Paul Kantner also refers to Stanley by name on the album. The title of the Jefferson Airplane song "Bear Melt", from their 1968 live album Bless Its Pointed Little Head, is a reference to Stanley's nickname "Bear". The Jimi Hendrix cover version of the Beatles song " Day Tripper", from a 1967 BBC session first released on CD in 1987, features Jimi Hendrix clearly shouting out, "Oh Owsley, can you hear me now?" during the climactic guitar solo. The headline read "LSD Millionaire Busted". Millionaire", which is a reference to the newspaper headline of when Stanley was arrested. Here are some musical references to Owsley from Wiki: In 1966, the Grateful Dead sometimes performed a song titled "Alice D. He is also involved in the manufacture of high end musical instruments and concert sound equipment. Owsley is also famous for his high fidelity concert recordings, most of which have never been released. However, the most interesting aspect of his life is his private lab that manufactured probably 5 million hits of LSD during the sixties and fueled such events as the Gathering of the Tribes, the Muir Beach Acid Test, the Electric Cool-Aid Acid Test and of course the Monterey Pop Festival which he supplied with free Monterey Purple. Owsley family included senators and governors from Kentucky, English aristocracy, European royalty and he is thought to be a direct descendent of Charlemagne. Owsley also helped design the Dead’s “steal your face” logo. He was known as the Dancing Bear and the bears that appear on the Dead’s albums are an inside reference to him. Owsley met the Dead in ’66 and was their first sound engineer. Owsley Stanley designed the first high-fidelity sound system for rock music and his designs culminated with the “Wall of Sound”. In non-technical terms, it seemed like TYA and Beck had the volume at 11 or 12, when 8 or 9 would have been great. Beck played at the Royal Theatre, a classic-type concert hall that does have good acoustics, so there was no excuse.
Ten Years After were playing at a nightclub with a low ceiling, which has a reputation for bad sound, but when I saw Spyro Gyra there a few months earlier, it was plenty loud but also clear. There was extreme volume, which shouldn't have been a problem, except it seemed like it overloaded the room, to the point where vocals were almost completely unintelligible, sometimes to the point of what was said between songs even being hard to understand. Two of the most recent concerts I've attended (Ten Years After and Beck) had so much distortion it was terrible. So with a modern PA or SR system, are the instruments' outputs run through matching speakers on each side of the stage (guitar left and right, bass left and right, and so on), so it's like mono from two stacks of speakers? It appears that sitting mid-field at a Dead concert would be just excellent.
If you were dead center you would have heard a sound possibly similar to the band playing immediately in front of you in a much more intimate space- the sense of direction of each instrument would be that noticeable. Also, the entire audience would have been treated (for better or worse) to a type of super stereo by virtue of the fact that each band member's PA stack was somewhat near/above his gear on stage.
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