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on October 9, 2005
I agree with much of what other reviewers have already said. In a nutshell: (1) valuable and fascinating footage of performers you probably haven't seen anywhere before; and (2) if you're expecting a DVD of back-to-back performances/interviews with rock/pop stars you'll be disappointed--what you get is full-length 90-minute Dick Cavett shows including his pretty lame monologues (which are not at all political, even during those politically charged years, which--to me--would have been more interesting than his corny, apolitical, dated jokes), as well as lengthy, often awkward interviews with people like Pancho Gonzales (tennis player?) and Debbie Reynolds--but if those don't interest you, that's why fast-forward was invented.

The opening segment of disc 1 is of Jefferson Airplane, Joni Mitchell, and Stephen Stills (also David Crosby joins Jefferson Airplane on a wildly struck tamborine). What was interesting to me was this: Dick Cavett is so uncomfortable with these hipster hippies, he's a total "square," and yet he deserves credit for being brave enough for being himself and trying to set up a "rap session" for the performers, who have to sit in a circle on these Day-Glo cushion cubes. At one point he says politely to Grace Slick (of Jeff Airplane): "Are you comfortable?" and she sort of sneers back, "No." Most of the other performers are sprawled on the floor using the cushions as pillows--they're clearly unimpressed (or trying to give that impression) of being on Dick Cavett, and they're also dead tired and wired from having just been at Woodstock. Joni Mitchell listens raptly to them all talk about the experience at Woodstock. Her handlers had convinced her to blow off going to Woodstock to make the Dick Cavett appearance. Maybe if she'd played Woodstock she would have been able to make it to Cavett, or maybe not. Jimi Hendrix was supposed to be among those present but was, as Cavett suggested, "zonked out in a hotel room," sleeping it off. In any case, Joni Mitchell is said to have written the song "Woodstock" directly after the Cavett show. At one point Joni Mitchell is asked to play a couple more songs. Her voice is incomparable, so clear and youthful and filled with emotion. And it's interesting watching Jefferson Airplane et al. sitting there watching/listening to her. You see Stephen Stills and Jorma (from the Airplane) watching her guitar, and really digging what she is playing. Paul Kantner (who seems like kind of a dick throughout the rap session/interview) leans over to Jack Cassady during one of Joni's songs and says something snide and they both snicker. Joni's, Stephen Stills' and the Jefferson Airplane's preformances are entrancing. And it's astounding that the censors didn't bleep the Airplane during "We Can Be Together" when they sing "Up against the wall motherf$%^er!" This segment ends with Jefferson Airplane doing an extended jam, with the audience dancing away. If you look closely you'll even see Joni Mitchell, in her long green hippie dress, grooving away with one of the fans in the audience!

I won't go on about Janis Joplin too much because that's covered at length in other reviews, but like others I'd never seen her except for little snippets here and there. You really get a sense of who she was--a unique human being and *enormously* talented! There are times that are rather uncomfortable--Janis won't sit still and listen to the others interviewed--she barges in and asks questions and argues with them. However, it's rivetting, and she usually does have something unique, provocative, and insightful to say. She and Raquel Welch are on the opposite side of several debates, and it would be difficult to argue with belligerent Janis Joplin, but Raquel Welch succeeds. I'd thought R. Welch would be a silicone bubblehead, but she's smart and articulate and funny.

David Bowie is at the height of a very queeny phase, which is compelling to see, and he belts out "1984" and "Young Americans" with gusto, and in full voice--he's fey and beauteous and eyelash-batty in the interview, and unfortunately Cavett was not tremendously adept in bringing him out (so to speak :)

Sly and the Family Stone were awesome! Musically fantastic, and the definition of funky. Sly is one of the most charasmatic humans I've ever seen. He was definitely $%^&ed up on something, but he was connecting with Dick Cavett in a very human way, which made Cavett a bit antsy...Sly has his own script and manner of expressing himself, and would say things with a big hazy smile, like "I like you, man. I can tell you're a good person." To which Cavett would respond, eyes darting back and forth, hands fidgetting, "Oh, well, er, thank you, and you too!"

