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Topic: Woodstock 45th Anniversary Posted: August 15 2014 at 19:14
this is pretty much self explanatory. arguably considered the best music festival ever staged, it at first ended the 60's on a high note........ then Altamount came. anyway, this will be a topic all dedicated to this festival whether it would be the film, the recordings, the performances, the documentaries and books/chapters on it, etc. go ahead and talk. from the start of the festival on this day to the future this shall go towards.
Joined: September 20 2010
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Posted: August 18 2014 at 00:44
(...) Although they were approached by several record companies in the late
1960s, the band declined a contract. Therefore, when they played for
half a million people at the legendary Woodstock festival in 1969, they
did not even have an album out. There, they performed a piece titled
"Soul Sacrifice," written specifically for the event. By now Santana
included drummer Mike Shrieve and percussionists Jose Chepito Areas and
Mike Carrabello. After getting a warm reception at Woodstock, they were
booked on the popular Ed Sullivan Show, then signed to Columbia Records by the end of the year. Their first effort, Santana, stayed on the Billboard charts for two years, eventually selling more than four million copies. It spawned the hits "Evil Ways" and "Jingo."
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Posted: August 18 2014 at 12:07
KingCrInuYasha wrote:
Actually, Santana was already signed to Columbia and recorded their first album by the time they performed at Woodstock.
Santana the album was definitely released after the Woodstock festival where Santana took a part as a band without any release.
Santana is the debut studio album by Latin rock band Santana released in 1969. It is a release of largely instrumental music, recorded by what was originally a purely free-form jam band. At the suggestion of manager Bill Graham, the band took to writing more conventional songs for more impact, but managed to retain the essence of improvisation in the music.
The album was destined to be a major release, given a headstart by the band's seminal performance at the Woodstock Festival earlier that August. Although "Jingo" failed to create much interest when released as a single, "Evil Ways", the second single taken from the album, was a U.S. Top 10 hit. The album peaked at #4 on the Billboard 200 pop album chart. It has been mixed and released in both stereo and quadraphonic.
In 2003 the album was ranked number 149 on Rolling Stone magazine's list of the 500 greatest albums of all time.
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Posted: August 18 2014 at 12:18
From Carlos Santana's official website, the release date of the debut album was 1/10/1969. Wikipedia lists the release date as "August 1969", the same month as the Woodstock festival. I'd tend to trust Santana's own site as definitive in this case.
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Posted: August 18 2014 at 12:40
After John B. Sebastian's band The Lovin' Spoonful disbanded, he continued on solo ways. Luckily for the people he also played at Woodstock a five song set. Originally he wasn't scheduled[1] but he was probably the best "filler" that Woodstock had. During his act Sebastian was under the influence of marijuana, hence his spontaneity and casual, unplanned set. "By the time I got to Woodstock I remained a pot smoker, but there was a natural high there," says Sebastian.
He appeared on stage on Saturday, the 2nd day of Woodstock, at about 3:30 pm.
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Posted: August 18 2014 at 13:08
HolyMoly wrote:
From Carlos Santana's official website, the release date of the debut album was 1/10/1969. Wikipedia lists the release date as "August 1969", the same month as the Woodstock festival. I'd tend to trust Santana's own site as definitive in this case.
I think that there is not any logic that the debut was released in January 1969 - if 1/10/1969 means January in this case (e.g. Shape Shifter - 5/15/12). Also, as you can see, theycited "1/10" as releasing dates of all first three albums:
it seems as a lapse to me because Abraxas was released at September 1970.
While most other likeminded bands (Jefferson Airplane, The Grateful Dead, Moby Grape) sought refuge in psychedelic excess to concoct their merger of influences, Santana was the first band to offer an exciting melting pot of (bluesy) rock, jazz and Latin roots. The band caused quite fuss when they set the Fillmore on fire in 1968, but the major breakthrough came when the band turned in a now legendary performance at the 1969 Woodstock festival, which took place in the same month this debut was released.
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Posted: August 18 2014 at 13:30
I came upon a child of God He was walking along the road And I asked him where are you going And this he told me I'm going on down to Yasgur's farm I'm going to join in a rock 'n' roll band I'm going to camp out on the land I'm going to try an' get my soul free
We are stardust We are golden And we've got to get ourselves Back to the garden
Then can I walk beside you I have come here to lose the smog And I feel to be a cog in something turning Well maybe it is just the time of year Or maybe it's the time of man I don't know who I am But you know life is for learning
We are stardust We are golden And we've got to get ourselves Back to the garden
By the time we got to Woodstock We were half a million strong And everywhere there was song and celebration And I dreamed I saw the bombers Riding shotgun in the sky And they were turning into butterflies Above our nation
We are stardust Billion year old carbon We are golden Caught in the devil's bargain And we've got to get ourselves back to the garden
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Posted: August 19 2014 at 01:14
With all the media attention focused this week on the 40th anniversary of Woodstock, it’s worth noting that, while there was no jazz at the festival, there were some fine jazz musicians. We’ve already looked at David Sanborn’s Woodstock memories; here’s what some of the players in Blood, Sweat & Tears have said about the event.
