update 20230712
I have no idea why I inferred Tom Fogerty saw JGMS at Keystone Korner on 5/20/71. It seems more likely to have been 5/22/71, and his arrival may mark why they made tapes of the next two nights.
Further, I have no idea why I inferred he first joined in Berkeley on 5/26/71, when Tuesday 5/25 is even more likely, based on the “off-night” clause of The Iron Law of Breaking in New Band Members.
So, as of 7/12/2023, I am calling 5/22 the visit and 5/25 Tom’s debut.
/update 20230712
A couple of years ago I discovered this youtube content called “Goodbye Media Man”, featuring video of Tom Fogerty, Merl
Saunders, Bill Vitt, various studio engineers and others unknown to me, working
on a track by that same title.
Saunders, Bill Vitt, various studio engineers and others unknown to me, working
on a track by that same title.
Here is the description (published October 9, 2013):
Tom was the original singer of the Blue Velvets and the
Golliwogs, both of which evolved into Creedence Clearwater Revival. Tom Fogerty
had the chops to be a star in his own right. Within the band (Doug, Stu, Tom
and John), Tom was overshadowed by younger brother John, who’s talent was
clearly evident. “Goodbye Media Man”, recorded in 1971, was Tom’s
first solo single after leaving Creedence. A great track with solid
musicianship and hooks. To my knowledge, this is the first time this video has
been posted. Tom left us far too soon, passing on September 6, 1990. Back in
the day, he was a friend, and I miss him – Ken Levy, Brooklyn NY / Addlestone,
Surrey England
Wow.
I continue to be amazed at the material that continues to
crawl out of the woodwork. It gives me hope for the Golden State Country
Bluegrass Festival (GSCBF) film, among many other things. This post will pin
down the metadata but also talk about how remarkable is the wealth of material
we have available to study, across many different media – and why we get to
enjoy that wealth.
crawl out of the woodwork. It gives me hope for the Golden State Country
Bluegrass Festival (GSCBF) film, among many other things. This post will pin
down the metadata but also talk about how remarkable is the wealth of material
we have available to study, across many different media – and why we get to
enjoy that wealth.
Metadata
Location
Appears to be Berkeley, both at Fantasy Studios and at
Tom Fogerty’s professorial manse with a bunch of kids running around.
Tom Fogerty’s professorial manse with a bunch of kids running around.
Date
The video is only dated 1971. Recall that Tom Fogerty had
announced on February 2, 1971 that he was leaving the lucrative Creedence
Clearwater Revival over differences with the band’s dominant force, his little
brother John, and to spend more time with his four children.[1] We
also know that the House That Creedence Built, the new Fantasy Studios facility
at 10th and Parker in Berkeley, had come online right around this
time. Local journo students Kathie Staska and George Mangrum (“KG”)
ran an amazingly rich column in the Hayward
Daily Review starting in February, and got a tour of the new facility from
the one and only Ralph Gleason, now working full time for Saul Zaentz at
Fantasy.[2]
announced on February 2, 1971 that he was leaving the lucrative Creedence
Clearwater Revival over differences with the band’s dominant force, his little
brother John, and to spend more time with his four children.[1] We
also know that the House That Creedence Built, the new Fantasy Studios facility
at 10th and Parker in Berkeley, had come online right around this
time. Local journo students Kathie Staska and George Mangrum (“KG”)
ran an amazingly rich column in the Hayward
Daily Review starting in February, and got a tour of the new facility from
the one and only Ralph Gleason, now working full time for Saul Zaentz at
Fantasy.[2]
KG reported on March 11 that Tom had started work on his
solo album.[3] Just
after the solstice, on June 24th, KG reported that the record was done and was set
for release the next week,[4]
also noting that he’d be part of Merl Saunders’s band for a release on the same
label. On June 29th, Robert Hilburn noted in the LA Times that “Goodbye Media Man” was set for imminent release. So the video presumably features material from this late-winter to
early-summer span. Intriguingly, a youtube posting of the “Goodbye Media Man” single associates a date of “the 17th of June 1971” with it:
solo album.[3] Just
after the solstice, on June 24th, KG reported that the record was done and was set
for release the next week,[4]
also noting that he’d be part of Merl Saunders’s band for a release on the same
label. On June 29th, Robert Hilburn noted in the LA Times that “Goodbye Media Man” was set for imminent release. So the video presumably features material from this late-winter to
early-summer span. Intriguingly, a youtube posting of the “Goodbye Media Man” single associates a date of “the 17th of June 1971” with it:
With all of this, the studio film could come from anywhere
between March and June, but I strongly suspect that the home material is from
closer to June, as the single neared or achieved completion. Update: John Wasserman mentioned that Tom was cutting “Goodbye Media Man” in his Chronicle column of June 21st, so this is very much in the nearing-completion stage – right around the solstice.
