Anniversary of Neil Young’s iconic live album occurs just in wake of his 74th birthday
On November 14, 1979, Neil Young and Crazy Horse released Live Rust, which was my introduction to Young. I heard this live album for the first time as a 13 or 14-year-old back in Germany, after my best friend had gotten it as a double LP. With Young’s 74th birthday (November 12) and the 40th anniversary of Live Rust being just around the corner, I thought this would be a opportune moment to celebrate one of my favorite live albums by one of my longtime favorite music artists.
Before getting to this, I have to give credit where credit is due. This post was inspired by a great “Life Rust” show I saw Friday night at a local Jersey theatre. Decade, a top notch band around Neil Young tribute artist John Hathaway, played the album in its entirety and recreated scences from the companion movie Rust Never Sleeps – it was a pretty cool experience! For more on Decade and their upcoming gigs, you can check out their Facebookpage. I also got a sample clip from the above show at the end of the post.
Live Rust captured footage from various concerts Neil Young and Crazy Horse played in the fall of 1978 during their Rust Never Sleeps tour. Venues included Cow Palace, Daly City, Calif.; Boston Garden, Boston; Civic Center, St. Paul, Minn.; Chicago Stadium, Chicago; and McNichols Arena, Denver. Weirdly, the album features a stage announcement recorded at Woodstock following the start of a rainstorm. Young had performed at the festival as part of Crosby, Stills, Nash & Young.
The companion film Rust Never Sleeps captured the band’s October 22, 1978 concert at Cow Palace. It was released on July 2, 1979 by Young under the pseudonym “Bernard Shakey.” There is also an album with the same title, which appeared ahead of the movie on June 22. While it is based on material recorded at Boarding House in San Francisco, the record is not a true live album, in my opinion. In addition to added overdubs, most audience noise was removed later in the studio. Time for some music from Live Rust!
I’d like to kick it off with Sugar Mountain, which like most tracks on the album was written by Young. He composed the tune on his 19th birthday (November 12, 1964) in a hotel room in Ontario after a gig with The Squires, one of his first bands. The song was initially released in February 1969 as the B-side to Young’s single The Loner.
The acoustic My My, Hey Hey (Out of the Blue) and its grungy counterpart Hey Hey, My My (Into the Black) are among the many highlights on Live Rust. Both tunes were co-written by Young and Jeff Blackburn and first appeared on the Rust Never Sleeps album. Here’s the acoustic take.
Moving on to the record’s rock section, Powderfinger is one of my favorite electric songs by Young. Like My My, Hey Hey (Out of the Blue) and Hey Hey, My My (Into the Black), the tune was intially released as part of the Rust Never Sleeps album.
Like a Hurricane is another electric tune by Young I’ve always dug. It was first included on his eighth studio album American Stars ‘n Bars from May 1977.
As noted above, the last clip for this post shall belong to Decade and their rendition of Tonight’s The Night, the final track on Live Rust. Young first recorded the tune as the title song to his sixth studio album. It’s a tribute to first Crazy Horse guitarist Danny Whitten and Bruce Berry, a Young roadie. Both died from heroin overdoses.
Neil Young is still highly productive and going strong. My thoughts on his most recent album Colorado are here.
Prolific singer-songwriter’s life was cut short after his career had just taken off
…If I had a box just for wishes/And dreams that had never come true/The box would be empty/Except for the memory/Of how they were answerd by you…
The above is an excerpt from the lyrics of one of the most beautiful love songs I know, written by a great singer-songwriter whose life was tragically cut short. Time In A Bottle became one of Jim Croce’s biggest hits topping the Billboard Hot 100 for two weeks in January 1974, not even four months after he had died at age 30 in a plane crash.
James Joseph Croce was born on January 10, 1943 in South Philadelphia. His parents James Albert Croce and Flora Mary (Babusci) Croce were both Italian Americans. While Croce git into playing accordion at the age of 5, he did not start taking music seriously until he was a student at Villanova University in the early 1960s. At that time, he began forming bands and playing local gigs at fraternity parties, coffee houses and universities around Philadelphia, performing a broad variety of cover music.
In 1966, Croce self-published his debut album Facets with a $500 cash gift he had received from his parents for his wedding to Ingrid Croce (née Jacobson), an author and singer-songwriter. The two had met in November 1963 and performed as a duo since 1964. Croce’s parents had hoped their son’s record would fail and he would come to realize he should use his eduction to pursue a “respectable” profession. Instead, Croce not only managed to sell all 500 copies of the record that had been pressed but also made a profit of close to $2,500. Here’s Texas Rodeo, the album’s only tune solely credited to Croce. Despite that promising start, true success for Croce was still years away.
