savoy Brown, Ruby Starr & Grey Ghost)

December 9, 1975 Orpheum Theater, Boston, MA (supported by Ruby Starr & Grey Ghost)

December 12, 1975 Onondaga War Memorial Auditorium, Syracuse, NY (supported by KISS)

January 8, 1976 Guildhall, Portsmouth, ENG

January 9, 1976 Gaumont Theatre, Ipswich, ENG

January 10, 1976 Kursaal Ballroom, Southend, ENG

January 11, 1976 Odeon, Birmingham, ENG

January 13, 1976 Hammersmith Odeon, London, ENG (supported by Bandy Legs)

Technical Ecstasy Tour:

October 22, 1976 Tulsa Assembly Center, Tulsa, OK (supported by Boston and Moxy)

October 23, 1976 Sam Houston Coliseum, Houston, TX (supported by Boston and Moxy)

October 24, 1976 HemisFair Arena, San Antonio, TX (supported by Boston and Moxy)

October 26, 1976 Dallas Convention Center, Dallas, TX (supported by Boston)

October 28, 1976 Veterans Memorial Auditorium, Des Moines, IA (supported by Boston)

October 29, 1976 Pershing Center, Lincoln, NE (supported by Boston)

October 30, 1976 Soldiers and Sailors Memorial Hall, Kansas City, MO (supported by Target)

October 31, 1976 McNichols Sports Arena, Denver, CO (supported by Boston and Heart)

November 1, 1976 Veterans Memorial Coliseum, Phoenix, AZ

November 3, 1976 Santa Monica Civic Auditorium, Santa Monica, CA

November 5, 1976 San Diego Sports Arena, San Diego, CA (supported by Bob Seger & The Silver Bullet Band)

November 6, 1976 Long Beach Arena, Long Beach, CA (supported by Target)

November 7, 1976 Swing Auditorium, San Bernardino, CA

November 9, 1976 Selland Arena, Fresno, CA (supported by Boston and Bob Seger & The Silver Bullet Band)

November 11, 1976 Portland Memorial Coliseum, Portland, OR

November 12, 1976 Spokane Coliseum, Spokane, WA

November 15, 1976 Seattle Center Arena, Seattle, WA (supported by Target)

November 23, 1976 Knoxville Civic Coliseum, Knoxville, TN (supported by Target and Bob Seger & The Silver Bullet Band)

November 24-25, 1976 International Amphitheater, Chicago, IL (supported by Target, Black Oak Arkansas (cancelled) and the Tommy Bolin Band (cancelled) on the 24th and Mother's Finest on the 25th)

November 26, 1976 Cobo Arena, Detroit, MI (supported by Black Oak Arkansas and Target)

November 28, 1976 Richfield Coliseum, Richfield, OH (supported by Boston)

November 30, 1976 Wings Stadium, Kalamazoo, MI (supported by Mother's Finest and The Climax Blues Band)

December 2, 1976 Providence Civic Center, Providence, RI (supported by Montrose)

December 3, 1976 Boston Music Hall, Boston, MA (supported by Ted Nugent and Mother's Finest)

December 4, 1976 Spectrum, Philadelphia, PA (supported by Ted Nugent & Mother's Finest)

December 6, 1976 Madison Square Garden, New York, NY (supported by Ted Nugent)

December 8, 1976 Pittsburgh Civic Arena, Pittsburgh, PA (supported by Ted Nugent)

December 9, 1976 Capital Center, Landover, MD (supported by Ted Nugent)

December 10, 1976 Niagara Falls Convention Center, Niagara Falls, NY (supported by Ted Nugent)

December 11, 1976 New Haven Coliseum, New Haven, CT (supported by Ted Nugent)

December 12, 1976 Onondaga War Memorial Auditorium, Syracuse, NY (supported by Ted Nugent)

January 20, 1977 Jai-Alai Fronton, Miami, FL

January 21, 1977 Jacksonville Memorial Coliseum, Jacksonville, FL

January 23, 1977 Tampa, FL

January 25, 1977 Boutwell Auditorium, Birmingham, AL (supported by Target)

January 26, 1977 The Omni, Atlanta, GA (supported by Ted Nugent and Target)

January 28, 1977 Mid-South Coliseum, Memphis, TN (supported by Target)

January 29, 1977 Charlotte Coliseum, Charlotte, NC (supported by Target and Dr. Hook)

January 30, 1977 Cumberland County Memorial Arena, Fayetteville, NC (supported by Target and Dr. Hook)

February 2, 1977 Scope Arena, Norfolk, VA (supported by Bob Seger & the Silver Bullet Band)

February 4, 1977 Riverfront Coliseum, Cincinnati, OH (supported by Target and Bob Seger & the Silver Bullet Band)