between March and June, but I strongly suspect that the home material is from
closer to June, as the single neared or achieved completion. Update: John Wasserman mentioned that Tom was cutting “Goodbye Media Man” in his Chronicle column of June 21st, so this is very much in the nearing-completion stage – right around the solstice.
Forging The Garcia-Fogerty Connection
Our Hero comes up in the interview, and I think this comment
sheds some light on the Tom Fogerty version of the Garcia-Saunders band.[5] Tom
says
sheds some light on the Tom Fogerty version of the Garcia-Saunders band.[5] Tom
says
I only want to jam around right now and perform with as many
people as possible. I’ve learned more about music this last month [i.e.,
May-June] from meeting other people than during the whole time while I was with
Creedence … One night, I just happened to go over to Keystone Korner. Merl
Saunders had invited me over to hear him and Bill Vitt and Jerry Garcia, and
within a week I was up on the stage with ’em. And, uh playin’ with ’em, and at
that point I decided that that was … the kind of music that I wanted behind
the song. It was within about three days that the thing came together with
Merl.
When might this have been, exactly? Let’s investigate. Jerry
and Merl had played the following Keystone Korner gigs from the first Freddie Herrera – Jerry Garcia Joint through mid-1971:
and Merl had played the following Keystone Korner gigs from the first Freddie Herrera – Jerry Garcia Joint through mid-1971:
 |
| Table xxx. Garcia at Keystone Korner, 11/25/70-6/16/71. Follow this link for a more complete table of Garcia’s Keystone Korner gigs. Click image to enlarge. |
Tom’s narrative and the overall evidence best fits Tom
having seen JGMS on 5/20/71,[6]
and sitting in with them on Wednesday 5/26/71. This frame fits “within a
week” from Tom’s filmed reckoning, and I am pretty confident about the
interval, if not the specifics. “Three days” from Tom is a little
unclear to me, certainly could suggest it was other nights than the ones I
pinpoint. So, why these?
having seen JGMS on 5/20/71,[6]
and sitting in with them on Wednesday 5/26/71. This frame fits “within a
week” from Tom’s filmed reckoning, and I am pretty confident about the
interval, if not the specifics. “Three days” from Tom is a little
unclear to me, certainly could suggest it was other nights than the ones I
pinpoint. So, why these?
This is going to get really convoluted, and, despite my best
efforts, I assume it will be somewhat hard to follow. You can just take my word
for it, or you can try to follow me into the data.
efforts, I assume it will be somewhat hard to follow. You can just take my word
for it, or you can try to follow me into the data.
First, there is tape of 5/20/71 and 5/21/71, the first out
of the Garcia Vault and the second locked away there until its 2020 release. May 11, 1971[7] and
these tapes represent the earliest-audible Garcia-Saunders performances
(perhaps as many as eight months after they started gigging![8]),
and they precede a four-month gap that audibly ends when Lou Judson becomes the
second Marin County soundman to run PA tape of The Group in late September. The
5/20/71 tape escaped into the world because Garcia had it amongst his stuff
when, ca. Christmas 1975, MG threw him out of Sans Souci –on which the couple
had closed on … May 5, 1971!– and he shuffled off to Deborah’s for the first
time. Debbie took possession of the tape, someone found a way to copy it, and now
anyone can hear it.
of the Garcia Vault and the second locked away there until its 2020 release. May 11, 1971[7] and
these tapes represent the earliest-audible Garcia-Saunders performances
(perhaps as many as eight months after they started gigging![8]),
and they precede a four-month gap that audibly ends when Lou Judson becomes the
second Marin County soundman to run PA tape of The Group in late September. The
5/20/71 tape escaped into the world because Garcia had it amongst his stuff
when, ca. Christmas 1975, MG threw him out of Sans Souci –on which the couple
had closed on … May 5, 1971!– and he shuffled off to Deborah’s for the first
time. Debbie took possession of the tape, someone found a way to copy it, and now
anyone can hear it.