In 1968, record producer Tommy West persuaded Croce and his wife to relocate to New York. By that time, they had started writing their own songs. This led to the release of Croce’s second record in September 1969, the duos album Jim & Ingrid Croce. Here’s the lovely Spin, Spin, Spin, which like most songs on the record was co-written by the couple.
The music business in New York City and playing small clubs and college gigs to promote the couple’s album proved to be tough. Disullisioned they returned to Pennsylvania to live on an old farm in the countryside. Since music wasn’t bringing in enough money, Croce took on a variety of odd jobs like driving a truck, contruction work and teaching guitar lessons. Meanwhile, he continued writing songs.
Following the birth of their son Adrian James, Ingrid became a stay-at-home-mother while Jim played concerts to promote his music. The breakthrough came in 1972 after Croce had signed a contract with ABC Records and released his third studio album You Don’t Mess Around With Jim in April that year. The record’s title track came out as a single in July and climbed to no. 8 on the Billboard Hot 100. By comparison, the album’s second single Operator (That’s Not The Way It Feels) “only” made it to no. 17 on the U.S. chart. And then ther is the above mentioned Time In A Bottle, which didn’t appear as a single until after Croce’s death and became his second of two no. 1 hits in the U.S.
In July 1973, Croce’s fourth studio album Life And Times came out. The last record released during his life time included his first Billboard Hot 100 no. 1 hit Bad, Bad Leroy Brown. The great piano-driven boogie woogie tune was inspired by a guy with that name Croce had met during his short time in the National Guard. One evening the guy said he was fed up and went AWOL. When he inexplicably decided to come back at the end of the month to get his paycheck, he was caught and taken away in handcuffs.
On September 20, 1973, during the supporting tour for Life And Times, Croce was planning to fly from Natchitoches, La. after a show there to his next gig in Sherman, Texas. During takeoff, the pilot of a chartered propeller plane clipped a tree at the end of the runway, causing a crash. Croce, pilot Robert N. Elliott; guitarist Maury Muehleisen; comedian George Stevens, manager and booking agent Kenneth D. Cortese, and road manager Dennis Rast were all killed. The next day, the lead single and title track from Croce’s fifth and final studio album I Got A Name was released. Co-written by Charles Fox and Norman Gimbel, the song was one of record’s the few tunes that were not written by Croce.
After Jim’s death, Ingrid Croce among other activities released two solo albums. She also did various things to keep Jim’s legacy alive. In 1985, she started a restaurant in downtown San Diego in the same spot where in 1973 Jim had joked about opening Croce’s Restaurant & Jazz Bar and inviting their friends and fellow artists like James Taylor, Jimmy Buffet, Arlo Guthrie and Bonnie Raitt perform there. After various expansions and opening a second restaurant in the ’80s, Ingrid closed all restaurant operations in 2016. In 1996, she wrote Thyme in a Bottle, an autobiographical cookbook with memories and recipes from Croce’s Restaurant. And in 2004, she published Time in a Bottle, a photographic memoir of Jim’s songs with lyrics and her favorite photos. Jim’s and Ingrid’s son Adrian James “A.J.” Croce also became a singer-songwriter and has released 10 albums since 1993.
A bio on Jim Croce’s website quotes Ingrid: “Jim poured everything he heard and saw into his music. He was like a sponge, soaking up experiences and – sometimes it might take him a while, ‘Roller Derby Queen’ took him two or three years to write. But sooner or later, everything would make it into a song, and people recognized that.”
I’d like to close this post with a nice clip of a 1973 live performance of Operator, showing Croce with Muehleisen. Croce had met the classically trained pianist-guitarist and singer-songwriter from Trenton, N.J. in 1970. Muehleisen became a collaborator in the studio who influenced Croce’s song-writing. For 18 months, they were also frequently together on the road. He was only 24 years at the time of the crash.
Sources: Wikipedia; Jim Croce website; Ingrid Croce website; YouTube
What do Robert Allen Zimmerman and Philip David Ochs have in common? Both wrote brilliant protest songs in the ’60s. The difference? Robert changed his name to Bob Dylan and became one of the most famous music artists of our time. Philip chose to perform as Phil Ochs and remained largely obscure outside singer-songwriter circles.
