The idea for this box set was to concentrate on the work that Allen had previously recorded for commercial release, much of which had never been issued. Considering that many people have simply not had access to these recorded works (the importance of which cannot be overstated), we felt that it was essential for a sampling of this history to be brought to light. Allen's ideas for the set were quite simple: he suggested that it be comprised of his "Howl" album (Fantasy Records); his William Blake interpretations (there are two completed lp's, one previously released on MGM, the second volume unissued); "First Blues" (a double album which was the very first release on John Hammond's Hammond Records); the recordings he made with Harry Smith in the Chelsea Hotel in 1971 (later released on Folkways); selections from "The Lion for Real;" and various other recordings that would surface during the process.

Over the next few months, I spent many hours in Allen's apartment listening to the various recordings and tracking down rare finds. on two occasions, we ventured to the Ginsberg Deposit at Columbia University; where a treasure trove of memorabilia is stored, including a tape of Jack Kerouac whistling "A Foggy Day in London Town," and in a plastic baggie, Allen's beard which was shaved off in the early seventies. All through these months, each day offered new discoveries: obscure poetry compilation albums from the sixties, catalogues featuring limited edition and forgotten recordings; and the existence of a sixteen volume (!) set of Allen's complete works that Barry Miles put together in 1971 and which was never released.

At this early stage of the project, I was listening to poetry for about eight hours a day. Allen's initial suggestions for the box would take up eight CDs alone, and with the many new and often wonderful discoveries before me, the
enormity of my task was overwhelming. I needed to find a constructive way to organize and edit it all. Fortunately, I hit upon the idea of letting each CD represent four loosely structured time periods in Allen's life and also thematically center the CDs around a major work such as "Howl" or "Kaddish," or a grouping, as his Blake material or collaborative efforts.

CD 1 - the first CD would feature Allen's early years and would naturally revolve around "Howl." Under Allen's bed in his East Village apartment was a box containing reel to reel tapes of different recordings of "Howl" including a 1956 tape from Berkeley of the very first time the whole poem was read aloud. The tape had a magical quality to it. Though Allen had not yet perfected his breath approach to reading the poem, listening to the tape transported me, and the excitement of what it must have been like hearing "Howl" at that time came through. "America" and "Sunflower Sutra" were also read at this performance. The historical importance of the 1956 recordings is undeniable, so we decided to use these newly discovered versions as opposed to using the classic 1959 Fantasy lp's reading of "Howl"(which is still in print and recently featured on a box set about the Beat era produced by Sam and Ann Charters). In addition, there are some rare early recordings on this CD including "A Mad Gleam" which was recorded at a party in John Clellon Holmes' apartment in 1949 and is probably the first known recording of Ginsberg. Also discovered were a number of tapes recorded in Neal Cassady's Denver home in 1954 of which a few are presented here. While looking at various catalogues and discography's, I noticed that Ginsberg, along with Gregory Corso and Peter Orlovsky did a session at the Library of Congress in 1959. We were able to secure a copy and the CD ends with an excerpt from this session featuring Allen reading "Death to Van Gogh's Ear".

CD 2 - This CD focuses on "Kaddish". Besides being one of Allen's best known poems, I have always felt that this is one of the greatest pieces of writing ever. It takes slightly under sixty five minutes to read and has therefore rarely been recited by Allen in its entirety. This reading of the poem, at Brandeis University in 1964, was released by Atlantic Records shortly thereafter. It has been long out of print and it was quite a task to find a suitable master tape. other important pieces written in this era fill out the CD: "Guru" and "For Aunt Rose" from "The Lion for Real," and a recording of the classic "Kral Majalis" from an obscure compilation released in the Netherlands.

CD 3 - Welcome to our "peace and love" CD reflecting the highly visible period in Allen's history where posters of a bearded, long haired Ginsberg dressed in flowing robes and beads adorned the walls of college dormitories, and many of his poems and activities reached the homes of middle America. The CD focuses on Allen's Blake interpretations, mantras, "acid" poetry, and

other pieces representative of Allen's memorable influence on this explosive period in our history.