Blood, Sweat & Tears were, hands down, the jazziest act to play Woodstock. What does it tell us, then, that most people remain unaware 40 years later that the band not only performed that weekend at Yasgur’s farm but were among the headliners? A bit of background first. BS&T had been formed two years earlier by keyboardist-producer and all-around rock impresario Al Kooper with the intention of melding rock and jazz, guitars and horns. (His inspiration came from, among other groups, the Electric Flag; BS&T’s success would help spawn Chicago.) Not surprisingly, the band’s original lineup featured some heavyweight New York jazz-blues talent, including Jim Fielder, Fred Lipsius, Randy Brecker, Jerry Weiss, Dick Halligan, Steve Katz and Bobby Colomby. BS&T quickly got a deal at Columbia and received significant critical acclaim for its 1968 debut, “Child Is Father to the Man.” As sessions got under way for the follow-up, however, there was a schism in the band – Kooper was forced out, trumpeters Brecker and Weiss left and were replaced by Lew Soloff and Chuck Winfield, and BS&T found a new vocalist in David Clayton-Thomas. It all worked out for the best, as the group’s eponymous second album became a sensation. Released in December 1968, the disc topped the Billboard chart, bested the Beatles’ “Abbey Road” for the Album of the Year Grammy and spawned three hits – “You’ve Made Me So Very Happy,” “And When I Die” and “Spinning Wheel,” all of which peaked at No. 2.
By the time they got to Woodstock, then, BS&T were on top of the world and received a coveted slot, performing a five-song set right before Crosby, Stills, Nash and Young on the festival’s final night. So what happened? How did BS&T become the Invisible Men of Woodstock? It didn’t help that the group was featured in neither the “Woodstock” movie nor the three-disc soundtrack album. As Colomby – who went on to play with the likes of Jaco Pastorius, Chris Botti and Jeff Lorber – described the situation in a 1999 interview, it was a management decision. "Our manager at that time was Bennett Glotzer,” the drummer recalled. “He felt that since we were one of the headliners (along with Janis Joplin and Jimi Hendrix), we should be paid accordingly. $7500 was not enough to ‘star’ in a movie. "He had not recognized that the event itself would supersede the status of the individual acts. The producers of the festival and documentary were not permitted to film the band's performance. However, they did succeed in shooting the opening song, ‘More and More’ and then were told to get off the stage.”
Given the circumstances, perhaps it’s not surprising that BS&T personnel don’t have exactly glowing recollections of that night. One web source notes that saxophonist Lipsius – who has played with everyone from Cannonball Adderley to Simon and Garfunkel – claimed Woodstock was the band’s worst gig ever. The evening’s logistics seem to have encouraged a degree of collective amnesia. "Don't ask me about (Woodstock) because I can't remember," guitarist Katz said in an interview. "We played at something like 3 a.m." "Our memories are very limited because we were there such a short time,” Clayton-Thomas said a decade ago. “We were staged at a Holiday Inn 20 miles away and flown in by helicopter a half hour before show time. The show is a blur (and) an hour later we were back on the chopper and on to another gig. "I had a chance to say hello to a few old friends, Levon and Rick from the Band and Steven Stills, who I knew from Buffalo Springfield, and then we were gone. So my three days of love and peace lasted about two hours. "When you're on stage in front of 650,000 (sic) people,” the vocalist added, “you just know that this is a momentous event and probably will never happen again. And it never did."
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Posted: August 19 2014 at 02:32
Sly and the Family Stone were the virtual embodiment of the Woodstock Nation: integrated, soulful and funky. Even with several hit records behind them, the audience wasn’t prepared for the funk-driven soul revue laid down by the Family Stone. Few, if any, white audience members had ever experienced anything like their showmanship. Sly and the Family Stone rewrote the book on performance.
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Posted: August 19 2014 at 02:51
Hendrix and Woodstock: 10 Little Known Facts about the Performance That Defined the '60s WPI Professor and Hendrix Scholar Joel Brattin Recalls What Made the 1969 Woodstock Appearance a Unique Moment in the Career of the Legendary Guitarist
Joel J. Brattin WORCESTER, Mass. – Forty years ago, on Aug. 18, 1969, legendary guitarist Jimi Hendrix stepped onto the stage at the Woodstock, N.Y., Music Festival and embarked upon an uninterrupted set lasting nearly two hours--one of the longest performances of his career. It concluded with a long medley that included the solo performance of the Star Spangled Banner that would become emblematic not only of Woodstock, but of the 1960s themselves.
