#BEHIND THE WHITE DOOR SONG PORTABLE#
We had a little Wurlitzer portable piano sitting right in the well of this window, and I’d sit and work on songs. The leaves blow across the long black roadīut the white bird just sits in her cage unknownĭavid LaFlamme later said, “The song describes the picture Linda and I saw as we looked out this little window in this attic.
The song’s repeated chorus is “White bird must fly or she will die.” The band simply could not remain in the situation they were in at the time. The song evolved from the depression of the band’s circumstances and a strong yearning to be free. David and Linda LaFlamme were working away in the attic one day and, as usual, the situation they found themselves in was on their mind. White Bird was one of the songs written during those dark December weeks in Seattle. Meanwhile, in between honouring their contractually obligated club performances, the band were tasked with writing and rehearsing new songs. With minimal promotion the gigs were largely poorly attended. This might have seemed like a better prospect if the shows had been well attended and the band’s earnings had been on a certain level, but they were not. It did not help when they learned that the shows would also be stretching into 1968. They started resenting the situation he had led them into and had moments where they wondered if it was worth it. A feeling had started creeping in that his attempts to manipulate their career were not entirely for their own benefit. To top it off, the band started becoming frustrated with Katz. The move from sunny San Francisco to a dreary, foggy Seattle winter was also very hard on them. They struggled to get transportation around the city. It would later come to light that the mansion also happened to be owned by Katz. The group rented the attic of a Victorian mansion during their stay, located across the street from Volunteer Park. IABD would be the house band of that club during December 1967. It had been known as the Encore Ballroom, but Katz renamed the club San Francisco Sound in time for IABD’s stint there to cash in on the latest fad. He may have neglected to tell the band that he was the owner of the club.
Instead, he booked their first public appearances at a club in Seattle, convincing them that it would be a great opportunity to hone their craft. He withheld funds and did not allow the band to use their name, but the band prevailed in court and Katz had to give up the name and pay back stolen royalties.ĭuring 1967 and early 1968, Katz prevented IABD from performing in San Francisco, telling them they were not ready. Katz is especially remembered for his long and bitter legal battles with Moby Grape. The members of IABD were unaware that as they signed with Katz, the other bands were trying to end their business relationship with him. Their original manager was the notorious Matthew Katz, who had previously worked with Jefferson Airplane and Moby Grape.
The band played a unique brand of slightly psychedelic rock mixed with folk, prog, classical, and world music. Their most prominent members were vocalist Pattie Santos along with violinist/vocalist David LaFlamme and his wife, Linda LaFlamme, on keyboards. It’s A Beautiful Day formed in 1967 in San Francisco. They remain in the shadow of their contemporaries Grateful Dead, Jefferson Airplane, and Santana, with whom they had connections. They were certainly not without success, and for a short time they burned brightly, but management issues and bad luck at key moments in their career worked against them. They were one of the notable San Francisco bands to emerge from the Summer of Love era, but never quite managed to capitalise on the media interest before it had moved on. One of those bands were It’s A Beautiful Day. Music was a huge part of the scene with many bands popping up. San Francisco was the epicentre of the hippie culture, and the world was paying attention to the new culture, fashions, and lifestyle that was emerging from the area. Its theme song, sung by Scott McKenzie, was a worldwide hit, and told us to wear flowers in our hair if we were going there. It was the first mainstream music festival for “pop” music, sporting some of the biggest bands in the world at the time. During the fabled Summer of Love in 1967 as many as 100,000 people, mostly young people sporting hippie fashions and behaviour, converged in San Francisco’s neighbourhood of Haight-Ashbury.Ī lot of them also came to the area for the Monterey Pop Festival, which was a major cultural happening. In the 1960s, there was a time when San Francisco was the centre of the universe.
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