Episode 169 of A History of Rock Music in 500 Songs delves into “Piece of My Heart,” one of Janis Joplin’s most iconic songs, and the captivating yet tragic story of her life. This episode explores the depths of her musical journey, from her early influences to her meteoric rise and untimely demise, offering a comprehensive look at the songs that defined Janis Joplin’s career.
A jukebox, with the words
This exploration into Janis Joplin Songs begins with an understanding of her complex personality, shaped by a blend of conformity and rebellion within her Texan upbringing. Born on January 19, 1943, Janis’s parents, Seth and Dorothy Joplin, were a study in contrasts. Seth, an engineer with a passion for reading and classical music, also dabbled in bathtub gin and cannabis. Dorothy, a gifted soprano who sacrificed a potential singing career for family life, instilled in Janis a love for music and a fierce intelligence.
From a young age, Janis displayed remarkable talent. Her soprano voice shone as a soloist in her church choir. However, this early musical encouragement waned after her mother’s thyroid operation affected her own singing voice. Despite this, Janis excelled academically and artistically, showing promise as a painter. Her parents nurtured her intellectual curiosity, providing her with a library card early on and supporting her art lessons. By all accounts, Janis was a bright and talented child, seemingly destined for success.
Big Brother and the Holding Company
However, adolescence brought significant changes for Janis. As she entered her teenage years, she gravitated towards rock and roll, a genre her father dismissed as a passing fad. Even within this rebellious music scene, Janis’s tastes were discerning. While she admired Elvis Presley, she sought out and preferred Big Mama Thornton’s original version of “Hound Dog,” demonstrating an early appreciation for blues roots.
[Excerpt: Big Mama Thornton, “Hound Dog”]
Despite her burgeoning interest in rock and blues music, Janis remained an exemplary student. Yet, around the age of fourteen, she began to struggle with her self-image and societal expectations. Puberty brought unwelcome changes in her perception. She gained weight, battled persistent acne, and experienced delayed physical development compared to her peers. These changes, coupled with a perceived “hormone imbalance” diagnosis, contributed to a growing sense of alienation and insecurity.
Feeling like an outsider, Janis responded by deliberately cultivating a rebellious persona. She admired figures like Jerry Lee Lewis, whose music embodied a blend of country, R&B, and rebellion.
[Excerpt: Jerry Lee Lewis, “Whole Lotta Shakin’ Goin’ On”]
Her admiration for Lewis extended to defending him against what she perceived as unfair media treatment following his controversial marriage.
Janis’s musical exploration continued, leading her from rock and roll to the blues and folk music scenes. She discovered Odetta, whose powerful voice and social consciousness deeply resonated with her.
[Excerpt: Odetta, “Muleskinner Blues”]
Singing Odetta songs became a way for Janis to connect with a small group of bohemian teenagers, finding acceptance through her voice. While her later style would be defined by influences like Odetta, Big Mama Thornton, and Etta James, her early voice was described as a pure soprano, often imitating traditional folk singers like Jean Ritchie.
[Excerpt: Jean Ritchie, “Lord Randall”]
Inspired by Beat writers like Kerouac, Janis embraced the beatnik lifestyle, seeking an alternative to the conformist society she felt rejected by. This path led to clashes with her mother, who struggled to understand her daughter’s transformation. Family counseling was briefly considered but discontinued by her father, who seemed to have a deeper understanding of Janis’s rebellious spirit. Janis later recalled feeling like her mother perceived her as destined for “jail or an insane asylum.”
Throughout her life, Janis wrestled with this internal conflict: the need for familial and societal approval versus the realization that she could never truly fit into conventional molds. Despite her rebellious image, she participated in school clubs like Future Nurses of America and Future Teachers of America, highlighting the duality of her personality. She also held progressive views, openly opposing segregation in her Texan high school, which was met with disapproval and further alienation from her peers. Her high school yearbook remained unsigned by classmates, a stark symbol of her isolation.
Her initial university experience at Lamar State College of Technology proved equally unfulfilling. The college environment mirrored the social dynamics of her high school, offering little solace. A pivotal moment occurred when she encountered another student who surpassed her in painting, leading her to abandon this artistic outlet, believing that if she couldn’t be the best, she didn’t want to pursue it at all.