February 5, 1977 Salem-Roanoke Valley Civic Center, Salem, VA (supported by Target and Bob Seger & the Silver Bullet Band)

February 6, 1977 Erie County Fieldhouse, Erie, PA (supported by Target)

February 8, 1977 Veterans Memorial Auditorium, Columbus, OH (supported by Target)

February 9, 1977 Nashville Municipal Auditorium, Nashville, TN

February 11, 1977 Hulman Center, Terre Haute, IN

February 12, 1977 Kiel Auditorium, St. Louis, MO (supported by Target)

February 13, 1977 Hammons Center, Springfield, MO (supported by Target)

February 14, 1977 Indiana Convention Center, Indianapolis, IN (supported by Journey and Target)

February 15, 1977 Allen County Coliseum, Fort Wayne, IN (supported by Journey and Target)

February 16, 1977 Barton Coliseum, Little Rock, AR

February 17, 1977 Veterans Memorial Coliseum, Evansville, IN (supported by Target)

February 18, 1977 Rupp Arena, Lexington, KY (supported by Journey and Target)

February 20, 1977 Winterland Arena, San Francisco, CA

February 23, 1977 Inglewood Forum, Inglewood, CA

March 2, 1977 Apollo, Glasgow, SCOT (supported by Nutz)

March 4, 1977 City Hall, Newcastle, ENG (supported by Nutz)

March 6, 1977 New Bingley Hall, Stafford, ENG (supported by Nutz)

March 7, 1977 Empire, Liverpool, ENG (supported by Nutz)

March 9, 1977 Capital Theatre, Cardiff, WAL (supported by Nutz)

March 10, 1977 Gaumont, Southampton, ENG (supported by Nutz)

March 12-15, 1977 Hammersmith Odeon, London, ENG (supported by Nutz)

April 5, 1977 Pavillon de Paris, Paris, France (supported by AC/DC)

April 6, 1977 Theatre de Plein Air, Colmar, France (supported by AC/DC)

April 7, 1977 Stadthalle, Offenbach, Germany (Easter Rock Festival)

April 9, 1977 Cologne Sport Hall, Cologne, Germany (Easter Rock Festival)

April 10, 1977 Messehalle, Nuremberg, Germany (Easter Rock Festival)

April 11, 1977 Friedrich-Ebert Hall, Ludwigshafen, Germany (Easter Rock Festival)

April 13, 1977 Salle des Fetes, Thonex, Switzerland (supported by AC/DC)

April 14, 1977 Volkshaus, Zurich, Switzerland (supported by AC/DC)

April 16, 1977 Cirque Royal, Brussels, Belgium (supported by AC/DC)

April 17, 1977 RAI, Amsterdam, Netherlands (supported by AC/DC)

April 18, 1977 Ernst Merck Hall, Hamburg, Germany (supported by AC/DC)

April 19, 1977 Falkoner Theater, Copenhagen, Denmark (supported by AC/DC)

April 20, 1977 Stockholm Concert Hall, Stockholm, Sweden (supported by AC/DC)

April 21, 1977 Lund Olympen, Lund, Sweden (supported by AC/DC)

April 22, 1977 Scandinavium, Gothenburg, Sweden (supported by AC/DC)

April 23, 1977 Njaardhallen, Oslo, Norway (cancelled)

April 24, 1977 House of Culture, Helsinki, Finland (cancelled due to management issues)

Oct 01 1977 Dave Walker (lead vocals) & Don Airey (keyboards) join the band for awhile

Lineup #3: October 1977-January 1978

• Dave Walker- vocals
• Tony Iommi- guitar
• Don Airey- keyboards

Lineup #4: January 1978-April 1979

Never Say Die! Tour:

May 2, 1978 Friedrich-Ebert Hall, Ludwigshafen, Germany (rescheduled to October 14)

May 4, 1978 Stadthalle, Erlangen, Germany (cancelled)

May 5, 1978 Kurnachtalhalle, Wurzburg, Germany (rescheduled to October 15)

May 6, 1978 Hohenstaufenhalle, Goppingen, Germany (cancelled)

May 8, 1978 Stadthalle, Offenbach, Germany (rescheduled to October 11)

May 9, 1978 Westfalenhalle, Dortmund, Germany (cancelled)

May 16, 1978 Sheffield City Hall, Sheffield, England (supported by Van Halen)

May 17, 1978 Floral Hall, Southport, England (supported by Van Halen)

May 18, 1978 Apollo Theater, Glasgow, Scotland (supported by Van Halen)

May 19, 1978 Capitol Theater, Aberdeen, Scotland (supported by Van Halen)