CD 4 - This CD brings us up to the present decade, and deals mostly with the many musical collaborations Allen has done and continues to do today. Starting with his appearance with the Clash at Bonds in 1981 and moving on to performances with Elvin Jones, Bob Dylan, Stephen Taylor, the Gluons, Harry Smith, and others; these collaborations yield a variety of inspiring results.

over the last year and a half, I've worked intensely on this project, leaving it then coming back to it a few months later. I could have kept this up for years, but final decisions had to be made. Limiting the wealth of material down to four CD's was one of the hardest things that I've ever had to do, for I know that this box set is only the beginning of what should be released on Allen. The previously mentioned sixteen volume set compiled by Barry Miles and a complete double disc of all the William Blake would still only scratch the surface of what else is available, and "what else is available" is worth finding and listening to. This box set here simply presents a smorgasbord of Allen's past recordings. At age 67, he is still incredibly active having just returned from a six month tour of Europe. There are plenty of new projects to be planned.

Thanks to all those involved with this project. This would include James Austin, Bob Rosenthal, Jacqueline Gens, Stephen Taylor, Peter Hale, David Greenberg, Bob Fischer, Jonathan Horn, Susan Jacobs, John Strother, Kush, Brian, Vicki Stanbury, Randy Roark, Bill Morgan, and many others. And an extra thanks to Allen Ginsberg for his time and trust. I hope that this selection fulfills his wishes.

Each time I work with Allen, I come away with a fresh perspective and respect for this man, and this experience has not been different. It's amazing that one man is capable of so much creativity and still has the time and energy to teach, travel, and extend a helping hand to his peers and the world. Allen is not one to sit back in an easy chair and play it safe. When it comes to his work, he "goes for it." This man has made change in the world a few times; I have learned and continue to learn much from him. I am proud to be associated with him.

I'll be seeing you,
Hal Willner


Allen's Words:

I'm told these poems have already had some radical effect on US poetry, American popular song from Dylan rocknroll thru Clash punk Sonic Youth. Now I hope this collection of high points of recordings and performances amassed over 45 years, heard together for the first time in all its intensity & range, will help renew invention & performance of poetry & music all over again.
First of all there is the ground breaking emotional power of major works from the first complete reading of "Howl" thru rare complete epic of "Kaddish", thru electrifying oratory of "Wichita Vortex Sutra" thru heart-toned sublimity of "Father Death Blues" -- self empowerment, prophecy, world proclamation, passionate love, filial devotion, erotic rhapsody, ecstatic illumination, grief, tears, joy, a breakthru of open feelings as medicine to a generation of alienation & emotional uncertainty, ironic Voidoid punk grunge X blank slacker Century-end alienation & Imperial world-weariness, because "only emotion endures."
Second a rainbow range of forms becomes visible, audible -- "Lower limit speech upper limit song." Archaic verse stanzas, short line free verse, long line anaphoric litany catalogue, list poems & Sutras, mixed short & long line surrealist pace-changing anthology classics like "America," Hebrew biblical rhythms of "Kaddish," modernist free verse, classic 12 bar blues, punk rock, percussive sound poems, rhymed rap, duets, Buddhist mantra, Blake hymns & sing-alongs, oldfashioned tunes your mother sang, modern poetry jazz, LSD visionary notations, calypso, home made church-spirituals, threnodies, Bengali Baul lyrics, a capella refrains. I hope this range of forms relatively rare in any collection of poetry & song will amuse generation after generation of lyric pop rock blues sensitive genius-poets & inspire new waves of experiment in self-expression, liberty of form & emotion, classic balance of wild performance and marvelous texts. Any kid youth or maid that listens all thru these 4 CD's might have his head changed & heart awed -- opened up, energetic, serious, grounded in the sacred eyeball world, skull soup imagination, wild skin & bones word magic.