However, Lamar State College did offer one significant positive influence: Francis Edward “Ab” Abernethy, a lecturer and folklorist who introduced Janis to classic blues through his extensive collection of 78s. It was through Abernethy’s collection that Janis discovered Bessie Smith, who would become her greatest musical inspiration.
[Excerpt: Bessie Smith, “Black Mountain Blues”]
This discovery marked a turning point in Janis’s musical journey. The article then provides a detailed historical context of blues music, differentiating between “country blues” (primarily male guitarists) and “classic blues” or “vaudeville blues” (often female vocalists with band accompaniment). It highlights Mamie Smith’s “Crazy Blues” as the first major blues hit by a Black artist, revolutionizing the recording industry.
[Excerpt: Mamie Smith, “Crazy Blues”]
The era of “classic blues” was dominated by powerful female voices like Ma Rainey and Bessie Smith. Ma Rainey, mentored Bessie Smith, and both women were pioneers in the genre, known for their raw emotion and unapologetic expression. The article delves into Ma Rainey’s career, her band led by Thomas Dorsey (a key figure in both hokum and gospel music), and her assertive persona.
[Excerpt: Ma Rainey, “See See Rider”]
[Excerpt: Tampa Red and Georgia Tom, “It’s Tight Like That”]
[Excerpt: Mahalia Jackson, “Take My Hand, Precious Lord”]
[Excerpt: Ma Rainey, “Prove it on Me”]
Bessie Smith, Rainey’s protégé, became the undisputed “Empress of the Blues.” The article emphasizes Smith’s commanding stage presence, her complex personality, and her profound impact on music.
[Excerpt: Bessie Smith, “Downhearted Blues”]
Smith’s career soared in the 1920s, marked by hit records and an extravagant lifestyle. The article touches on the themes of her songs, often dealing with heartbreak and mistreatment by men, exemplified by “’Tain’t Nobody’s Biz-Ness if I Do,” while acknowledging the complexities of interpreting such songs in a modern context, referencing Angela Davis’s feminist analysis.
[Excerpt: Bessie Smith, “’Tain’t Nobody’s Biz-Ness if I Do”]
The narrative recounts Smith’s personal struggles, including her tumultuous marriage and the decline of her career during the Depression. It describes her final recording session in 1933, showcasing a swing-influenced style, and her tragic death in a car accident in 1937, followed by the indignity of an unmarked grave due to her estranged husband’s neglect.
[Excerpt: Bessie Smith, “Gimme a Pigfoot”]
Bessie Smith’s music deeply impacted Janis Joplin, who began emulating Smith’s vocal style. However, university remained a negative experience, and Janis dropped out, returning to her parents’ home. She briefly attended business school, acquiring secretarial skills, before venturing to Los Angeles to live with aunts, seeking a more accepting environment.
From Los Angeles, she moved to Venice Beach and then briefly to San Francisco, attempting to immerse herself in the fading beatnik culture. During this period, she experimented with cannabis and Benzedrine, and her drinking escalated. After losing her job, she returned to Texas and re-enrolled at her former college.
However, her brief exposure to bohemian life had changed her. She had performed in coffee houses and explored her sexuality. She transferred to the University of Texas at Austin, a more liberal environment than Port Arthur, where she joined a folk group, the Waller Creek Boys. Janis played autoharp and sang covers of Bessie Smith songs and popular folk tunes like “Silver Threads and Golden Needles.”
[Excerpt: The Waller Creek Boys, “Silver Threads and Golden Needles”]
Even within this more accepting scene, Janis remained an outsider. A campus newspaper article, “She Dares to Be Different!”, highlighted her nonconformist style, but also underscored her continued marginalization. She found a small circle of like-minded individuals, including Chet Helms, but Austin’s atmosphere was only marginally better than Port Arthur’s.
The turning point came when she was nominated in a humiliating “ugliest man on campus” joke competition. Disillusioned with Texas, Janis decided to return to San Francisco with Chet Helms. Before leaving, she recorded “So Sad to Be Alone” for her ex-girlfriend Julie Paul, showcasing a vulnerable and natural voice, distinct from her later, more famous persona.
[Excerpt: Janis Joplin, “So Sad to Be Alone”]
In San Francisco, Janis began performing at open-mic nights and folk clubs, adopting her Bessie Smith and Odetta-inspired vocal style. Her powerful and unique voice quickly gained attention. She formed a trio with Larry Hanks and Roger Perkins, always including Bessie Smith songs in their performances.