Second, I submit that the fact that Jerry had this tape
amongst his personal stuff is not innocent with respect to the very question we
are considering. I think he had the tape “pulled”, either initially
recorded or pulled out of wherever most of his tapes were kept, or both,
precisely so Fogerty could give it a listen. We know the Dead were in the habit
of pulling recent tapes to prepare their incoming members, e.g., the
“Houseboat Tapes” of August 1971 that they gave Keith Godchaux to
listen to. I think Jerry lent it to Tom or dubbed it for him so he could come
up to speed with the band and its material.
amongst his personal stuff is not innocent with respect to the very question we
are considering. I think he had the tape “pulled”, either initially
recorded or pulled out of wherever most of his tapes were kept, or both,
precisely so Fogerty could give it a listen. We know the Dead were in the habit
of pulling recent tapes to prepare their incoming members, e.g., the
“Houseboat Tapes” of August 1971 that they gave Keith Godchaux to
listen to. I think Jerry lent it to Tom or dubbed it for him so he could come
up to speed with the band and its material.
Third, and with respect to the late boundary, I glean one
other possible tidbit of information from the table above, in the advertising
patterns. I am almost certainly over-reading this, but the
Thursday-Friday-Saturday 5/20-22 run looks like Big Nights – advertised in the Chron, weekend shows, some real buzz.
Even Tuesday 5/25 gets a Wasserman mention, which may well have been enough to
sell the gig out. But 5/26, Wednesday, gets a measley mention in the Trib‘s “Bay Sounds” items,
which usually ran more toward jazz and soul. Probably a much quieter night for
Tom to step up and play some for the first time, dontcha think? I can’t adduce
all of the evidence here, but it is as close to an Iron Law as exists in the
Garciaverse that new players are broken in off-nights, off-the-beaten-path, or
both.
other possible tidbit of information from the table above, in the advertising
patterns. I am almost certainly over-reading this, but the
Thursday-Friday-Saturday 5/20-22 run looks like Big Nights – advertised in the Chron, weekend shows, some real buzz.
Even Tuesday 5/25 gets a Wasserman mention, which may well have been enough to
sell the gig out. But 5/26, Wednesday, gets a measley mention in the Trib‘s “Bay Sounds” items,
which usually ran more toward jazz and soul. Probably a much quieter night for
Tom to step up and play some for the first time, dontcha think? I can’t adduce
all of the evidence here, but it is as close to an Iron Law as exists in the
Garciaverse that new players are broken in off-nights, off-the-beaten-path, or
both.
Art and Commerce
For Garcia of this vintage, the aesthetics of any musical
choice should go without saying. He wanted to play more music with good players
than the Dead could afford him (especially in this very fallow period between
the closing of the Fillmores East and West). As Corry and I have elaborated,
Tom Fogerty advened alongside huge changes in The Group’s approach and
repertoire, from spacey organ jazz to all kinds of Americana, white (The Band’s
“Dixie Down”, Jesse Winchester’s “Biloxi”, some good ol’
rockabilly), black (Stevie Wonder, Motown, etc. etc.) and everything in
between, mostly more or less contemporary stuff. In short, I think Fogerty came
in because Jerry wanted to sing some tunes, wanted to bring in more white contemporary,
and Fogerty could sing, play rhythm guitar, and bring in some new material. [update: the release of the pre-Tom 5/21/71 Garcia-Saunders gig gives the lie to the idea that it was all space jazz pre-Tom, with white-roots-flavored stuff coming in with him. Dixie Down, Mystery Train and arguably a few others were already in the repertoire. This is a case where fragmentary tape evidence led us {at least me} a little astray.]
choice should go without saying. He wanted to play more music with good players
than the Dead could afford him (especially in this very fallow period between
the closing of the Fillmores East and West). As Corry and I have elaborated,
Tom Fogerty advened alongside huge changes in The Group’s approach and
repertoire, from spacey organ jazz to all kinds of Americana, white (The Band’s
“Dixie Down”, Jesse Winchester’s “Biloxi”, some good ol’
rockabilly), black (Stevie Wonder, Motown, etc. etc.) and everything in
between, mostly more or less contemporary stuff. In short, I think Fogerty came
in because Jerry wanted to sing some tunes, wanted to bring in more white contemporary,
and Fogerty could sing, play rhythm guitar, and bring in some new material. [update: the release of the pre-Tom 5/21/71 Garcia-Saunders gig gives the lie to the idea that it was all space jazz pre-Tom, with white-roots-flavored stuff coming in with him. Dixie Down, Mystery Train and arguably a few others were already in the repertoire. This is a case where fragmentary tape evidence led us {at least me} a little astray.]
