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| San Francisco sound | |
|---|---|
| Stylistic origins | |
| Cultural origins | Mid-1960s,San Francisco,California, U.S. |
| Other topics | |
TheSan Francisco sound is rock music performed live and recorded bySan Francisco–based rock groups of the mid-1960s to early 1970s. It was associated with thecounterculture community in San Francisco, particularly theHaight-Ashbury district, during these years.[1] San Francisco is a westward-looking port city, a city that at the time was 'big enough' but not manic likeNew York City or spread out likeLos Angeles. Hence, it could support a 'scene'.[2] According to journalist Ed Vulliamy, "A core of Haight Ashbury bands played with each other, for each other".[3]
According to an announcer for a TV show thatRalph J. Gleason hosted: "In his syndicated newspaper column, Mr. Gleason has been the foremost interpreter of the sounds coming out of what he calls 'the Liverpool of the United States.' Mr. Gleason believes the San Francisco rock groups are making a serious contribution to musical history."[4] Ralph Gleason became one of the founders of what would become the rock-scene fan magazineRolling Stone.
The new sound, which melded many musical influences, was perhaps heralded in the live performances ofJefferson Airplane (from 1965 on), who put out an LP record earlier than nearly all the other new bands (August 1966).[5] According to writer Douglas Brinkley, celebrated authorHunter S. Thompson, one of the Bay Area cultural-scene boosters, was a big early fan of the group: "Thompson extolled the sonic energy of the Jefferson Airplane as it pulsed around the California locales that nursed the psychedelic era..."[6]
The bohemian predecessor of the hippie culture in San Francisco was the "Beat Generation" style of coffee houses and bars, whose clientele appreciated literature, a game of chess, music (in the forms of jazz and folk style), modern dance, and traditional crafts and arts like pottery and painting. Acoustic music had had an avid following far and wide, but it was "a fading world of traditional folk andBrechtian art songs."[7] The entire tone of thenew subculture was different. According to biography author Robert Greenfield, "Jon McIntire [manager of the Grateful Dead from the late sixties to the mid-eighties] points out that the great contribution of the hippie culture was this projection of joy. The beatnik thing was black, cynical, and cold."[8] The Beats tended to be cagey, keeping their lives discreet (save for the few who published, in literary bursts, about their perceptions, enthusiasms, and activities); in a word, they generally "kept cool." The young hippies were far more numerous, less wary, and had scarcely any inclination to keep their lifestyles concealed.
The new music was loud and community-connected: bands sometimes presented free concerts inGolden Gate Park and "happenings" at the city's several psychedelic clubs and ballrooms. The many bands that formed signalled a shift from one subculture to the next.
Monterey, California is about 120 road miles south of San Francisco. At the June 1967Monterey Pop Festival, Bay Area groups performed from the same stage as established and fast-rising musical groups and well-known individual artists from the U.S., the UK, and even India. Soon after, Ralph J. Gleason andJann Wenner, based in San Francisco, establishedRolling Stone magazine (first issue's date: November 1967).
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Each San Francisco band had its characteristic sound, but enough commonalities existed that there was a regional identity. By 1967, fresh and adventurous improvisation during live performance (which many heard as being epitomized by the Grateful Dead and by the "cross-talk" guitar work ofMoby Grape) was one characteristic of the San Francisco sound. A louder, more prominent role for the electric bass—typically with a melodic or semi-melodic approach, and using a plush, pervasive tone—was another feature.[9] This questing bass quality has been wryly characterized as a "roving" (rather than the conventional "stay-at-home") style. In jazz it had been exuberantly pioneered by numerous musicians. A musician who was a leading example of this,Jack Casady ofJefferson Airplane (and the offshootHot Tuna) pioneered the approach, perhaps best represented on the albumBless Its Pointed Little Head.Phil Lesh, bassist with the Grateful Dead, furthered this sound. Lesh had developed his style on the foundation of having studied classical, brass-band, jazz, and modernist music on the violin and later the trumpet.[10]
Exploration of chordal progressions previously uncommon in rock & roll, and a freer and more powerful use of all instruments (drums and other percussion, electric guitars, keyboards, as well as the bass) went along with this "psychedelic-era" music. Brasses and reeds, such as trumpets and saxophones were rarely used, unlike in contemporaryR&B andsoul bands and some of the white bands from the U.S. East Coast (e.g.,Blood, Sweat & Tears orChicago).Sly & the Family Stone, a San Francisco–based group that got its start in the late 1960s, was an exception, being a racially integrated hippie band with a hefty influence from soul music, hence making use of brass instrumentation.