May 21, 1978 Newcastle City Hall, Newcastle, England (supported by Van Halen)

May 22, 1978 Manchester Apollo, Manchester, England (supported by Van Halen)

May 23, 1978 Victoria Hall, Stoke-on-Trent, England (supported by Van Halen)

May 25, 1978 Portsmouth Guildhall, Portsmouth, England (supported by Van Halen)

May 26, 1978 Colston Hall, Bristol, England (supported by Van Halen)

May 27, 1978 Lewisham Odeon, London, England (supported by Van Halen)

May 28, 1978 Gaumont Theater, Ipswich, England (supported by Van Halen)

May 30, 1978 Coventry Theater, Coventry, England (supported by Van Halen)

May 31, 1978 De Montfort Hall, Leicester, England (supported by Van Halen)

June 1, 1978 Hammersmith Odeon, London, England (supported by Van Halen)

June 2, 1978 New Theater, Oxford, England (supported by Van Halen)

June 3, 1978 Gaumont Theater, Southampton, England (supported by Van Halen)

June 5, 1978 Birmingham Odeon, Birmingham, England (supported by Van Halen)

June 7, 1978 St. George's Hall, Bradford, England (supported by Van Halen)

June 8, 1978 Preston Guildhall, Preston, England (supported by Van Halen)

June 10, 1978 Hammersmith Odeon, London, England (supported by Van Halen)

June 12-13, 1978 Birmingham Odeon, Birmingham, England (supported by Tanz der Youth on the 12th and The Damned on the 13th)

June 14-15, 1978 Manchester Apollo, Manchester, England (supported by Tanz der Youth)

June 16, 1978 Bridlington Spa, Bridlington, England (supported by Tanz der Youth)

June 17, 1978 Empire Theater, Liverpool, England (supported by Tanz der Youth)

June 19, 1978 Hammersmith Odeon, London, England (supported by Tanz der Youth)

August 22, 1978 Milwaukee Arena, Milwaukee, WI (supported by Van Halen)

August 23-24, 1978 International Amphitheater, Chicago, IL (supported by Van Halen)

August 25, 1978 Hulman Center, Terre Haute, IN (supported by Van Halen)

August 27, 1978 Madison Square Garden, New York, NY (supported by Van Halen)

August 28, 1978 Nassau Coliseum, Uniondale, NY (supported by Van Halen)

August 29, 1978 The Spectrum, Philadelphia, PA (supported by Van Halen)

August 31, 1978 Erie County Fieldhouse, Erie, PA (supported by Van Halen)

September 1, 1978 Hampton Coliseum, Hampton, VA (supported by Van Halen)

September 2, 1978 Pittsburgh Civic Arena, Pittsburgh, PA (supported by Van Halen)

September 4, 1978 Cape Cod Coliseum, Yarmouth, MA (supported by Van Halen)

September 5, 1978 Cumberland County Civic Center, Portland, ME (supported by Van Halen)

September 7, 1978 Utica Memorial Auditorium, Utica, NY (supported by Van Halen)

September 8, 1978 Niagara Falls Convention Center, Niagara Falls, NY (supported by Van Halen)

September 9, 1978 Baltimore Civic Center, Baltimore, MD (supported by Van Halen)

September 10, 1978 New Haven Veterans Memorial Coliseum, New Haven, CT (supported by Van Halen)

September 12, 1978 Indiana Convention Center, Indianapolis, IN (supported by Van Halen)

September 14, 1978 Cobo Arena, Detroit, MI (supported by Van Halen)

September 15, 1978 Richfield Coliseum, Richfield, OH (supported by Van Halen)

September 16, 1978 The Checkerdome, St. Louis, MO (supported by Van Halen)

September 17, 1978 Kansas City Municipal Auditorium, Kansas City, MO (supported by Van Halen)

September 18, 1978 Tulsa Assembly Center, Tulsa, OK (supported by Van Halen)

September 21, 1978 Bakersfield Civic Auditorium, Bakersfield, CA (supported by Van Halen)

September 22, 1978 Selland Arena, Fresno, CA (supported by Van Halen)

September 23-24, 1978 Anaheim Stadium, Anaheim, CA (KMET 94.7 Summerfest)

September 26, 1978 Pacific Coliseum, Vancouver, BC (supported by Van Halen)

September 27, 1978 Portland Memorial Coliseum, Portland, OR (supported by Van Halen)

September 28, 1978 Spokane Coliseum, Spokane, WA (supported by Van Halen)

September 29-30, 1978 Seattle Center Arena, Seattle, WA (supported by Van Halen)

October 9, 1978 Audimax, Hamburg, Germany (supported by Van Halen)