Paul Simon does a heart-rending rendition of "An American Tune" (the song on my mind during those days after 911). He also discusses his approach to songwriting--and as he spoke with Cavett he grabbed his guitar and played what he'd worked out so far for "Still Crazy After All These Years," deconstructing the options for where the song could go next musically, and why. Again, Cavett is pretty awkward and doesn't really let Paul Simon finish his explanation (which I found captivating), and Cavett inserts feeble jokes, and makes irrelevant comments. Simon also posits and expounds on his theory that there are no genius musicians/songwriters in his generation--this unexpectedly spoken by a notorious egotist who has since tagged himself as a genius. Also featured are "Love Me Like a Rock" and "Bridge Over Troubled Waters" with a gospel choir.

All the above are great. As is George Harrison's interview. At one point when discussing the complexities of how to handle the money collected from his charity concert for Bangladesh (the first-ever rock charity event), he says: "We were going to give [the proceeds] to the American Red Cross, who in turn could give it to the Indian Red Cross, but then we heard so many different stories about the Red Cross...and how these...hurricances hit someplace in America and they just take care of the whites, and all the blacks are there, and they're not taking care of them. You hear so many different stories about that..." Cavett looks as uncomfortable as Mike Meyers did when Kanye West made his recent pronouncement, and blurts: "I hadn't heard that." After the commercial break, Cavett re-interprets what Harrison said about the Red Cross and explains to the audience that George meant one must be careful about *any* charitable organization one is going to donate to, "and not just the Red Cross." George is sort of looking into the middle distance, and Cavett says, "RIGHT, George?" and Harrison says, "Uh, yeah, right." That's just one of the *very* many interesting moments with George Harrison.

I've gone on long enough, but that doesn't cover the half of it. I got tired of the long interviews with people I hadn't planned to listen to--but again, that's what the fast-forward button is for.

Check it out!
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on July 24, 2005

In the original telecast of the Rolling Stones segment, Cavett interviewed Mick Jagger backstage moments before he was about to perform. The occasion: one of the Stones' famed Madison Square Garden shows on their 1972 US tour. Mick excuses himself to walk onstage, and the cameras follow -- way cool.

Jagger dances out, and the Stones tear into a sledgehammer version of Brown Sugar. It's one of the few times in the band's patchy concert film history cameras manage to perfectly capture the feeling of seeing them live back then. You *are* there -- and it's wonderful.

The original Cavett footage also includes the concert closer, Street Fighting Man. The Stones were on fire this night. They were a year away from what many consider their performing peak, the 1973 European tour. Second guitarist Mick Taylor propelled them to an unprecedented level of intensity.


The Stones footage was a late addition to this set, delaying its originally scheduled release date. Previously, permission had been denied by the band. For reasons unknown, Jagger relented at the last minute. But with a caveat -- the DVD could only feature two minutes of each of the Stones' two songs.

-- WHY?

One might guess, concern about bootlegging. But the Rolling Stones would take a paltry financial hit if copies a 32-year old performance of two songs hit the black market. No. The more likely suspect is ego.

Jagger has been scrupulously blocking the release -- on either CD or DVD -- of (additional) Mick Taylor-era live material. Mick admitted years back in a lengthy interview with Rolling Stone publisher Jann Wenner that a lot of people consider the Taylor years the band's finest incarnation. And he sidestepped the question of whether he concurred.

Mick: We understand you don't need a lot of crap about how today's Rolling Stones don't compare to the early '70s. And we appreciate that as their leader, you need to take the feelings of the current line-up into consideration. Really, we do.

But you've been suppressing live Taylor recordings and footage for four decades now -- nearly half a century. How about at long last giving us a break? There's the unreleased Decca live album from 1972. Ladies & Gentlemen on DVD. CS Blues. Film and audio footage from the 1971 UK tour. And the greatest Stones trove of all: superb recordings of your legendary 1973 European tour.

In the meantime, for Stones diehards, this Cavett collection will have to suffice. Let's hope an enthusiastic appreciation of them sends Sir Mick a message he can't ignore -- Let It Loose.
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on June 6, 2005
The Dick Cavett Show aired on ABC at 11:30 pm from 1969-1974 as an alternative to The Tonight Show Staring Johnny Carson. Both shows were 90 minutes then, and while both men were comedians, Cavett having been a writer for Jack Paar, The Dick Cavett Show had less emphasis on humor and more on intelligent conversation. As a result, Cavett was able to secure guests that other talk shows could not. He often devoted the entire show to a single guest. Groucho Marx was once Cavett's only guest for entire week. Marlon Brando, Katherine Hepburn, Fred Astaire, Noel Coward, Alfred Lunt and Lynn Fontaine all made appearances on The Dick Cavett Show. Cavett always engaged his guests in conversation, rather than simply interviewing them, or waiting for an opportunity to make a joke as talk show hosts constantly do nowadays. I am hoping that this release will be the first in a long line of excerpts from the Cavett archives. Many great rock stars joined Dick Cavett for a performance and interview. One classic episode featured Crosby, Stills and Nash, The Jefferson Airplane, fresh from Woodstock, sitting on the floor surrounded by young fans and Joni Mitchell. Dick replaced his usual neck tie for a corny neckerchief. Cavett has recorded new introductions to the segments included on this DVD set, which appears to be a very good beginning of what could be a great series of DVDS.
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on March 23, 2006
This is a great video collection if you have any interest in rock & cultural history. I was born in '72, and find this stuff an interesting statement on the cultural norms & upheavals of the late 60s & early 70s. I haven't made it through all the episodes yet, but Janis Joplin is electric in her performances.

