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#261610 in Books imusti 2016-05-03 2016-05-17Format: IllustratedOriginal language:EnglishPDF # 1 9.10 x 1.40 x 6.20l, #File Name: 190933958X295 pagesMedina Pub | File size: 32.Mb

Ray Foulk, Caroline Foulk : The Last Great Event with Jimi Hendrix and Jim Morrison: When the World Came to the Isle of Wight. Volume 2 before purchasing it in order to gage whether or not it would be worth my time, and all praised The Last Great Event with Jimi Hendrix and Jim Morrison: When the World Came to the Isle of Wight. Volume 2:

3 of 3 people found the following review helpful. WAS THIS FESTIVAL TRULY "THE LAST GREAT EVENT" OR SIMPLY MARKING THE END OF IDEALISM?By Stuart JeffersonThis is the second of two volumes dealing with the trials and tribulations of staging concerts on the Isle of Wight. The author, Ray Foulk with help from his daughter Caroline, was one of the prime movers in putting these concerts together. The first volume deals with the 1968 and 1969 events. This second volume deals with the 1970 concert--an event that led to laws enacted to prohibit such things in the future.This is a book for rock (as opposed to rock 'n' roll) fans of the late '60s era. There's a lot of behind the scenes details that only someone closely tied to putting on such an event would know. The first two chapters lead up to the 1970 concert by laying down a foundation about the previous two concerts. Some of the news coverage was generally positive, and there were relatively few complaints, but there were still hard feelings when it came to letting a huge event like this take place ("The appears to be merely an excuse for dirty people to behave in a dirty manner, to music. The resulting VD, illegitimate births and drug addiction will become obvious. The site is far less attractive than the sleazy fairground or circus and smells far worse..." Signed, Disgusted.). But Foulk and the other backers forged ahead to their goal of putting on a great festival despite adverse opinions of the powers that be who felt "A proportion of the faces were depraved almost beyond belief, and in many cases clearly drug-ridden...".There are also chapters dealing with day by day details plus a number of sidebars that contain details on the performers--Judas Jump, Rosalie Sorrels, Mighty Baby (a personal favorite), The Groundhogs, , , (another personal favorite), Taste, Chicago, Family, , , , , , Free, Pentangle, Jethro Tull, Jimi Hendrix, and a number of other performers. Plus Foulk has wisely included a chapter titled "Canvas City", which was a kind of alternative festival but certainly wasn't a large part of the overall scene. But this chapter (along with the chapter on the White Panthers) really gives you the feel of the era as thousands of people pitched tents to hear bands like Hawkwind (ah...those were the days), The Pink Fairies, and other bands, and the Panthers who had their own agenda.A large part of the book are the many (small) bw/mono color photos interspersed throughout the book which help form a better picture of the whole scene. But it's the many period color photos, ads, and other period ephemera (found in several sections of the book) that really play a large part in telling the story of the festival. Many of the performers are shown on stage which (at least for me) was like a time machine back to an era of music I remember well. The reproductions are very good--some of the best I've seen in a book such as this--crisp, clean, and colorful. There's even an aerial photo of the Isle showing where the festivals were held. Volume 1 had some errors, like a photo labeled as David Gilmour when it was actually Syd Barrett. But this volume seems to be better edited compared to the first volume. But don't let a few grammatical or small factual errors put you off reading either of these volumes.Foulk has left no stone un-turned in telling his side of the story, and it makes for interesting, if not sometimes compelling reading for fans of that period in music. Also included is a list of people in the book and their connection to the festival, a Selected Bibliography, and a much needed Index for quick reference. For music fans wanting to know much more about the Isle of Wight Festival (s) both volumes are worth reading. From my American viewpoint these are very "British" style written books (which is a good thing) that help give a feel for the era, the people involved, the musicians, and the fans in attendance. These books are not for those who want a simple overview of the festival's music. But much like the better books on the Monterey Festival or , the fairly in depth detail goes some distance in telling what things were really like, written by someone who was closely involved with putting on the festivals.

The Isle of Wight Festival in 1969 famously 'stole ' from Woodstock' and was the starting point and benchmark for all rock and pop festivals in the UK. What followed in 1970 was one of the world's greatest music gatherings of all time, attracting musicians and fans from across the whole music spectrum. The list of performers is a Who's Who of the then music eacute;lite, who are now legends: Jimi Hendrix, , the Who, , , Joni Mitchell, Procul Harem, the Doors, , , Emerson Lake and Palmer - the list goes on. This was Britain's 'Woodstock' and all on a tiny island off the south coast. It would also be Hendrix's last major performance - 17 days later he was dead. But the organization of such a huge happening was inevitably far from plain sailing. It proved to be a roller coaster ride for the intrepid young Foulk brothers who navigated its course through a year of relentless political buffeting from local reactionary opponents and then from extremist counterculture militants who thought that they would prefer a . Just as Island opponents were busily sabotaging the festival site and issuing death-threats, so too an unsavory cabal of radicals arrived from London under the banner of the White Panthers, intent upon undermining the event. For the first time, Ray Foulk, joint organizer, gives his own full, frank and authoritative account, delving into pivotal texts from all sides of the divide. Many remember this festival as a magical, life-changing experience, encapsulating the sixties trip of sex, drugs, rock'n'roll and a political yearning for a better world. But for the others, a question looms large over history: did this final festival precipitate the end of the dream of an alternative society, or did it reflect the changes already taking place? This most controversial of the festivals was aptly promoted by the Foulk brothers as 'The Last Great Event'.

"...you will absolutely love this backstage look at a great moment in rock history." (Ray Connolly, The Daily Mail)"At the end of August 1970, I packed my steel string harmony Sovereign into its hard case and made my way out to the A74 south of Glasgow and raised my left thumb. I was on my way to the second major Isle of Wright festival. ...weaves the separate strands of the festival together- the nightmare of administration, the dream of having Leonard Cohen in the passenger seat, the hallucinatory days and nights- Foulk doesn't mention drug taking, the sleep deprivation was enough- and the battles with the locals who only wanted a quiet life. he book offers not just the lie up of each band, including some little known ones, but where possible, the set lists...I did however see Jimi Hendrix, for whom extraneous noise meant little. It was to be his final UK concert: he dies 18 days later. If asked before I read The Last Great Event, I would have said with the same certainty that I would to claim to have heard Free at Glastonbury the year before - that his piece de resistance was The Star Spangled Banner. After all, I was there. Ray Foulk was even more there. He says it was God Save the Queen." (Times Literary Supplement, James Campbell)About the AuthorRay Foulk, now based in Oxford, has fostered many passions since his early days as a promoter. After the Isle of Wight Festivals and stadium events in London, he and his brothers were head-hunted by the Milton Keynes Development Corporation to help plan the leisure content of their new city. Through this, Ray brought the scientist and designer Buckminster Fuller to the project, embraced his environmentalism, and eventually trained as an architect himself at the University of Cambridge.

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