October 10, 1978 Grugahalle, Essen, Germany (supported by Van Halen)

October 11, 1978 Stadthalle, Offenbach, Germany (supported by Van Halen)

October 13, 1978 Haldenberghalle, Uhingen, Germany (supported by Van Halen)

October 14, 1978 Friedrich Ebert Hall, Ludwigshafen, Germany (supported by Van Halen)

October 15, 1978 Kurnachtalhalle, Wurzburg, Germany (supported by Van Halen)

October 17, 1978 Hammerleinhalle, Nuremberg, GER (supported by Van Halen)

October 18, 1978 Bad Rappenau Sports Hall, Bad Rappenau, Germany (supported by Van Halen)

October 20, 1978 Palais des Grottes, Cambrai, France (supported by Van Halen)

October 22, 1978 Rainbow Theater, London, England (supported by Van Halen and Lucifer's Friend)

November 4, 1978 Jacksonville Memorial Coliseum, Jacksonville, FL (supported by Van Halen)

November 5, 1978 Hollywood Sportatorium, Hollywood, FL (supported by Van Halen)

November 6, 1978 Bayfront Center, St. Petersburg, FL (supported by Van Halen)

November 8, 1978 Boutwell Auditorium, Birmingham, AL (supported by Van Halen)

November 10, 1978 Mid-South Coliseum, Memphis, TN (supported by Van Halen)

November 11, 1978 Riverfront Coliseum, Cincinnati, OH (supported by Van Halen)

November 12, 1978 Nashville Municipal Auditorium, Nashville, TN (supported by Van Halen)

November 13, 1978 The Omni, Atlanta, GA (supported by Van Halen and The Ramones)

November 14, 1978 Mobile Municipal Auditorium, Mobile, AL (supported by Van Halen)

November 15, 1978 Von Braun Civic Center, Huntsville, AL (supported by Van Halen)

November 17, 1978 Austin Municipal Auditorium, Austin, TX (supported by Van Halen)

November 18, 1978 Chaparral Center, Midland, TX (supported by Van Halen)

November 19, 1978 Sam Houston Coliseum, Houston, TX (supported by Van Halen)

November 20, 1978 Myriad Convention Center, Oklahoma City, OK (supported by Van Halen)

November 21, 1978 Amarillo Civic Center, Amarillo, TX (supported by Van Halen)

November 22, 1978 Corpus Christi Memorial Coliseum, Corpus Christi, TX (supported by Van Halen)

November 24, 1978 HemisFair Arena, San Antonio, TX (supported by Van Halen)

November 25-26, 1978 Dallas Convention Center, Dallas, TX (supported by Van Halen)

November 28, 1978 McNichols Sports Arena, Denver, CO (supported by Van Halen)

November 29, 1978 Dee Events Center, Ogden, UT (supported by Van Halen)

December 1, 1978 Swing Auditorium, San Bernardino, CA (supported by The Ramones)

December 2, 1978 Oakland Coliseum Arena, Oakland, CA (supported by Van Halen)

December 3, 1978 San Diego Sports Arena, San Diego, CA (supported by Van Halen)

December 4, 1978 Long Beach Arena, Long Beach, CA (supported by The Ramones)

December 5, 1978 Veterans Memorial Coliseum, Phoenix, AZ (supported by The Ramones)

December 7, 1978 Taylor County Coliseum, Abilene, TX (supported by Head East)

December 8, 1978 El Paso County Coliseum, El Paso, TX

December 10-11, 1978 Johnson Gymnasium, Albuquerque, NM

July 17, 1979 Geoff Nicholls joins Black Sabbath

• 1 Stevie Ray Vaughan

The Rolling Stones American Tour 1972

The Rolling Stones American Tour 1972 , also known as the "Stones Touring Party", shortened to S.T.P., [1] was a much-publicized and much-written-about concert tour of the United States and Canada in June and July 1972 by The Rolling Stones . Constituting the band's first performances in the United States following the Altamont Free Concert in December 1969, critic Dave Marsh would later write that the tour was "part of rock and roll legend" and one of the "benchmarks of an era." [2]

Tour and difficulties

The rolling stones.

• Additional musicians

Tour support acts

Tour set list, bibliography, external links.

The tour in part supported the group's Exile on Main St. album, which was released a few weeks earlier on 12 May. It was also part of a tour-America-every-three-years rotation that the group established in 1969 and maintained through 1981.