"Rock & roll" was the point of departure for the new music. But well known stars of rock & roll "were being called fifties primitives" by this time.[11] This was the period when "rock" was differentiating itself from rock & roll, partly due to the upshot of theBritish Invasion.[12] Among these British acts, according to music journalist Chris Smith, writing in hisbook on the most influential albums in American popular music,the Beatles inspired the emergence of the San Francisco psychedelic scene following their incorporation offolk rock on the 1965 albumRubber Soul, which reflected the reciprocal influences shared between the group andBob Dylan.[13] San Francisco historianCharles Perry recalled that in Haight-Ashbury, "You could party hop all night and hear nothing butRubber Soul",[14] and that "More than ever the Beatles were the soundtrack of the Haight-Ashbury,Berkeley and the whole circuit."[15] In San Francisco, musical influences came in from not onlyLondon,Liverpool andManchester, but also included the bi-coastalAmerican folk music revival of the 1950s and 1960s, theChicagoelectric blues scene, thesoul music scenes inDetroit,Memphis, andMuscle Shoals, andjazz styles of various eras and regions. A number of key San Francisco rock musicians of the era citedJohn Coltrane and his circle of leading-edge jazz musicians as important influences.
The journalistEd Vulliamy wrote: "The Summer of Love had an empress, and her name wasJanis Joplin."[16] Women, in a few cases, enjoyed an equal status with men as stars in the San Francisco rock scene—but these few instances signaled a shift that has continued in the U.S. music scene. BothGrace Slick (singing with Jefferson Airplane) and Joplin (singing initially withBig Brother & the Holding Company) gained a substantial following locally and, before long, across the country.[17]
Coming of age in the San Francisco Bay Area, famed singer/songwriterStevie Nicks gained her first performing experience there in the 1960s withLindsey Buckingham and his band. Nicks and Buckingham went on to bring that San Francisco sound to established British rock bandFleetwood Mac when they both joined in 1975.
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Performances of an international superstar group like the Beatles were hosted in a huge venue like the Cow Palace. At first, the local Bay Area bands played in smaller ones. The early band venues, while the new SF scene was emerging from folk and folk-rock beginnings, were often places likeThe Matrix nightclub. As audiences grew, and audience dancing became customary, performances moved into venues with more floor space, such as the Longshoreman's Hall, the Fillmore Auditorium, the Avalon Ballroom, Winterland, and the Carousel Ballroom (which was later renamed Fillmore West). Outdoor performances, often organized by the band members themselves and their friends, also played their part.
Because San Francisco had an especially vibrant and attractive countercultural scene in the latter half of the 1960s, musicians from elsewhere (along with the famous hip multitude) came there. Some stayed and became part of the scene. Examples include theSir Douglas Quintet, whose music took on more of the character of the San Francisco sound, while yet retaining some of its original Texas flavor,Mother Earth, fronted by female lead singerTracy Nelson, who relocated to the Bay Area from Nashville, and theElectric Flag, bringing Chicago blues to the Bay Area care of formerPaul Butterfield Blues Band guitaristMike Bloomfield.Steve Miller (who formedthe Steve Miller Band) was from Wisconsin, by way of Chicago and New York City while bandmateBoz Scaggs originally called Texas home.
The San Francisco bands' music was everything that AM-radio pop music wasn't. Their performances contrasted with the "standard three-minute track" that had become a cliché of the pop-music industry, due to the requirements of AM radio, to the sound capacity of the 45 RPM record, and to the limited potentials of many pop songs and song treatments. It is true that many of the San Francisco bands did record "three-minute" tracks when they desired pop-music station airplay for a song. But in live performance, the bands would often share their improvisatory zest by playing a given song or sequence for as long as five or six minutes, and occasionally for as long as half an hour.
Bay area residentTom Donahue was a veteran disc jockey, songwriter, music-act manager, and concert producer (with an associate, he had produced the Beatles’ last show in their final public tour); he was inspired to revive a moribund radio station, KMPX, in early 1967. Donahue, inaugurating the first FM-radio rock station in San Francisco, intended to showcase this new genre of music.[18] He was uniquely qualified, being savvy and enthusiastic about jazz, R&B, soul, and ethnic music.[19] An important departure in this new era of "album oriented radio" (AOR) was that show hosts felt free to play lengthy tracks or two or more tracks at a stretch from a good record album.
According to cultural anthropologist Micaela di Leonardo, the San Francisco music scene was "a workshop forprogressive soul", with the radio stationKDIA in particular playing a role in showcasing the music of acts like Sly and the Family Stone.[20]
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