The Sly Stone interview is funny and sad at the same time. Fresh performance.

The Bowie interview intriguing. Check out the late Luther Vandross singing backup in his leisure suit.

Finally, the Jefferson Airplane, CSN and Joni Mitchell episode is fresh off the heels of Woodstock - something I didn't know until I watched.

If you like music and rock history, get it.
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VINE VOICEon July 31, 2006
The rock highlights of the Dick Cavett Show are very high indeed. The Woodstock show despite Jimi Hendrix being a no-show is a solid and entertaining show. The affable woodstockers seem perfectly comfortable gettin' smarmy with Dick. David Crosby is a natural comedian and he keeps things rollin' along at a variety show pace. Joni Mitchell is at the height of her flower child phase here and she seems like a creature from some other planet that is much greener and more ethereal than our own. Her songs are highlights and absolutely captivate her fellow musicians who seem to be in awe of her beauty and talent. As an interview subject she isn't paricularly captivating but since all of the Woodstockers are sitting in a big circle Joni can hide behind the witty ones. Grace Slick was a society girl who went to ivy-league schools and Dick has some fun at her expense, but she is good natured and quick witted and doesn't flinch. This whole Woodstock show is laid back and Dick Cavett seems to have just the right attitude to serve as go-between for these grass roots folk rockers and a mainstream, albeit curious, American audience. The show almost seems to be a hippie summit and Dick is like the ambassador general.

The Janis Joplin Shows are deservedly famous. I think Janis will surprise those that don't know her as an intelligent and thoughtful and articulate individual. But you can also see that she loves attention, even craves it, and she often talks over the other guests or interrupts them only to offer her own view of the topic at hand when its not her turn. I don't know that you would call this rude as she seems to just feel like she is at a party and free to chime in when she has something to say. Shes definitely a chatterbox and she enjoys chatting it up with all kinds from every age group and profession. Janis's informality, or laissez-faire attitude toward talk show decorum, is maybe more refreshing than rude.

George Harrison is humorous when he discusses the John and Yoko interview that they did a few weeks previous to his own. Apparently John and Yoko (and that interview is not included in this set) were not shy when it came to peddling John and Yoko merchandise. George, on the other hand, is not a fan of tv. I would describe his attitude as suspicious; generally of tv, and specifically of quick witted tv intellectuals like Dick Cavett. Outside of a few witty jibes at the commercial nature of tv and an obvious annoyance at all of the commercial interruptions he pretty much just wants to talk about Ravi Shankar and Ravi's music. As a guest he's a nightmare for Dick because he just doesn't want to play the amusing talk show guest; a role Lennon seemed all too willing to play. This is George at his most anti-material world-ish.

Stevie Wonder and Paul Simon are excellent on-stage as you would expect and polite conversationalists off-stage. Nothing too riveting about these shows.

The Stones interview was a little disappointing because so short. Mick is the only one willing to talk to Dick and he basically just plays the consummate rock entertainer role. Mick it seems can talk to anyone from debutante to politican. He's in his jumpin' jack flash outift because he's about to play but what is surprising is how staid and gentlemanly he is. He's awfully gentrified for a satanic rocker. But this chat, however brief, is worth a look just because footage of Stones from this period is surprisingly rare. The performance itself is what Stones fans (and I'm one) complain about because the songs are all edited. This was the Stones at the very top of their game (with Mick Taylor on slide guitar) and it is ashame that we can't enjoy the songs in their entirety.