On the first show of the tour, 3 June in Vancouver , British Columbia , 31 policemen were treated for injuries when more than 2,000 fans attempted to crash the Pacific Coliseum . [3]

In San Diego on 13 June, there were 60 arrests and 15 injured during disturbances. In Tucson, Arizona on 14 June, an attempt by 300 youths to storm the gates led to police using tear gas . [4] On 16 June, after the Denver shows, in a hotel suite, Stephen Stills and Keith Richards drew knives in an argument. [5] While in Chicago for three appearances on 19 and 20 June, the group stayed at Hugh Hefner 's original Playboy Mansion in the Gold Coast district. [6] Eighty-one people were arrested at the two sellout Houston shows on 25 June, mostly for marijuana possession and other minor drug offences. [7] There were 61 arrests in the large crowd at RFK Stadium in Washington, D.C. , on the Fourth of July . [8]

On 13 July police had to block 2,000 ticket-less fans from trying to gain access to the show in Detroit . [9] On 17 July at the Montreal Forum a bomb blew up in the Stones' equipment van, and replacement gear had to be flown in; then it was discovered that 3,000 forged tickets had been sold, causing a fan riot and a late start to the concert. [3] The next day, 18 July, the Stones' entourage got into a fight with photographer Andy Dickerman in Rhode Island , and Jagger and Richards landed in jail, imperilling that night's show at the Boston Garden . Boston Mayor Kevin White , fearful of a riot if the show were cancelled, intervened to bail them out; the show went on, albeit with another late start. Dickerman would later file a £22,230 lawsuit against the band. [10]

The tour ended with four shows over three consecutive nights at New York City's Madison Square Garden , the first night of which saw 10 arrests and two policemen injured, [11] and the last leading to confrontations between the crowd outside Madison Square Garden and the police. [12] The last show on 26 July, Jagger's 29th birthday, had balloons and confetti falling from Madison Square Garden's ceiling and Jagger blowing the candles off a huge cake. Pies were also wheeled in, leading to a pie fight between the Rolling Stones and the audience. [12]

Following the final performance, a party was held in Jagger's honor by Ahmet Ertegun at the St. Regis New York . Guests included Bob Dylan , Woody Allen , Andy Warhol , the Capote entourage, and Zsa Zsa Gabor , while the Count Basie Orchestra provided musical entertainment. At the event, Dylan characterized the tour as "encompassing" and "the beginning of cosmic consciousness." [13]

Rock critic Robert Christgau reported that the mood of the shows was friendly, with Jagger "undercut[ting] his fabled demonism by playing the clown, the village idiot, the marionette." [14]

The official name of the tour was 'American Tour 1972'. The tour is also known as the "Stones Touring Party", shortened to S.T.P., [1] derived from the laminates handed out by the management to crew, family, friends and press, granting access to the various areas at the concert venues and hotels. [ citation needed ] In 2015 Jose Cuervo in association with the Rolling Stones launched a brand of tequila with a marketing campaign based on one of the nicknames of the American Tour being the "Cocaine and Tequila Sunrise tour". [15]

Several writers were assigned to cover the tour. Truman Capote was commissioned to write a travelogue for Rolling Stone . Accompanied by prominent New York socialites Lee Radziwill and Peter Beard , Capote did not mesh well with the group; he and his entourage abandoned the tour in New Orleans , before resurfacing for the final shows at Madison Square Garden. [16] Having struggled with writer's block since the publication of In Cold Blood in 1966, he failed to complete his feature, tentatively titled "It Will Soon Be Here." Rolling Stone ultimately recouped its stake by assigning Andy Warhol to interview Capote about the tour in 1973. In the interview, Capote alleged that tour doctor Laurence Badgley (a 1968 graduate of the Yale School of Medicine who was later retained by Led Zeppelin for their 1977 North American tour ) [17] had a "super- Lolita complex" and initiated the statutory rape of a high school student (also filmed by Robert Frank ) on the band's business jet during a flight to Washington, D.C. [18]

Terry Southern , a close friend of Keith Richards since the late 1960s, wrote about the tour for Saturday Review in what proved to be one of his last major journalistic assignments. Southern and Beard developed a friendship on the tour and collaborated intermittently on The End of the Game (an unfilmed screenplay) for over two decades.

Robert Greenfield 's S.T.P.: A Journey Through America With The Rolling Stones (derived from his tour reportage for Rolling Stone ) was published in 1974. Greenfield had already covered the band's 1971 British Tour for Rolling Stone and was granted unlimited access to the band's affairs. Although Greenfield was initially assigned as the magazine's sole correspondent for the tour before a last-minute deal was reached with Capote, he was permitted to continue in his assignment, paralleling Hunter S. Thompson and Timothy Crouse 's two-pronged coverage of the contemporaneous 1972 United States presidential election for the magazine.

Dick Cavett hosted a one-hour special shot before the concluding New York engagement of performances. Capote appeared on The Tonight Show Starring Johnny Carson and several other talk shows, talking about his experiences on the tour. New York radio host Alex Bennett reported on the first Madison Square Garden show as soon as he got back from it.