Until recently, I had never heard of Phil Ochs myself. Then I saw somebody ranting on Facebook that Bob Dylan undeservedly gets all the credit for being this brilliant protest singer when the recognition should really go to Ochs. The truth is while both artists at some point were important protest singer-songwriters, none of them invented the genre. According to Wikipedia, the tradition of protest songs in the U.S. long predates the births of Dylan and Ochs – in fact going all the way back to the 18th century.
One of the important forerunners to the 1950s and 1960s protest singer-singwriters were the Hutchinson Family Singers, who starting from 1839 became well known for singing about social issues, such as abolition, war and women’s suffrage. And let’s not forget Woody Guthrie, who was born in 1912 and started learning folk and blues songs during his early teens. Over a 26-year-period as an active music artist, Guthrie wrote hundreds of political, folk and children’s songs. He was a major influence on numerous other songwriters who in addition to Dylan and Ochs included Johnny Cash, Pete Seeger, Harry Chapin, Bruce Springsteen, John Mellencamp and many other former and contemporary artists.
‘I get it,’ you might think, ‘but who the hell is Phil Ochs?’ Sadly, it’s a pretty rough story, and it doesn’t have a Hollywood happy ending.
Ochs was born on December 19, 1940 in El Paso, Texas. His dad Jakob “Jack” Ochs was a physician from New York, and his mom Gertrude Finn Ochs hailed from Scotland. The two met there and got married in Edinburgh where Jack was attending medical school at the time. After their wedding, they moved to the U.S. Jack joined the army as a doctor and was sent overseas close to the end of World War II. He returned as a sick man with bipolar disorder and depression.
Jack’s health conditions prevented him from establishing a successful medical practice. Instead, he ended up working at a series of hospitals around the country and frequently moving his family. As a result, Phil Ochs grew up in different places, along with an older sister (Sonia, known as Sonny) and a younger brother (Michael). His father was distant from the family, eventually got hospitalized for depression, and passed away from a brain bleeding in April 1963. Phil’s mother died in March 1994.
During his teenage years, Ochs became a talented clarinet player. Prior to the age of 16, he was principal soloist with the orchestra at the Capital University Conservatory of Music in Columbus, Ohio. Although Ochs had become an accomplished classical instrumentalist, he soon discovered the radio and started listening to the likes of Buddy Holly, Elvis Presley, Hank Williams and Johnny Cash.
Initially, Ochs wanted to become a journalist. Well, he of sort did, combining his interest in writing about politics with music. During his journalism studies at Ohio State University, he met fellow student, activist and future folk singer Jim Glover in the fall of 1960, who introduced him to the music of Pete Seeger, Woody Guthrie and The Weavers, and taught him how to play guitar. It wouldn’t take long before Ochs merged his interest of politics and music and started writing his own songs. He preferred to characterize himself as a topical rather than a protest singer.
Glover and Ochs started performing as a duo called The Singing Socialists and later The Sundowners but broke up before their first professional gig. Glover went to New York, while Ochs started performing professionally at a local fok club in Cleveland. In 1962, he went to the Big Apple as well and soon established himself in the Greenwich Village folk music scence. Ochs described himself as a “singing journalist,” explaining his songs were inspired by stories he saw in Newsweek. By the summer of 1963, he had developed a sufficiently high profile and was invited to perform at the Newport Folk Festival, along the likes of Dylan, Joan Baez and Peter, Paul & Mary.
Ochs’ debut album All The News That’s Fit To Sing, an allusion to The New York Times‘ slogan “All the news that’s fit to print,” appeared in 1964. Here is Ballad of William Worthy. The tune tells the story about an American journalist who traveled to Cuba despite the U.S. embargo and was forbidden to return to the U.S. Check out the brilliant lyrics of this tune – safe to assume Ochs’ words didn’t endear him to the Johnson Administration.
In 1965, Ochs’ sophomore album I Ain’t Marching Anymore came out. Here’s the excellent satirical anti-war tune Draft Dodger Rag, which quickly became an anthem of the anti-Vietnam war movement.