[Excerpt: Janis Joplin, Larry Hanks, and Roger Perkins, “Black Mountain Blues (live in San Francisco)”]
She became a part of the Bay Area folk scene, admired by musicians like Dino Valenti and Jerry Garcia. She also collaborated with Jorma Kaukonen, with recordings of their duets circulating for years.
[Excerpt: Janis Joplin and Jorma Kaukonen, “Nobody Knows You When You’re Down and Out”]
Throughout 1963-1965, Janis moved between coasts, struggling with amphetamine addiction. Initially used occasionally for studying and weight loss, amphetamines became a dependency during her time in San Francisco. Her father visited, concerned about her health, but Janis managed to conceal the extent of her struggles. He shared with her the concept of the “Saturday night swindle,” the fleeting relief of weekend fun masking deeper dissatisfaction.
A motorcycle accident at a crucial moment hampered a potential record deal. In May 1965, facing severe health issues from her amphetamine addiction, Janis decided to return to her parents, aiming for sobriety and a “normal” life. She became engaged to a man described as a con artist, envisioning a conventional future. She wrote optimistic letters, detailing her family and her hopes for a transformed life.
However, her fiancé proved to be dishonest and unreliable. The engagement ended, and Janis resumed performing in Austin and Houston coffeehouses. She began to explore the possibilities of rock music, inspired by the raw energy of the Thirteenth Floor Elevators and Roky Erickson’s vocals.
[Excerpt: The 13th Floor Elevators, “You’re Gonna Miss Me (live)”]
The idea of pursuing rock music as a career began to take hold. An invitation arrived from San Francisco, brought by an old friend from Austin, with news from Chet Helms. A blues band was seeking a singer, and they remembered Janis from her coffeehouse performances. Would she return to San Francisco to join them?
In Janis’s absence, the San Francisco music scene had transformed. The Charlatans and the Family Dog collective had emerged, fostering a burgeoning hippie culture.
[Excerpt: The Charlatans, “32-20”]
Helms, now a prominent promoter with Family Dog, envisioned San Francisco as “the American Liverpool.” He invited Janis to join a new band, Big Brother and the Holding Company. Janis hesitated, concerned about relapsing into drug use in San Francisco. She was reassured that LSD had replaced speed in the San Francisco drug scene, a drug she disliked.
Reassured, Janis returned to San Francisco to join Big Brother and the Holding Company, a band embodying the San Francisco acid rock sound. They were the house band at the Avalon Ballroom, run by Helms. Initially known for instrumental jams and less for technical proficiency, they drew large crowds. Helms believed Janis was the singer they needed. Janis was initially ambivalent, seeing it as a trial period, famously quipping about not wanting to be the “poor man’s Cher.”
Her letter to her parents before joining Big Brother reveals her anxieties and hopes: “I’m awfully sorry to be such a disappointment to you. I understand your fears at my coming here & must admit I share them, but I really do think there’s an awfully good chance I won’t blow it this time.”
The band consisted of James Gurley (lead guitar), Peter Albin (bass), Sam Andrew (rhythm guitar), and David Getz (drums). Initially, Albin sang lead, with Janis adding vocal embellishments inspired by Roky Erickson. However, at her first gig with the band, Janis captivated the audience with her lead vocal on “Down on Me,” a traditional spiritual that became a live staple.
[Excerpt: Big Brother and the Holding Company, “Down on Me (Live 1968)”]
After this debut, Janis became the band’s undeniable lead vocalist and star. She developed a dynamic stage presence, shedding her folk singer persona. Chet Helms described her transformation, noting the influence of Little Richard and Roky Erickson on her stage presence.
Janis maintained that her stage persona was authentic and natural, but she meticulously crafted her performances, drawing inspiration from Bessie Smith, Big Mama Thornton, Odetta, Etta James, Tina Turner, and Otis Redding. Her performances were a calculated blend of influences, presented as spontaneous emotional outbursts, aligning with the San Francisco ethos of self-expression over technical precision.
