Inside the tape archive of legendary acid chemist and sound engineer Owsley Stanley
Stanley wasn’t just an associate but also a key architect of the counterculture he was documenting. “The access that he received from the bands to record their music was unprecedented and unquestioned,” says the executive producer of the foundation’s releases, a mild-mannered international corporate lawyer known as Bill Semins by day, but otherwise known simply as Hawk.“He was making these tapes to make his sound system better — he called them his ‘sonic journals,’” says Hawk.
“I remember driving to gigs with Garcia,” says Nelson. “He had this little miniature schoolbus, like five or six rows of seats. You could put gear in there and you could also hang out in between the shows, because it opened out in the back, and you could just hang out there in a hammock or something. I remember [Hells Angel] Freewheelin’ Frank would come over and talk.”
The summer after the New Riders formed, on the cross-Canada train tour known as the Transcontinental Pop Festival , they encountered Ian and Sylvia’s pedal steel player, Buddy Cage. “There was an instrument car where we were welcome to jam, with amps set up,” Nelson remembers. “Garcia and Buddy set up their steels facing each other real close, so Buddy could show Garcia a bunch of steel stuff, and it really advanced Garcia’s playing quite a bit.
Along with Starfinder, several other members of Stanley’s family, and close friends, Hawk sits on the board of the Owsley Stanley Foundation, though the releases are hardly a full time endeavor. Plotting a schedule of three or four releases a year, including vinyl when there’s demand, the foundation works with patrons to preserve reels, whether they’re deemed appropriate for release or not, and researches the many mysteries of the tapes.
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