But my favorite bits are Sly Stone and David Bowie.
*The Sly Stone interview is very interesting. The editorial description of Sly states that he is in a drugged out haze. I think that is certainly possible and may explain some of whats going on but Sly's an absolute original and he's just as interesting off-stage as on in any state of mind. This interview has Sly holding his own with the effervescent Cavett. Dick seems to suspect that Sly is stoned but Sly (stoned or not) keeps fielding Dick's questions and answering them in whatever way he sees fit and he even turns the tables on Dick and starts asking Dick questions. Dick seems to think that the audeince shares his suspicions but Sly's comments are interesting. I think people are entertained seeing that Sly thinks for himself. His anectdote about writing in a mirror (because a writer is his own best critic) gets a laugh. And several things he says are very evocative and reveal him to be a very sentient soul. The whole thing is entertaining. For me this was the most interesting of the interviews because it revealed that there was more than just a generation gap (Dick and Sly were not that far apart in years) dividing these two; there was a gap in understanding and communication that existed between various segments of American society and the interview seems to be a nice illustration of that. Dick is pretty hip but he just doesn't exist on Sly's frequency and Sly doesn't exist on Dick's; the best they can do is have fun making fun of the misfires between them.

For rockers of the early seventies tv was an unusual format. And many of these decidedly non-mainstream musicians were used to being onstage but before audiences with similar sensibilites as their own and not to talk but to do their thing, play. They were not used to sitting down with famous talk show hosts in front of mainstream America and being asked to give an account of themselves to the general public, or at least to Dick Cavett's "public" which would be a cultured crowd but cultured in a different way than the musicians. Many of the musicians are visibly uncomfortable sitting next to the charismatic and intellectual talk show host. After singing "Young Americans" a wafer-thin and chalk-white David Bowie sits down w/ cane in hand and precedes to draw imaginary holes in the carpet with the cane that it appears he would like to crawl in to. This is a very shy Bowie. Many fans were used to seeing the very confident Ziggy Stardust but that was just a stage persona and this Bowie is more like the cracked actor that he sang about on Aladdin Sane. The skittish ("insecure actor" I believe is how Dick describes him) Bowie seems to surprise Dick and audience alike; there is laughter but its an uncomfortable laughter coming from Dick, Bowie and audience. Most of Dick's questions annoy Bowie and he answers only those he wants to answer and even when he does answer a question his answers are vague and enigmatic. Bowie is obviously a very creative art guy and the one thing that does turn him on is when he starts talking about WS Burroughs and white noise. But this avant-garde talk is not what Cavett is looking for. Cavett wants Bowie to discuss his "vampire-like" appearance and his public reputation as an outrageous performer who creates characters to sing his songs. This is a topic that the singer-performer wants no part of. It would seem that as Bowie sheds personas he also loses interest in them and the Bowie that shows up on Dick Cavett's set is no longer really interested in creating characters nor in talking about them. Cavett, who is usually pretty good at finding a neutral wavelength, does not quite connect with Bowie (just like he did not quite connect with Sly) on any level and Bowie just keeps withdrawing further and further away as a result. This might not be Dicks fault though as many of Bowie's songs are about cracked actors and social misfits. And Bowie would write an entire album about psychotic withdrawal in 1976 called LOW. It would have been nice to see someone more knowledgable about music than Dick try and talk to Sly and Bowie but its still interesting to see Sly and Bowie be themselves even if the interviews themselves didn't go so well.

My only complaint is that you do have to sit through a lot of chats with old Hollywood stars and some politicians and sports figures to get to the rock segments but, in a way, seeing these shows in their entirety allows us to place the music in a wider context and seeing the rockers chat with people from different professions than their own does provide some interesting cultural interchanges.
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VINE VOICEon September 9, 2006
The dead live on in movies, of course, but film has a glossy, soft, luxurious look that keeps its distance. Videotape has a harder, almost three dimensional quality. It's more real somehow and, when preserved as well as the episodes of "The Dick Cavett Show" included in the "Rock Icons" set obviously were, every program has the look of a live broadcast. On video, people who are long dead really do appear to be as alive as ever. In this collection, Janis Joplin, in the grave for more than three decades, sings her heart out, legendary newsman Chet Huntley speaks of a retirement that will be cut short by death, and other luminaries, living and dead, are forever frozen in time.

Janis Joplin made a minimum of three appearances on Cavett's show and those episodes are the highlight of this collection. The August 3, 1970 show is memorable primarily because Joplin would be dead a month or two later. An overly glamourous Gloria Swanson stops by, as does Margot Kidder who looks like a teenager. Less memorable is the appearance of a presumably long forgotten football player who plugs a controversial book critical of the game (yawn).