A significant moment occurred when Janis met Big Mama Thornton, who was performing in the Bay Area. Janis and her bandmates saw Big Mama perform “Ball ‘n’ Chain,” a song Janis deeply admired. She obtained the lyrics, sought Big Mama’s blessing to cover it, and received a memorable piece of advice: “don’t f*** it up.”
[Excerpt: Big Mama Thornton, “Ball ‘n’ Chain”]
The band members, including Janis, began living communally. Janis, determined to stay sober, initially resisted the drug use prevalent around her, but she increased her alcohol consumption, partly influenced by her brief relationship with Pigpen of the Grateful Dead, who shared her aversion to psychedelics and cannabis, and a fondness for Southern Comfort.
[Excerpt: Janis Joplin and the Grateful Dead, “Turn on Your Lovelight”]
Her relationship with Pigpen was short-lived, but they remained close, often performing together. Within months of joining Big Brother, Janis faced a pivotal career decision. Paul Rothchild of Elektra Records was impressed by Janis’s voice but not the band. He envisioned a supergroup with Janis and Taj Mahal, focusing on blues music, anticipating a shift away from psychedelic rock.
Janis was tempted by Rothchild’s offer. Elektra offered a record deal and financial support. When she discussed it with Big Brother, the band members were devastated, emphasizing their bond as a “family.” She agreed to postpone her decision until after a Chicago residency, writing to her parents about weighing “musical marketability” versus personal artistic fulfillment.
The Chicago residency was a disaster. Midwestern audiences were indifferent to a white San Francisco blues band, and the club owner stopped paying them due to poor attendance. However, they were approached by Bob Shad, a veteran record producer who had recently launched Mainstream Records. Desperate for funds and a record deal, Big Brother signed with Mainstream, accepting unfavorable terms: a five percent royalty, no advance, and shared publishing rights.
In their first Chicago session, they recorded four songs, including “Down on Me” and “All Is Loneliness,” a cover of a Moondog song.
[Excerpt: Big Brother and the Holding Company, “All is Loneliness”]
The band was dissatisfied with the recordings, feeling constrained by the single format and the engineers’ attempts to sanitize their raw sound. However, Janis was intrigued by the overdubbing process. The Mainstream contract solidified Janis’s commitment to Big Brother, at least for the near future.
Upon returning to San Francisco, Janis relapsed into amphetamine use, encouraged by those around the band. By the time their first single, “Blindman” b/w “All is Loneliness,” was released (to little notice), she was addicted again. Despite the initial setback, Big Brother’s popularity in the Bay Area was growing rapidly, largely due to Janis’s captivating performances. Bob Shad recognized Janis’s star potential and shifted focus towards songs featuring her lead vocals.
In a subsequent LA recording session, they recorded ten tracks in two days, including Janis’s “Women is Losers” and a rearranged version of “Cuckoo Bird.” The recordings were still constrained by the pop single format, resulting in a sound closer to Jefferson Airplane than their raw live performances.
[Excerpt: Big Brother and the Holding Company, “Coo Coo”]
After the LA sessions, Janis saw Otis Redding perform at the Fillmore, attending every night and studying his stage presence intently. She declared Redding her all-time favorite singer, learning from his rhythmic phrasing and emotional intensity.
[Excerpt: Otis Redding, “I Can’t Turn You Loose (live)”]
In early 1967, the band members moved into separate apartments in Haight-Ashbury. They welcomed the new year with a free show organized by the Hell’s Angels, with whom Janis developed a rapport, sharing a preference for speed and alcohol over other drugs.
Janis began a significant, though tumultuous, relationship with Peggy Caserta. The complexity of Caserta’s existing primary relationship seemed to enhance her appeal for Janis, fueled by insecurity and a competitive dynamic with other female singers. Her relationship with Caserta became a recurring theme in Janis’s life. Another significant relationship during this period was with Country Joe McDonald of Country Joe and the Fish.
[Excerpt: Country Joe and the Fish, “Grace”]
McDonald recalled listening to early underground FM radio with Janis, hearing Big Brother and Country Joe and the Fish songs played back-to-back. Big Brother’s second single, “Down on Me,” gained local airplay in San Francisco, hinting at broader recognition.
[Excerpt: Big Brother and the Holding Company, “Down on Me”]
Janis remained critical of their Mainstream recordings, expressing dissatisfaction with the label’s promotion and engineering, and considering ways to break their contract. Her relationship with McDonald ended, but before parting ways, she requested he write a song for her, resulting in the song “Janis.”