After Ochs’ first three albums with Electra Records had gone nowhere commercially speaking, he signed with A&M Records and in October 1967 released his fourth studio record Pleasures Of The Harbor. Unlike his first three folk music-oriented records, the album went beyond folk, featuring elements of classical, rock & roll, Dixieland and even experiental synthesized music. Apparently, the idea was to produce a folk-pop crossover. While the album included great tunes, it’s safe to say it didn’t bring Ochs commercial success. Here is Outside Of A Small Circle Of Friends, which became one of Ochs’ most popular songs. The tune was inspired by the case of a 28-old woman who was stabbed to death in front of her home in Queens, New York, while dozens of her neighbors reportedly ignored her cries for help.
Tape From California is Ochs’ fifth album. Released in July 1968 on A&M Records, it continued his shift away from straight folk-oriented protest songwriting, though he was far from abandoning topical songs. The War Is Over is a tune that was inspired by poet Allen Ginsberg who in 1966 declared the Vietnam war was over. Ochs decided to adopt the idea and organize an anti-war rally in Los Angeles, for which he wrote the song.
Phil Ochs’ final studio album came out in February 1970. Weirdly, it was called Greatest Hits, even though it was not a compilation but a collection of 10 new tracks. Most of the record was produced by Van Dyke Parks, who previously had appeared on Tape From California, contributing piano and keyboards to the title track. Greatest Hits featured an impressive array of guest artists, including Clarence White and Gene Parsons, both from The Byrds; Ry Cooder; Jim Glover; and members of Elvis Presley’s backing band, among others. The album cover was an homage to Elvis, showing Ochs in a gold lamé suit reminiscent of the outfit Elvis wore for the cover of his 50,000,000 Elvis Fans Can’t Be Wrong greatest hits compilation. Here is Jim Dean Of Indiana, a tune about the actor James Dean, who like Elvis was one of Ochs’ idols.
Greatest Hits was Ochs’ final attempt to connect with average Americans, who he was convinced weren’t listening to topical songs. Disillusioned by key events of 1968, including the assassinations of Martin Luther King, Jr. and Robert F. Kennedy, the police riot in Chicago around the Democratic National Convention and the election of Richard Nixon, Ochs felt he needed to be “part Elvis Presley and part Che Guevara,” as Wikipedia puts it. Ochs supported the album with a tour, performing in the Elivs-like suit and being backed by a rock band, singing his own songs, along with tunes by Buddy Holly, Elvis Presley and Merle Haggard. But his fans weren’t sure what to make of the “new Phil Ochs.”
Pretty much from there, things went downhill for Ochs. He developed writer’s block and slipped into depression and alcoholism. He did not release any additional records. On April 9, 1976, Ochs committed suicide by hanging himself in the home of his sister Sonny. He was only 35 years old.
I’d like to conclude this post with a few quotes I found on Life of a Rebel, a blog dedicated to Ochs. “As a lyricist, there was nobody like Phil before and there has not been anybody since,” said fellow folk singer Dave Van Ronk. “He had a touch that was so distinctive that it just could not be anybody else. He had been a journalism student before he became a singer, and he would never sacrifice what he felt to be the truth for a good line.” In a note to Ochs in 1963, Pete Seeger wrote, “I wish I had one tenth your talent as a songwriter.” And what did the mighty Bob Dylan tell Broadside magazine in 1964? “I just can’t keep up with Phil. And he’s getting better and better and better.”
Sixth annual music tribute festival on Jersey show delivers day of great music for a great cause
While late September in New Jersey means fall is upon us and soon folks will start bitching about rain, wind and cold weather, I’ve been looking forward to this last weekend of the month all year. The reason is Rock the Farm, the annual music tribute festival and fundraiser in Seaside Heights, N.J., organized by the CFC Loud n Clear Foundation. As previously noted on these pages, this charitable organization provides support to families struggling with addiction at a particularly critical time when their loved ones come out of drug rehab and need to rebuild their lives while staying sober.
It’s a good thing if you like me have never been hooked on drugs, but let’s not kid ourselves: Even if we think we’re immune, there’s no doubt in my mind addiction can happen to anybody. And it can probably go faster than we want to admit. Therefore, I strongly feel we shouldn’t look down on folks who are in the throes of drugs. Instead, we should support them as best as we can. It’s safe to assume nobody wants to be a drug addict, if they could freely choose. And, yes, impacted people probably made some choices they wish they could take back. But we shouldn’t judge. Behind each case, there is a human being with a unique story.