When most people think of Hendrix and Woodstock, it is that performance of the national anthem that comes to mind. But to Joel Brattin, professor of literature at Worcester Polytechnic Institute (WPI), who has made an extensive study of the life and music of Hendrix, the Woodstock performance was a fascinating and telling moment in an all-too-brief career, one that was in a state of transition in the summer of '69. Brattin, who is also a noted authority on Victorian author Charles Dickens, says there are 10 elements of that performance that make it unique and historic:
Hendrix performed with a temporary band. The Jimi Hendrix Experience, with which he had recorded three smash albums and electrified crowds at the Monterey Pop Festival two summers before, had broken up. Hendrix assembled a group he called Gypsy Suns and Rainbows, which included two musicians he had played with at the start of his career on the Chitlin' Circuit in Nashville: bassist Billy Cox and guitarist Larry Lee. Neither had ever performed in front of a large crowd before. Drummer Mitch Mitchell, who was part of the Experience, and two percussionists rounded out the band, one of the largest Hendrix ever appeared with. The group performed just twice more before disbanding. It was the only Hendrix band that included a second guitarist. Larry Lee backed up Hendrix on a number of songs, played some lead on Jam Back at the House, and contributed several lead choruses to the 12-bar blues Red House. He played some lead on both Voodoo Child (slight return) and Spanish Castle Magic and sang lead on two numbers. Lee's solo guitar work accounts for much of the footage of the Hendrix Woodstock set that has never been made public. In fact, no recordings, audio or visual, have ever been officially released of Lee's two featured numbers: Mastermind and a medley of Gypsy Woman and Aware of Love. It was the only major performance that Hendrix gave in the morning. By 1969, Hendrix was a major star who had earned the traditional headliner's position: playing last. Technical and weather delays caused the festival to stretch into Monday morning. The organizers had given Hendrix the opportunity to go on at midnight, but he opted to be the closer. One benefit of the delay: the morning light made for excellent filming conditions, which may be part of the reason this particular Hendrix performance is so well known. Hendrix did not perform for half a million people. In fact, when he took to the stage at 9 a.m., the crowd, which once numbered 500,000, had dwindled to fewer than 200,000--perhaps considerably fewer. With the demands of work and school weighing on them, many of those fans waited just long enough to see Hendrix begin his set, and then departed themselves. The Woodstock performance had the potential to be a disaster for Hendrix. Recordings made at the house in upstate New York where Hendrix and the Gypsy Suns and Rainbows rehearsed and of a performance they gave at the Tinker Street Cinema in Woodstock show that the band "simply could not play well together," Brattin says. "After listening to those tapes, you would not have guessed that the Woodstock performance would be so good. The credit has to go to Jimi and the strength of his onstage presence." Woodstock was a time of transition for Hendrix. He had left behind one long-term band and not yet formed another. He was beginning a period of musical experimentation that was risky from a commercial perspective. While the Experience was dominated by white musicians (both his bandmates were white Englishmen), he was now appearing with more black performers (bassist Cox, guitarist Lee, and percussionist Juma Sultan were all African American). It is interesting, Brattin notes, that while so much of the Woodstock show pointed to Hendrix's future, the performance also included songs that harked back to his beginnings. In particular, two of the songs Lee sang, Gypsy Woman and Aware of Love, were written or co-written by Curtis Mayfield, with whom Hendrix had performed with in the early 1960s. It was the only Hendrix concert that included these songs. The Star Spangled Banner was not played on its own. It was part of a medley lasting over half an hour, one of the longest such medleys. The medley also included hits like Voodoo Child (slight return) and Purple Haze, and an unaccompanied improvisation lasting nearly five minutes. Hendrix performed the national anthem as a solo in the midst of this medley. It was not the first time Hendrix had performed the Star Bangled Banner--by a long shot. In fact, there are nearly 50 live recordings of Hendrix playing the national anthem, 28 made before Woodstock. They range from about a minute to more than six minutes; the Woodstock version was three minutes and 46 seconds. It was among the best, Brattin says. "And, certainly, no other version is so iconic." Hendrix performed an encore, a rarity. He almost never performed encores, but at Woodstock, despite the vanishing crowd, he did. On recordings, he can be heard considering Valleys of Neptune, which he never performed publicly, before or after Woodstock. He opted, instead, for Hey Joe, his first hit song. Hendrix was not supposed to close Woodstock. Steeped in childhood memories of the song, Woodstock organizer Michael Lang wanted Roy Rogers to come on after Hendrix and play Happy Trails. The cowboy crooner declined.
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Posted: August 19 2014 at 12:40
"There may have no been better place for a psychedelic jam band than Woodstock; ergo there may not have been a band that belonged at Woodstock more than the Grateful Dead."
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Posted: August 19 2014 at 13:05
I don't have it in video and it's long ago that I watched the several concert clips and the documentary, but I remember Hendrix and The Who as being my favourite performances, for the rest too much folk and American rock in it.
As hugely historically important Woodstock was, the Isle Of Wight festival was better musically IMHO.
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Topic: Woodstock 45th Anniversary
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