Far more interesting is the June 25, 1970 episode in which Joplin sings "Get It While You Can," Raquel Welch plugs "Myra Breckinridge," tanned, silver-haired Douglas Fairbanks Jr adds a touch of old-style Hollywood glamour, and NBC newscaster Chet Huntley, set to leave his evening news gig with David Brinkley, shamelessly flirts with Raquel and briefly crosses tongues with Joplin.

The discussion of television news in this episode demonstrates how little the times have changed with Huntley denying charges of liberal bias in the media. Raquel, proving she has brains as well as bosoms, speaks of the need to "compromise" in an era in which we are so "polarized." It's the interaction between these diverse public figures that makes these shows unique and far more intriguing than contemporary talk shows where guests plug their latest product, then disappear behind the curtain when the next guest takes the stage.

If you have more patience with hippie philosophising that I do, you may enjoy the episode with Joni Mitchell, Stephen Stills and others taped only one day after the Woodstock festival concluded, but Paul Simon's 1974 appearance is more interesting. In addition to performing three songs, two of them with the Jesse Dixon Singers, Simon gives Cavett and the viewers an illustrated lesson in songwriting, even offering a preview of a song in progress that would become one of his best loved tunes.

Of equal interest is a 1971 show with George Harrison in which "the quiet Beatle" shows he's as quick with a quip as John Lennon. There's also a 1974 appearance by David Bowie who nervously fumbles with a cane, has a bad case of the sniffles (go ahead, raise those eyebrows), and performs two songs. Bowie's backup vocalists at that time included a then unknown Luther Vandross who (I'm guessing) adds his voice to Bowie's renditions of "1984" and the yet to be released "Young Americans." The big bummer in this set is Sly Stone who is incomprehensible for reasons each viewer can decide for himself.

At the tail end of one broadcast, authors Jerzy Kosinski and Anthony Burgess turn the tables on Cavett by interviewing him upon the publication of his autobiography.

Even those uninterested in rock and roll may find these shows fascinating. Each episode is complete and serves as a time capsule of a long gone era when television, then dismissed as a "vast wasteland," was actually more intelligent and cutting edge than it is now. Cavett, despite later revealing that he was suffering from serious depression during much of his show's run, is always bright and personable, never condescending to his guests even when they come from a field in which his interest was minimal ("Most rock and roll," he says in a current interview, "bores my a** off"). And unlike other hosts who felt intimidated interviewing performers whose popularity may have been mysterifying to anyone nearing or beyond age 40, Cavett never embarrasses himself by feigning a "hipness" that he is obviously too smart to think is worth imitating in the first place. These shows have nostalgia to spare, but they somehow seem more contemporary than Leno and Letterman combined. Intelligence, though seemingly no longer in fashion, always triumphs in the long run, and intelligence was Cavett's stock in trade.

Brian W. Fairbanks
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on September 11, 2005
The title of this collection is a little misleading. "THE DICK CAVETT SHOW Featuring POP MUSIC ICONS" is a bit more accurate, because what is seen here are nine complete -- whenever possible -- Dick Cavett shows from 1969-1974. In retrospect, from the evidence here Cavett was a viable, witty, and intermittently provocative alternative to late-night king Johnny Carson. If you are expecting wall-to-wall rock music, you'll be disappointed. However, if you want to get a snapshot of pop culture in the immediate post-Woodstock era, Cavett was unusually adept at reaching out to the younger generation, and doing so in a manner that avoided the condescending attitudes of others in the entertainment world. For one, could anyone doubt that Dick was enamored of Janis Joplin's talent and personality after viewing the three shows seen here?

Never mind the music (for a moment), if you are a fan of comtemporary shows such as the now defunct Bill Maher program POLITICALLY INCORRECT, you might want to check out this DVD. Sure, there are some segments on Cavett's show that fall flat (but the same was true of Carson's and Maher's shows). Yet there are plenty of moments here where the celebrity banter is as fascinating as it was on the better P.I. broadcasts. At one point, you have Joplin, Cavett, and legendary actress Gloria Swanson engaged in a very interesting conversation. Another b'cast has Janis, Raquel Welch (promoting MYRA BRECKENRIDGE), retiring tv news anchor legend Chet Huntley (obviously a Raquel fan), and esteemed actor Douglas Fairbanks Jr. in a riveting conversation covering areas as diverse as how fair and balanced the news media was circa 1970 (how timely is THAT?). Some very wise responses to that topic by Huntley. Much has been made of the Sly Stone broadcast; even the liner notes call the interview "unfortunate." I call it great tv. Regardless of whether or not Sly was indeed stoned -- a question that could arguably be asked of half the guests on this collection, and not just the pop stars -- the interview is revealing, and Sly seems generally coherent, humorous and intelligible to me. Irreverent? Certainly. More playful than discourteous, Sly doesn't let Cavett get away with several casual asides to the audience, and Dick finds himself in the hot seat more than once.

