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Description
On a beautiful June weekend in 1967 at the height of the so-called "summer of love," the first and only Monterey International Pop Festival roared forward - capturing a decade's spirit and ushering in a new era of rock and roll. Monterey would launch the careers of Jimi Hendrix, Janis Joplin, and Otis Redding, but they were just a few among a wildly diverse cast including Simon and Garfunkel, The Mamas and the Papas, The Who, The Byrds, Hugh Masekela, and the extraordinary Ravi Shankar. With his characteristic verite style, D.A. Pennebaker captured it all, immortalizing those moments that have become legend: Pete Townshend destroying his guitar; Jimi Hendrix burning his. The Criterion Collection is proud to present the most comprehensive document of The Monterey International Pop Festival ever produced, featuring all three films of the festival - "Monterey Pop" (1967, 80min.), "Jimi Plays Monterey" (1986, 50min.) and "Shake! Otis At Monterey" (1987, 18min.) - along with nearly every complete performance filmed by Pennebaker and his crew, the "Outtakes" (1997, 120min.).
Stills from Monterey Pop Festival (Click for larger image)
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A special message from Lou Adler, an original promoter/producer for the Monterey International Pop Festival:
It was the first major Rock ‘n’ Roll Festival. No prerequisite…no precedents. We had no idea what to expect. The question of would people come was answered by mid-week prior to the start of the festival. They came and kept on coming. A major surprise was the extent of mainstream media coverage. When John Phillips and I arrived at the fairgrounds on the morning of the first day there were camera crews, photographers and journalists from all over the world. Add to that the advent of FM radio; and the following year Rolling Stone Magazine…Rock ‘n’ Roll was here to stay. Monterey gave birth to the first rock charity Monterey International Pop Festival Foundation, which continues to fund worthwhile causes in the names of the artists who appeared at Monterey. Precedents and prerequisites would be set for future concerts and festivals, including the overall treatment of the artist…Derek Taylor’s handling of the press…Chip Monks’ sound and lights…Pennebaker’s groundbreaking movie “Monterey Pop. The true legacy of The Monterey International Pop Festival is not the crowd size…not the weather…not a violent incident…it is the music. The groundbreaking artists who were introduced (Janis Joplin, Jimi Hendrix, and The Who) and the “rock royalty” (Simon & Garfunkel, Otis Redding and The Mamas & The Papas) that performed there continue to be revered and continue to impact to this day the music and musicians who came after it happened in Monterey on June 16, 17, and 18, 1967.
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The Complete Monterey Pop Festival (The Criterion Collection) [Blu-ray] Reviews
The Complete Monterey Pop Festival (The Criterion Collection) [Blu-ray] Reviews
| 301 of 304 people found the following review helpful  "Summer of Love" revisited, By This review is from: The Complete Monterey Pop Festival (The Criterion Collection) (DVD) This box set released by the Criterion Collection is one of the most impressive sets they've released to date. It contains the original "Monterey Pop" film plus three others "Jimi Plays at Monterey" "Shake! Otis at Monterey" and "Outtake Performances"Disc one has the first film "Monterey Pop" which portrays the festival from construction to the festival's end. It contains performances of (in sequence): "Combination of the Two" by Big Brother and the Holding Company, "San Francisco" by Scott McKenzie, "Creeque Alley" & "California Dreamin'" by the Mamas and the Papas, "Rollin' and Tumblin'" by Canned Heat, "59th Street Bridge Song (Feelin' Groovy)" By Simon and Garfunkel, "Bajabula Bonke (Healing Song)" by Hugh Masekela, "High Flyin' Bird" and "Today" by Jefferson Airplane, "Ball and Chain" by Big Brother and the Holding Company, "Paint it Black" by The Animals, "My Generation" by The Who, "Section 43" by Country Joe and the Fish, "Shake" and "I've Been Loving... Read more 392 of 409 people found the following review helpful  Essential but not complete. Where's Janis?, By Karen Anderson (USA) - See all my reviews This review is from: The Complete Monterey Pop Festival (The Criterion Collection) (DVD) I begrudgingly give this DVD boxed set five stars because this is a fantastic, albeit incomplete, document of the most important rock event in history. Everyone who considers themselves to be a rock fan should own this set. Having said that, the filmmaker's idea of "complete" is questionable in terms of the long-awaited outtakes disc, especially when you consider that he devoted five, count 'em five, outtake songs to Tiny Tim, and only one (??!!!) to Janis Joplin, who was considered "the star" of the festival as stated by Mama Cass in her commentary included in the package. (Not to mention Big Brother guitarist James Gurley, who received equal praise at Monterey as did Janis.)This sad state of affairs is beyond explanation. Why wasn't Big Brother and the Holding Company accorded their entire set instead of one token song, which is "Combination of the Two?" There is very little footage of the singer that exists at all, anywhere. Knowing that there is an entire set of her landmark... Read more 85 of 85 people found the following review helpful Revelatory performances., This review is from: The Complete Monterey Pop Festival (The Criterion Collection) (DVD) The film restoration work looks and sounds magnificent. Eddie Kramer gets extra congratulations on the 5.1 audio mix. That said, the 3rd disc is mainly in stereo only.Karen's review below is a bit harsh. If you actually listen to the main film's commentary, you will understand why more footage isn't available: Not every second of 3 days of performances were captured. Concert films did not exist as a genre at this time (see the annoyingly choppy 'Festival!' documenting Newport), so this was new territory and the point of the film was to make a document that gave an overall feel for the event and time. Pennebaker and his crew had to decide which songs to film, which seems to have been predetermined by Dylan's buddy Bob Neuwirth who was more familiar with the scene than the filmmaker. They would turn on a red light on stage to signal to start filming the next song. At some times, they didn't have a plan and the camera men would shoot at their discretion, so some performances... Read more |
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