No live album was released from the tour at the time, although one was planned as far as having a front and back cover designed and studio touch-ups being made on several recorded tracks. Eventually, the album was shelved due to contractual disputes with Allen Klein .

Two films of the tour were produced. The concert film Ladies and Gentlemen: The Rolling Stones ! only saw a limited theatrical release in 1974. Aside from an Australian VHS release in the early 1980s, it was not officially available on home video until 2010. The film's complete soundtrack was released as an album by Eagle Records/Universal in 2017.

Robert Frank's Cocksucker Blues is a documentary shot in cinéma vérité style; several cameras were available for anyone in the entourage to pick up and start shooting backstage parties, drug use, [19] and roadie and groupie antics, [20] including a groupie in a hotel room injecting heroin. [21] The film came under a court order which forbade it from being shown other than in very restricted circumstances. The film has since surfaced online in various bootlegged versions of varying quality. [19] [22]

Stevie Wonder was the support act for the tour. Having released his groundbreaking Music of My Mind album in March 1972, Wonder would go on to release another epochal album ( Talking Book ) by year's end. [23] This placement, along with his hard-edged hit " Superstition " (released in October 1972), did much to increase Wonder's visibility to rock audiences. He and his band would also sometimes join the Stones at the end of the group's performance for an encore medley of Wonder's 1966 hit " Uptight (Everything's Alright) " and " (I Can't Get No) Satisfaction ".

The standard set list for the tour was:

• " Brown Sugar "
• " Rocks Off "
• " Gimme Shelter "
• " Tumbling Dice "
• " Love in Vain "
• " Sweet Virginia "
• " You Can't Always Get What You Want "
• " All Down the Line "
• " Midnight Rambler "
• " Bye Bye Johnny "
• " Rip This Joint "
• " Jumpin' Jack Flash "
• " Street Fighting Man "
• Encore: often none, sometimes " Honky Tonk Women ", a few times " Uptight (Everything's Alright) " / " (I Can't Get No) Satisfaction "

Additional songs performed:

• " Loving Cup " (Vancouver, 3 June; both shows in Seattle, 4 June; Winterland in San Francisco, 8 June, second show)
• " Ventilator Blues " (only on opening night in Vancouver, 3 June)
• " Torn and Frayed " (only on opening night in Vancouver, 3 June)
• " Dead Flowers " (only in Fort Worth, 24 June, first show)
• " Sweet Black Angel " (only in Fort Worth, 24 June, first show)
• " Don't You Lie to Me " (only in Fort Worth, 24 June, second show)

The exact number of setlist variations are subject to ongoing research. Notably absent was anything from before 1968 in the Stones' catalog save for the occasional presence of "(I Can't Get No) Satisfaction". This tour also marked the banishment of " Sympathy for the Devil ", which had been wrongly associated with the killing at Altamont , from the band's American performances for much of the 1970s.

The tour grossed a then-record of $4 million (US$ 27,984,089 in 2022 dollars). [24] [25] Although each band member netted roughly $250,000 (equivalent to $1.4 million today), Jagger was dissatisfied when he learned that Led Zeppelin manager Peter Grant had secured a then-unprecedented 90/10 split of gross receipts in the group's favor on its contemporaneous North American tour . [26]

Related Research Articles

The Rolling Stones are an English rock band formed in London in 1962. Active for over six decades, they are one of the most popular and enduring bands of the rock era. In the early 1960s, the band pioneered the gritty, rhythmically driven sound that came to define hard rock. Their first stable line-up consisted of vocalist Mick Jagger, multi-instrumentalist Brian Jones, guitarist Keith Richards, bassist Bill Wyman, and drummer Charlie Watts. During their formative years, Jones was the primary leader: he assembled the band, named it, and drove their sound and image. After Andrew Loog Oldham became the group's manager in 1963, he encouraged them to write their own songs. Jagger and Richards became the primary creative force behind the band, alienating Jones, who had developed a drug addiction that interfered with his ability to contribute meaningfully.

Sir Michael Philip Jagger is an English singer and songwriter. He is the lead vocalist and one of the founder members of the rock band the Rolling Stones. His songwriting partnership with Keith Richards is one of the most successful in history. Jagger's career has spanned over six decades, and he has been widely described as one of the most popular and influential frontmen in the history of rock music. His distinctive voice and energetic live performances, along with Richards' guitar style, have been the Rolling Stones' trademark throughout the band's career. Jagger gained notoriety for his romantic involvements, illicit drug use, and has often been portrayed as a countercultural figure.