But there were almost surely also commercial logics
operating here, too. Whether they came from Jerry, from Merl, from Tom, from
Saul Zaentz (or Ralph Gleason), and/or others, I can’t know. But Fantasy
Records stands at the center of this.
operating here, too. Whether they came from Jerry, from Merl, from Tom, from
Saul Zaentz (or Ralph Gleason), and/or others, I can’t know. But Fantasy
Records stands at the center of this.
Indeed, I want to revise my conjecture above about why the
May 20-21, 1971 JGMS tapes were made (and recorded in 4-track, no less). This was long before Rex and then Betty
started taping Jerry, so why is there this one pair of shows? I said a few paragraphs
ago that it was so Tom could bone up. I think that’s half-right – it was so Tom
could bone up, and Tom joining this operation cannot be separated from Tom
making records for Fantasy, Merl making records for Fantasy, etc. etc. Remember
that Merl invited Tom down to the club. He might have had a purpose in mind –
say, to make a Group for Jerry that would record on Fantasy and make them all
rich, what already wasn’t, and them richer what already was. Corry and I have concluded that Fogerty’s arrival served a sea change in the Garcia-Saunders aggregation, taking it from space organ to Dylan, Band and Motown numbers. (update: we overstated the discontinuity here. The 5/21/71 show has “Dixie Down”, for example.) Why
this big artistic shift? Quite possibly, to work up some more commercially
viable material than the “out-there” jams they had been doing. Hooteroll? (Douglas 5, December 1971) would cover the space-organ
piece of the market for the jazz heads, while The Group could do some white and
black contemporary tunes for the dormitory set. It’s all made to order,
including an eager press. Indeed, two days after writing about Fogerty’s
upcoming release, our intrepid collegians K and G found themselves at the New
Monk in Berkeley, where Tom, Merl and Jerry were holding forth for a standing-room-only
crowd, just blocks from Fantasy.[9]
May 20-21, 1971 JGMS tapes were made (and recorded in 4-track, no less). This was long before Rex and then Betty
started taping Jerry, so why is there this one pair of shows? I said a few paragraphs
ago that it was so Tom could bone up. I think that’s half-right – it was so Tom
could bone up, and Tom joining this operation cannot be separated from Tom
making records for Fantasy, Merl making records for Fantasy, etc. etc. Remember
that Merl invited Tom down to the club. He might have had a purpose in mind –
say, to make a Group for Jerry that would record on Fantasy and make them all
rich, what already wasn’t, and them richer what already was. Corry and I have concluded that Fogerty’s arrival served a sea change in the Garcia-Saunders aggregation, taking it from space organ to Dylan, Band and Motown numbers. (update: we overstated the discontinuity here. The 5/21/71 show has “Dixie Down”, for example.) Why
this big artistic shift? Quite possibly, to work up some more commercially
viable material than the “out-there” jams they had been doing. Hooteroll? (Douglas 5, December 1971) would cover the space-organ
piece of the market for the jazz heads, while The Group could do some white and
black contemporary tunes for the dormitory set. It’s all made to order,
including an eager press. Indeed, two days after writing about Fogerty’s
upcoming release, our intrepid collegians K and G found themselves at the New
Monk in Berkeley, where Tom, Merl and Jerry were holding forth for a standing-room-only
crowd, just blocks from Fantasy.[9]
Conclusion
I feel quite confident, though not certain, that Tom
Fogerty first sat in with JGMS on May 26, 1971. I also think Fantasy Records
was the Prime Mover behind this partnership.
Fogerty first sat in with JGMS on May 26, 1971. I also think Fantasy Records
was the Prime Mover behind this partnership.