Several other shows do focus on particular music stars or events. Although I'm not a Jefferson Airplane fan, they turn in strong performances on the Woodstock show, and Joni Mitchell is also seen and heard to great advantage. It's amazing that Cavett let both guests perform 3-4 tunes each (unlike most of today's talk shows where it's one song and you're out). George Harrison slowly opens up in his extended interview segment. Note that he only performs as a guest guitarist with Gary Wright and via a film clip from BANGLADESH. Stevie Wonder is the highlight of an otherwise forgettable show from 1970, David Bowie performs and is extensively interviewed from 1974 (yes, that is a young Luther Vandross and David Sanborn in his backing band). Paul Simon is also impressive on a show that is largely devoted to several notable authors interviewing Cavett about his then recently-released autiobiography (which I found okay to watch once but won't likely go back to a second time). The 1972 Rolling Stones segment is disappointing for reasons other reviewers have brought up (in a word: incompleteness).

I'd say that the highlights of the DVD set are the three Janis Joplin appearances on disc two. Besides what i've already mentioned about the shows, Janis is absolutely amazing as a live artist. The sterile television studio doesn't hinder her at all from turning in six dynamic vocal performances, including a total of four tunes from the PEARL album (which wasn't released until posthumously the following year). She does seem a little shaky on her feet at times on the last show, but whether or not those looks are what they seem, she still sounds awesome. Overall, I'd say that if you're only buying this DVD set for the rock, pop, and soul artists, you may be a little disappointed. However, if you are interested in the bigger picture (i.e., some often highly watchable chats in-between the music performances), then I'd say you're likely to find well over half of this nearly 10-hour-long set to be worth repeat viewings in your DVD player.
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on August 22, 2005
As a big Stones fan, I hadn't seen the Jagger interview backstage since it was originally aired. Nice blast from the past, but I was disappointed that only small clips from their live show were on there.

As a Janis Joplin fan, the shows with her as a guest were outstanding, from earlier in her career to being quietly talkative, excited about her music, and seemingly very sweet overall - to near the tragic end of her career when she is obviously no longer just high from the music and performing. Her interactions with Raquel Welch and Douglas Fairbanks Jr. are entertaining ("You knew the Fizgeralds?!" to DF), to the quietness of her attentiveness to Gloria Swanson's assertion that she had invented the first panty girdle. Of note is a quick shot of Janis, heavy-lidded and seemingly trying to keep awake during an interview with another guest. Apparently she liked being on the Cavett show (he asserts) and it shows in the first of her appearances. I did not see these when first aired, and these segments were truly a treat for me.

I recall recently seeing a Cavett interview with Jimi Hendrix after Woodstock. Why was it not included here?
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on August 2, 2005
I have a VHS tape of the post-Woodstock performances of Joni Mithchell, Jefferson Airplane, David Crosby and Stephen Stills on the Dick Cavett Show. Hendrix was invited, but was passed out in his hotel room (as per David Crosby) since he had performed that AM at Woodstock. When Joni Mitchell finished singing Chelsea Morning", Cavett introduced Jefferson Airplane, who performed "We Can Be Together" followed immediately by "Volunteers". After some chat (during which Stephen Stills sang "4 and 20," we found out that Grace Slick's father was an investment banker, and that Grace attended Finch College for one year with Tricia Nixon. When asked by Cavett why she somehow had not turned out like Tricia Nixon, Grace said "it takes two years." [LOL]) The Airplane concluded the show with "Somebody to Love" and went into an extended jam as the credits rolled. What is needed is the two Airplane songs that were left out.
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on October 29, 2006
I love Janis and watching her on three seperate episodes I felt both happy and sad. Dick Cavet seemed to truly like her and saw what a major phenomena she was and what a preciuos soul she had. I am so thankful that this footage was saved and put on disc. The entire set of discs are a great time capsule. It makes me wish there was more of this to see.
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