[Excerpt: Country Joe and the Fish, “Janis”]
Big Brother’s growing popularity led to their inclusion in Richard Lester’s film Petulia. However, it was the Monterey Pop Festival that would catapult their career to a new level.
[Excerpt: Scott McKenzie, “San Francisco (Be Sure to Wear Some Flowers in Your Hair)”]
At Monterey Pop, Big Brother was a relatively unknown act. Their Saturday afternoon performance, initially unfilmed due to a rights dispute, became legendary because of Janis Joplin’s raw and electrifying performance. Cass Elliot’s visibly stunned reaction in the crowd became an iconic image. D.A. Pennebaker, the film director, recognized Janis’s star power and insisted on filming a second performance the next day.
[Excerpt: Big Brother and the Holding Company, “Ball and Chain (live at Monterey)”]
Monterey Pop launched Janis Joplin into the spotlight. Albert Grossman, a prominent manager, took notice. While other band members felt overshadowed, Janis embraced the attention. She was eager for success, driven by a need for validation and a desire to prove herself. She readily engaged with journalists and sought to replace their manager.
The Monterey Jazz Festival followed soon after, further solidifying Janis’s impact, though their performance was again unfilmed due to their manager’s decisions. Meanwhile, Mainstream Records rushed out an album of their earlier recordings, Big Brother and Holding Company, which received lukewarm reviews, failing to capture the energy of their live performances.
[Excerpt: Big Brother and the Holding Company, “Bye Bye Baby”]
To capitalize on their Monterey momentum, Big Brother needed a better record deal and management. Clive Davis at Columbia Records expressed strong interest. To escape their Mainstream contract, they needed Albert Grossman, known for his shrewd negotiation skills and genuine appreciation for music, having managed artists like Odetta and Bob Dylan.
Grossman agreed to manage them on one condition: honesty about drug use. Despite occasional heroin use by Gurley and Joplin, they assured Grossman it wasn’t a problem. Grossman, however, was astute about the music business and their potential. He offered a deal with a higher management percentage but promised greater financial returns, asking the band to define their ambitions. They boldly declared their desire to become rich, setting a seemingly unrealistic target income of $75,000 for the first year. Grossman countered, “Make it a hundred thousand.”
Big Brother was now mixing with music royalty. Peter Tork of the Monkees became a friend, and they were invited to the Phillips’s home to preview Monterey Pop. The film’s focus on Janis created tension within the band, as Dave Getz noted the emerging separation between Janis and the rest of the group.
To reach their ambitious financial goals, leaving Mainstream Records was essential. Columbia Records ultimately paid Bob Shad $200,000 to release Big Brother from their contract, a significant investment demonstrating Columbia’s belief in their potential. Janis felt intimidated by joining Columbia, once home to Aretha Franklin, whom she deeply admired.
The band began incorporating Erma Franklin’s “Piece of My Heart” into their setlist, a song co-written by Bert Berns, a prominent figure in soul music. The article provides a detailed overview of Berns’s career, his signature Afro-Caribbean rhythms, and his influence, particularly his love for “La Bamba” and the I-IV-V-IV chord progression, evident in many of his hits, including “Twist and Shout” and “Hang on Sloopy.”
[Excerpt: The Isley Brothers, “Twist and Shout”]
[Excerpt: Ritchie Valens, “La Bamba”]
[Excerpt: The McCoys, “Hang on Sloopy”]
[Excerpt: The Strangeloves, “I Want Candy”]
[Excerpt: Them, “Here Comes the Night”]
Berns co-wrote “Piece of My Heart” with Jerry Ragavoy, who also co-wrote “Cry Baby,” another Janis Joplin favorite. Big Brother’s version of “Piece of My Heart” quickly became a set highlight.
To produce their Columbia album, Albert Grossman brought in John Simon, known for his work with Peter, Paul and Mary and The Band (Music From Big Pink). However, recording sessions proved challenging. A live album attempt in Detroit faltered due to a lackluster performance and a more dynamic opening act, MC5.