Now, Garcia and Tom did end up on Merl’s Heavy Turbulence (Fantasy 8421, 1972),
which looks to me like it could have been recorded in 1971, and Fogerty’s Excalibur (Fantasy 9413, October 1972)
which, though seemingly released later, feels roughly contemporary. Merl’s Fire Up (Fantasy 9421, 1973) feels
more like 1972, though of course it’s pretty hard to say. But Fantasy’s big
golden goose feast, 1973’s Live at the Keystone
(Fantasy
F-79002), featured the Fogertyless quartet of the aforementioned goose plus
Merl and the Kahn-Vitt rhythm section. As best we can tell, Tom left the fold
at the end of 1972 after eighteen months with The Group. What happened? I
dunno, but I welcome your speculations in comments.
which looks to me like it could have been recorded in 1971, and Fogerty’s Excalibur (Fantasy 9413, October 1972)
which, though seemingly released later, feels roughly contemporary. Merl’s Fire Up (Fantasy 9421, 1973) feels
more like 1972, though of course it’s pretty hard to say. But Fantasy’s big
golden goose feast, 1973’s Live at the Keystone
(Fantasy
F-79002), featured the Fogertyless quartet of the aforementioned goose plus
Merl and the Kahn-Vitt rhythm section. As best we can tell, Tom left the fold
at the end of 1972 after eighteen months with The Group. What happened? I
dunno, but I welcome your speculations in comments.
[1] “Tom Fogarty [sic] Leaves
Creedence,” San Francisco Chronicle,
February 3, 1971, p. 42.
Creedence,” San Francisco Chronicle,
February 3, 1971, p. 42.
[2] See also Staska and
Mangrum 19710225.
Mangrum 19710225.
[3] Staska and Mangrum 19710311.
[4] Staska and Mangrum
19710624.
19710624.
[5] I have written at length
around all of this. See “Jerry Garcia and Merl Saunders at the Matrix – A
Dialogue” (with Corry Arnold), URL http://jgmf.blogspot.com/2014/09/jerry-garcia-and-merl-saunders-at.html;
“Jerry Garcia & Merl Saunders & Tom Fogerty Sat-Sun, New
Monk”, URL http://jgmf.blogspot.com/2014/09/jerry-garcia-merl-saunders-tom-fogerty.html;
and “Tom Fogerty, Merl Saunders and Friends – June 25, 1971 Keystone
Korner”, URL http://jgmf.blogspot.com/2014/09/tom-fogerty-merl-saunders-and-friends.html.
around all of this. See “Jerry Garcia and Merl Saunders at the Matrix – A
Dialogue” (with Corry Arnold), URL http://jgmf.blogspot.com/2014/09/jerry-garcia-and-merl-saunders-at.html;
“Jerry Garcia & Merl Saunders & Tom Fogerty Sat-Sun, New
Monk”, URL http://jgmf.blogspot.com/2014/09/jerry-garcia-merl-saunders-tom-fogerty.html;
and “Tom Fogerty, Merl Saunders and Friends – June 25, 1971 Keystone
Korner”, URL http://jgmf.blogspot.com/2014/09/tom-fogerty-merl-saunders-and-friends.html.
[6] See “‘JGMS 5/20/71’
is probably really JGMS 5/20/71,” URL http://jgmf.blogspot.com/2014/09/jgms-52071-is-probably-really-jgms-52071.html.
is probably really JGMS 5/20/71,” URL http://jgmf.blogspot.com/2014/09/jgms-52071-is-probably-really-jgms-52071.html.
[7] See “JGMS: Matrix,
May 11-12, 1971,” URL http://jgmf.blogspot.com/2014/09/jgms-matrix-may-11-12-1971.html;
“‘Hey Merl, you wanna do that tune in ‘G’? Get spaced out a little?’ LN
jg1971-05-11.jgms.partial.aud.28784.flac1644,” URL http://jgmf.blogspot.com/2014/09/hey-merl-you-wanna-do-that-tune-in-g.html.
May 11-12, 1971,” URL http://jgmf.blogspot.com/2014/09/jgms-matrix-may-11-12-1971.html;
“‘Hey Merl, you wanna do that tune in ‘G’? Get spaced out a little?’ LN
jg1971-05-11.jgms.partial.aud.28784.flac1644,” URL http://jgmf.blogspot.com/2014/09/hey-merl-you-wanna-do-that-tune-in-g.html.
[8] “When did Jerry
Garcia and Merl Saunders first play together?” URL http://jgmf.blogspot.com/2010/11/when-did-jerry-garcia-and-merl-saunders.html.
Garcia and Merl Saunders first play together?” URL http://jgmf.blogspot.com/2010/11/when-did-jerry-garcia-and-merl-saunders.html.
[9] Staska and Mangrum
19710701.
19710701.
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