" Street Fighting Man " is a song by the English rock band the Rolling Stones, written by the songwriting team of Mick Jagger and Keith Richards. Considered one of the band's most popular and most controversial songs, it features Indian instrumentation contributed by Brian Jones, which has led to it being characterized as a Raga rock song. It also features controversial and ambiguous lyrics about armed revolution. In the United States, it was released as a single in August 1968, while it was not released in the United Kingdom until four months later on the Beggars Banquet album, where it opened side two. The B-side of the American single featured "No Expectations", considered one of the final Stones tracks in which founding member Jones played a significant role in its construction.

Cocksucker Blues is an unreleased documentary film directed by the still photographer Robert Frank chronicling The Rolling Stones American Tour 1972 in support of their album Exile on Main St.

Michael Kevin Taylor is an English guitarist, best known as a former member of John Mayall's Bluesbreakers (1967–1969) and the Rolling Stones (1969–1974). As a member of the Stones, he appeared on: Let It Bleed (1969), Get Yer Ya-Ya's Out! The Rolling Stones in Concert (1970), Sticky Fingers (1971), Exile on Main St. (1972), Goats Head Soup (1973) and It's Only Rock 'n Roll (1974).

Sticky Fingers is the 9th British and 11th American studio album by the English rock band the Rolling Stones. The Stones released it on 23 April 1971 on their new, and own label Rolling Stones Records. They had been contracted by Decca Records and London Records in the UK and the US since 1963. On this album Mick Taylor made his second full-length appearance on a Rolling Stones album. It was the first studio album without Brian Jones who died two years earlier. The original cover artwork, conceived by Andy Warhol and photographed and designed by members of his art collective, The Factory, showed a picture of a man in tight jeans, and had a working zip that opened to reveal underwear fabric. The cover was expensive to produce and damaged the vinyl record, so the size of the zipper adjustment was made by John Kosh at Abcko records. Later re-issues featured just the outer photograph of the jeans.

" Brown Sugar " is a song recorded by the English rock band the Rolling Stones. Written primarily by Mick Jagger, it is the opening track and lead single from their album Sticky Fingers (1971). It became a number one hit in both the United States and Canada. In the United Kingdom and Ireland, it charted at number two. In the United States, Billboard ranked it as the number 16 song for 1971.

Get Yer Ya-Ya's Out!: The Rolling Stones in Concert is the second live album by the Rolling Stones, released on 4 September 1970 on Decca Records in the UK and on London Records in the US. It was recorded in New York City and Baltimore in November 1969, just before the release of Let It Bleed . It is the first live album to reach number 1 in the UK. It was reported to have been issued in response to the well known bootleg Live'r Than You'll Ever Be . This was also the band's final release under the Decca record label and not under their own label Rolling Stones Records.

Love You Live is a double live album by the Rolling Stones, released in 1977. It is drawn from Tour of the Americas shows in the US in the summer of 1975, Tour of Europe shows in 1976 and performances from the El Mocambo nightclub concert venue in Toronto in 1977. It is the band's third official full-length live release and is dedicated to the memory of audio engineer Keith Harwood, who died in a car accident shortly before the album's release. It's also the band's first live album with Ronnie Wood.

Robert Henry Keys was an American saxophonist who performed as a member of several horn sections of the 1970s. He appears on albums by the Rolling Stones, Lynyrd Skynyrd, Harry Nilsson, Delaney & Bonnie and Friends, George Harrison, John Lennon, Eric Clapton, Joe Cocker and other prominent musicians. Keys played on hundreds of recordings and was a touring musician from 1956 until his death in 2014.

"Sweet Virginia", a slow country-inspired song, was written by Mick Jagger and Keith Richards. It is the sixth track on the Rolling Stones' 1972 double album Exile On Main St. .

" Midnight Rambler " is a song by English rock band The Rolling Stones, released on their 1969 album Let It Bleed . The song is a loose biography of Albert DeSalvo, who confessed to being the Boston Strangler.

The Rolling Stones' Steel Wheels Tour was a concert tour which was launched in North America in August 1989 to promote the band's album Steel Wheels ; it continued to Japan in February 1990, with ten shows at the Tokyo Dome. The European leg of the tour, which featured a different stage and logo, was called the Urban Jungle Tour ; it ran from May to August 1990. These would be the last live concerts for the band with original member Bill Wyman on bass guitar. This tour would also be the longest the band had ever done up to that point, playing over twice as many shows as their standard tour length from the 1960s and 1970s.