[Excerpt: Big Brother and the Holding Company, “Down on Me (live at the Grande, Detroit)”]
Grossman and Simon suggested Janis pursue a solo career with more competent musicians, although Simon was critical of both the band and, surprisingly, Janis herself. Simon contrasted Big Brother’s raw, “tribal music” with the sophisticated songcraft of The Band, which he presented as his ideal. He found Big Brother’s musicianship lacking, often playing out of tune, while he viewed Janis’s performances as calculated and lacking genuine soul, despite their emotional intensity.
The Cheap Thrills album, despite production challenges, became a landmark record. It included a live version of “Ball and Chain” (edited by Simon) and studio tracks with looped crowd noise to simulate a live feel. Simon edited extensively to compensate for the band’s perceived musical shortcomings.
[Excerpt: Glenn Gould, “Bach: Prelude in C Minor”]
Sam Andrew’s arrangement of Gershwin’s “Summertime” showcased musical creativity, incorporating a Bach-inspired intro, although Simon found the band’s execution dissonant.
[Excerpt: Big Brother and the Holding Company, “Summertime”]
Despite Simon’s critical view of the band, he acknowledged Janis’s unique talent, even if he considered her approach too calculated. Elliot Mazer, Simon’s assistant, highlighted Janis’s intelligence and meticulousness in crafting her vocal performances. Simon disliked the album intensely but remained credited (though he initially requested no credit) and benefited financially from its success. Cheap Thrills went gold on pre-orders alone.
The album, originally titled Sex, Dope, and Cheap Thrills, was released in August, along with “Piece of My Heart” as a single.
[Excerpt: Big Brother and the Holding Company, “Piece of My Heart”]
Big Brother’s rendition of “Piece of My Heart” was radically different from Erma Franklin’s original, longer, and more emotionally charged, transforming the song into a raw expression of pain. The single reached the Top 20, and Cheap Thrills topped the album charts.
The album cover, featuring Robert Crumb’s underground cartoon art, became iconic, replacing a rejected photo featuring Janis’s exposed breasts. Crumb’s artwork included caricatures of the band, Hell’s Angels imagery, and song illustrations, including a controversial racist caricature for “Summertime,” reflecting the complexities and contradictions of the era.
The album’s success intensified the debate around cultural appropriation, with critics questioning Janis’s authenticity as a white woman singing blues-influenced music, comparing her unfavorably to Aretha Franklin and accusing her of “plastic soul” and “stereophonic minstrelsy.” Despite these criticisms, Cheap Thrills solidified Janis Joplin’s status as a major rock star.
However, even before the album’s release, Janis informed the band of her decision to leave at the end of November, taking Sam Andrew with her, signaling the breakup of Big Brother and the Holding Company. Tensions within the band escalated during their final months.
Janis formed a new band, initially conceived with Skip Prokop, who soon departed, deeming Sam Andrew musically inadequate. The new band, later named the Kozmic Blues Band, aimed for a soul-infused sound, inspired by Chicago, Blood, Sweat & Tears, and Stax Records, moving away from psychedelic rock.
Her debut solo gig was at a Stax Records Christmas party in Memphis, just days after their first rehearsal, revealing a misjudgment of the changing racial dynamics in the music scene post-Martin Luther King assassination. Memphis musicians, once open to collaboration, now exhibited growing racial division. White artists like Janis, influenced by Black music, faced accusations of cultural appropriation, while Black artists like Jimi Hendrix playing for white audiences also faced criticism within the Black community.
Janis’s choice to cover “To Love Somebody” by the Bee Gees at the Stax show, a song written in Otis Redding’s style, highlighted her outdated perception of cross-racial musical harmony.
[Excerpt: The Bee Gees, “To Love Somebody”]
The Memphis audience, accustomed to polished Stax performances, was unimpressed by Janis’s unrehearsed Kozmic Blues Band. Her set was cut short, and there was no encore. The Kozmic Blues Band struggled from the start, with personnel changes and a lack of musical direction. Their San Francisco debut was met with a lukewarm reception, with critics suggesting Janis rejoin Big Brother.
Facing negative reviews and band instability, Janis’s heroin use escalated, leading to her first overdose, from which she was revived by friends. A European tour offered some respite, with audiences responding positively.
