“White Bird” by It’s a Beautiful Day, a song that debuted on the Billboard charts in October 1969, might not have soared to the top of the mainstream rankings, peaking at a modest No. 118. Yet, this seemingly low chart position obscures the song’s true impact and enduring popularity. Its extended length, the band’s distinctive name, and unconventional instrumentation, featuring a captivating five-string electric violin, initially kept it off AM radio airwaves. However, “White Bird Song” found its wings on the burgeoning “underground” FM stations, blossoming into a defining anthem of the hippie era and a timeless FM radio classic. This iconic track, penned during the band’s Seattle sojourn in the winter of 1967-1968, tells a story of creative confinement and unexpected inspiration.
It’s a Beautiful Day emerged from the vibrant San Francisco music scene in 1967, spearheaded by classically trained violinist David LaFlamme and his wife, organist Linda LaFlamme. The lineup further included vocalist Pattie Santos, guitarist Hal Wagenet, bassist Mitchell Holman, and drummer Val Fuentes. Their manager, Matthew Katz, a figure known for his controversial dealings within the music industry, persuaded the band to retreat to Seattle. Katz’s proposition was to offer them a space to hone their craft away from the intense media spotlight focused on their California contemporaries, essentially to “woodshed” in relative obscurity.
Despite initial hesitations, the band was lured to Seattle by Katz’s offer of accommodation in his five-story Capitol Hill mansion, located at 1429 E Prospect Street. He also secured them performance slots at his San Francisco Sound dancehall, situated in Seattle’s historic Encore Ballroom at 1214 E. Pike Street. December 1967 marked the band’s arrival in Seattle. Briefly joined by local singer Carol Suffron, previously of Seattle’s Canterbury Tales, they commenced rigorous daily rehearsals at the ballroom. Weekends were filled with two-shows-per-night dances, enhanced by psychedelic light shows orchestrated by Don Paulson’s Lux Sit & Dance company. These intensive practice sessions became the crucible for the songs that would constitute their debut LP, most notably David and Linda LaFlamme’s cherished “White Bird song.”
The Pacific Northwest’s characteristic dark and damp climate, often a muse for musicians in the region, played a role in shaping the band’s creative process. David LaFlamme vividly recalls:
“We were living in the attic of an old Victorian house in Seattle, and performing at the Encore Ballroom. It was a typical Seattle winter day, rainy and drizzly, and we were looking out from the attic window over the street in front of this old house. It was on Capitol Hill, the old section of town across from Volunteer Park …
“The song describes the picture Linda and I saw as we looked out this little window in this attic. We had a little Wurlitzer portable piano sitting right in the well of this window, and I’d sit and work on songs. When you hear lines like, ‘… the leaves blow across the long black road to the darkened sky and its rage …,’ it’s describing what I was seeing out the window.
“Where the ‘white bird’ thing came from: We were like caged birds in that attic. We had no money, no transportation, the weather was miserable. We were just barely getting by on a very small food allowance provided to us. It was quite an experience, but it was very creative in a way” (David “White Bird” LaFlamme website).
By 1968, It’s a Beautiful Day returned to California. A pivotal moment arrived on October 4th when fate intervened. Cream’s Farewell Tour, featuring Traffic as the opening act, faced a setback when Traffic’s singer, Stevie Winwood, fell ill. Concert promoter Bill Graham reached out to It’s a Beautiful Day as a last-minute replacement. Their performance at the Oakland Coliseum captivated both the audience and critics, leading to a contract with Columbia Records.
It’s a Beautiful Day maintained a connection with the Northwest, returning for performances over the years, including a notable appearance at the Seattle Pop Festival held at Woodinville’s Gold Creek Park in July 1969. Later that year, their self-titled debut album was released. While several tracks like “Hot Summer Day,” “Wasted Union Blues,” “Girl With No Eyes,” and “Time Is” gained traction on FM radio, “White Bird song,” despite being issued as a heavily edited single (truncated to 3:07), failed to break into the AM radio market. It was the original, longer album version of “White Bird” that truly resonated with listeners, solidifying its status as a beloved classic.
The album It’s a Beautiful Day is also recognized for its iconic cover art by Globe Propaganda. The artwork, depicting a bonnet-clad maiden gazing at a vibrant blue sky, perfectly encapsulated the mood of the music within – a blend of post-psychedelic sounds driven by violin and harpsichord. This instantly recognizable album jacket became a significant factor in the album’s collectibility after Columbia prematurely discontinued it. By the mid-1970s, it was already fetching prices of $50 or more among record collectors.
Decades later, the album was reissued, and in 1988, It’s a Beautiful Day, including the timeless “White Bird song,” made its debut on compact disc. David LaFlamme and It’s a Beautiful Day have continued to perform in Seattle, including a 2003 performance at the Triple Door, which was recorded and released as the Live in Seattle CD, demonstrating the enduring appeal of “White Bird” and the band’s legacy.
Sources:
David “White Bird” LaFlamme website accessed on February 3, 2008 (http://roadhogs.net/laflamme/); “It’s a Beautiful Day,” essay, itsaboutmusic.com website accessed on February 2, 2008 (http://www.itsaboutmusic.com/beautifulday.html); and author’s observations.