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The Rolling Stones' 1969 Tour of the United States took place in November 1969. With Ike & Tina Turner, Terry Reid, and B.B. King as the supporting acts, rock critic Robert Christgau called it "history's first mythic rock and roll tour", while rock critic Dave Marsh wrote that the tour was "part of rock and roll legend" and one of the "benchmarks of an era." In 2017, Rolling Stone magazine ranked the tour among The 50 Greatest Concerts of the Last 50 Years.

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Video Rewind is a compilation of video clips by English rock band the Rolling Stones, recorded between 1972–1984. Instead of presenting unrelated clips and videos strung together, it uses a framing story directed by Julien Temple, featuring Bill Wyman and Mick Jagger, and also includes some footage directed by Michael Lindsay-Hogg. It was first released in 1984 on the VHS, Betamax, Laserdisc, and CED Videodisc formats by Vestron home video.

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• ↑ Marsh, Dave (1987). Glory Days: Bruce Springsteen in the 1980s . Pantheon Books. ISBN   0-394-54668-7 . p. 15
• 1 2 "Rolling through scandal" . The Vancouver Sun . 2 April 2008 . Retrieved 2 December 2013 .
• ↑ "50 Greatest Concerts in San Diego History 1917 - 2005 | San Diego Reader" . Sandiegoreader.com . Retrieved 3 May 2022 .
• ↑ "Chronicle 1972" . Timeisonourside.com . Retrieved 12 November 2019 .
• ↑ Greenfield, Robert (3 August 1972). "The Rolling Stones Go South" . Rollingstone.com . Retrieved 3 May 2022 .
• ↑ J. R. Gonzales (13 April 2013). "By popular demand: The 1972 Rolling Stones concert" . Bayou City History . Retrieved 3 May 2022 .
• ↑ "Goodbye, RFK - Raw Fisher" . Archived from the original on 5 December 2013 . Retrieved 3 December 2013 .
• ↑ "Rolling Stones Bring Havoc to Cobo" . Stoneslib7.homestead.com . Retrieved 3 May 2022 .
• ↑ Stones Tour: All Ends Well Despite Bust, Bomb , Rolling Stone
• ↑ "Memorable Performances from Madison Square Garden «   WCBS-FM 101.1" . Archived from the original on 27 August 2017 . Retrieved 3 December 2013 .
• 1 2 "The Sun - Google News Archive Search" . News.google.com . Retrieved 3 May 2022 .
• ↑ Greenfield, Robert (8 July 2013). Stones Touring Party: A Journey Through America with the Rolling Stones . ISBN   9781781311998 .
• ↑ Robert Christgau , "The Rolling Stones", entry in The Rolling Stone History of Rock & Roll , Random House, 1980. p. 200
• ↑ Douglas Quenqua (15 September 2015). "Everything wrong with Jose Cuervo's new Rolling Stones ad" . Campaign Live .
• ↑ Davis, Stephen (11 December 2001). Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones . ISBN   9780767909563 .
• ↑ "Laurence Badgley, M.D.   : Medical Director at Natural Rx" . Linkedin.com . Retrieved 3 May 2022 .
• ↑ Wenner, Jann S. (November 2007). The Rolling Stone Interviews . ISBN   9780316023139 .
• 1 2 "The Trouble With 'Cocksucker Blues' " . Rolling Stone Magazine. 3 November 1977 . Retrieved 2 June 2012 .
• ↑ Fricke, David (20 November 2012). "The Greatest Rolling Stones Movie You've Never Seen: 'Cocksucker Blues' " . Rolling Stone Magazine. Archived from the original on 27 November 2012 . Retrieved 2 June 2012 .
• ↑ Doyle, Patrick (26 October 2009). "Rolling Stones' Controversial Tour Documentary "Cocksucker Blues" Screens in New York" . Rolling Stone Magazine . Retrieved 2 June 2013 .
• ↑ "The Rolling Stones: Cocksucker Blues (1972)" . IMDb.com . Retrieved 3 May 2022 .
• ↑ "The 10 Best Opening Acts in Rock History – 9. The Rolling Stones/Stevie Wonder (1972)" . Rolling Stone . 11 July 2012.
• ↑ 1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF) . American Antiquarian Society . 1700–1799: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF) . American Antiquarian Society . 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–" . Retrieved 28 May 2023 .
• ↑ Wyman, Bill (2002). Rolling With the Stones . Dorling Kindersley. p.   398. ISBN   0-7513-4646-2 .
• ↑ Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones . Crown. 11 December 2001. ISBN   9780767909563 .
• Greenfield, Robert. S.T.P.: A Journey Through America With The Rolling Stones . Reissued Da Capo Press, 2002. ISBN   0-306-81199-5
• Carr, Roy . The Rolling Stones: An Illustrated Record . Harmony Books, 1976. ISBN   0-517-52641-7
• Harold Colson's historical research site