[Excerpt: Janis Joplin and the Kozmic Blues Band, “Maybe (live in Germany)”]
However, the tour’s end was marred by Sam Andrew’s heroin overdose at an afterparty in London. After the tour, Janis recorded her first solo album, I Got Dem Ol’ Kozmic Blues Again Mama!, produced by Gabriel Mekler. The sessions were fraught with tension and personnel changes, with Mekler replacing some band members with studio musicians. The album is generally considered a disappointment compared to Cheap Thrills, although it contained highlights like “Little Girl Blue,” praised by Nina Simone herself, and the title track “Kozmic Blues,” exploring Janis’s depression.
[Excerpt: Janis Joplin, “Little Girl Blue”]
[Excerpt: Janis Joplin, “Kozmic Blues”]
The album was dedicated to Nancy Gurley, James Gurley’s wife, who had died of an overdose. Janis contributed to James Gurley’s defense fund after his arrest for Nancy’s death, highlighting the enduring bonds within their unconventional “family.” Sam Andrew was eventually fired from the Kozmic Blues Band, replaced by John Till. Till’s first gig with Janis was at Woodstock.
[Excerpt: Janis Joplin and the Kozmic Blues Band, “To Love Somebody (Live at Woodstock)”]
By mid-1969, the Kozmic Blues Band had become a tighter unit, showcasing their funkier sound in a TV appearance with Tom Jones.
[Excerpt: Janis Joplin and Tom Jones, “Raise Your Hand”]
However, I Got Dem Ol’ Kozmic Blues Again Mama! was commercially less successful than Cheap Thrills, and band instability persisted. Janis decided to disband the Kozmic Blues Band and shift musical directions.
She returned to her early love of country music, influenced by the Flying Burrito Brothers and ordering a Nudie Cohen country-style suit. She began working on Kris Kristofferson’s “Me and Bobby McGee,” and started a relationship with Kristofferson.
[Excerpt: Kris Kristofferson, “Me and Bobby McGee”]
The disbanding of the Kozmic Blues Band coincided with Janis’s attempt to get sober. She bought a house and sought medical help to overcome her heroin addiction, using methadone. She briefly reunited with Big Brother for a show and recorded with the Paul Butterfield Blues Band, produced by Todd Rundgren, but these sessions were unproductive.
Her focus shifted to forming a new band, the Full-Tilt Boogie Band, with John Till and Brad Campbell and other musicians reminiscent of The Band’s lineup. She planned a country-soul album, incorporating songs by Berns, Ragavoy, Penn, Oldham, Kristofferson, and originals like “Mercedes Benz.”
[Excerpt: Janis Joplin, “Mercedes Benz”]
She adopted the alter ego “Pearl,” possibly as a way to separate her stage persona from her private self. Her next album was to be titled Pearl. Bessie Smith remained a significant influence, with Joplin contributing to a headstone for Smith’s unmarked grave, 33 years after her death.
However, her sobriety faltered. She became involved with a man who mirrored her previous destructive relationships, and relapsed into heroin use after encountering Peggy Caserta again. Jimi Hendrix’s death deeply affected her, prompting the haunting question, “I wonder what they’ll say about me after I die?”
Despite personal turmoil, the Pearl sessions yielded her finest recordings. “Me and Bobby McGee” was poised to be a major hit. On October 3, 1970, she made plans for a threesome with Peggy and her fiancé, and had her hair styled for the occasion. However, a phone call from her fiancé postponing their meeting upset her. She left the studio, postponing vocal recording for “Buried Alive in the Blues.”
[Excerpt: The Full Tilt Boogie Band, “Buried Alive in the Blues”]
Later that night, Peggy also stood her up. Alone in her hotel room on October 4th, Janis injected heroin, a dose far stronger than usual due to increased purity and her lowered tolerance after sobriety. She collapsed in her hotel room, dying alone at the age of 27, 33 years to the day after Bessie Smith’s funeral.
Pearl was completed posthumously, with “Me and Bobby McGee” reaching number one. “Buried Alive in the Blues” remained an instrumental track, a poignant testament to unfinished potential.
In the aftermath of her death, the San Francisco music scene continued, seemingly unfazed. Jerry Garcia’s comments reflected a detached acceptance of death within the counterculture. Janis Joplin, the misfit who craved love and acceptance, died just as she was achieving her artistic peak, leaving behind a legacy of powerful songs and a poignant reminder of the fragility of fame and the human spirit.
[Excerpt: Janis Joplin, “It’s Sad to Be Alone” into outro]
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