In fact, just like last year, the event featured individuals who had the courage to come on stage and briefly share their stories with the audience. It’s safe to assume it takes guts to this. It’s also extremely powerful. Among these folks was an 18-year-old woman who said she became a drug addict at age 13. Thirteen years – that’s a good deal younger than my 17-year-old. Her life fell totally apart and she lost everything. This is truly heart-breaking stuff. Luckily, thanks to support from the CFC Foundation, this young woman was able to turn things around and now feels she’s stronger than ever. While it was obviously a happy outcome, I have to admit these stories get to me. I also love the message of hope and empowerment. With that being said, let’s get to some music. There was plenty, and once again, most of it was outstanding.
For readers who aren’t familiar with Rock the Farm, the concept of the 10-hour open air event is this: Imagine a music festival many folks wish would happen but can’t, since artists have passed away or no longer perform. As a music lover, I think it’s a fun idea. Yesterday’s line-up brought a nice mix of tributes playing different music styles, including folk, rock, pop and even hair metal. Following are some clips.
I’d like to kick things off with One Fine Tapestry, a tribute to Carole King, one of my favorite singer-songwriters. At the core of this act are Gerard Barros and Diane Barros, a New Jersey-based versatile husband and wife duo performing a variety of different shows. Yesterday, they were backed by a full band and in addition to King also played some tunes by Joni Mitchell and Carly Simon. For more information and their schedule of shows mostly in Jersey, you can check out their website. Here’s Sweet Seasons, a tune off King’s third solo album Music from December 1971, co-written by her and Toni Stern.
Coo Coo Cachoo, another Jersey-based act, are Thomas Johnston and Ed Jankiewicz, who have been singing Simon & Garfunkel songs since they met in high school some 47 years ago. This means they started about two years after Simon & Garfunkel had released their fifth and last studio album Bridge Over Troubled Water. I find that pretty amazing. In addition to performing as a duo, they each do solo projects. Johnston recently completed his third album of original singer-songwriter material. Jankiewicz has recorded one original album and plays in an eclectic array of music groups , from symphony to blue grass to jazz. More information is on the duo’s Facebookpage. Here is their rendition of America. Written by Paul Simon, the song appeared on Simon & Garfunkel’s fourth studio record Bookends released in April 1968. I’ve always liked this tune!
Following are a few tribute acts I covered before, but they’re just too good to skip. First up: Decade, a great act revolving around Neil Young tribute artist John Hathaway, who is also from New Jersey and performs with different line-ups of great backing musicians. Frequent members include guitarist Gordon Bunker Strout, pedal steel player Joseph Napolitano, bassist John Dickson and keyboarder Steve Cunniff. Sometimes, Hathaway’s band also features a female backing vocalist as was the case yesterday with Pam McCoy. For more information and upcoming gigs, visit Decade’sFacebookpage. Here’s Cinnamon Girl, a tune from Everybody Knows This Is Nowhere, which Young released as his second solo album in May 1969.
The Glimmer Twins, a Rolling Stones tribute from Philly, are another excellent band I previously featured. Adopting the nickname of the songwriting partnership of Mick Jagger and Keith Richards, this bandis led by Keith Call (vocals, harp) and Bernie Bollendorf (guitars, vocals), who bring to life the sound and looks of Jagger and Richards in the ’70s. While the band’s remaining musicians don’t resemble the other members of The Rolling Stones, they sound fantastic: Michael Rubino (guitars), Bobby Corea (drums), Rob Ekstedt (Bass), Rocco Notte (keyboards), Valorie Steel (vocals) and Bobby Michaels (saxophone, flute, organ). For more information, check out their website. Here’s Can You Hear Me Knocking, one of my favorite tunes from the Sticky Fingers album that appeared in April 1971. Check out the nice sax work by Michaels!
Yet another outstanding band I’ve covered before is TUSK, a tribute to Fleetwood Mac, which mirrors the Rumours lineup. Their members include Kathy Phillips (as Stevie Nicks, vocals), Kim Williams (as Christine McVie, keyboards & vocals), Scott McDonald (as Lindsey Buckingham, guitar & vocals), Tom Nelson (as Mick Fleetwood, drums) and Randy Artiglere (as John McVie, bass). While TUSK are from Jersey, they tour nationally. Check the band’s website for more information including their schedule. If you are into Rumours and other albums the band recorded with that line-up, this is definitely a tribute act I can recommend. Here’s the McVie tune You Make Loving Fun from Rumours, the Mac’s 11th studio album released in February 1977.
The last band I’d like to call out is Simply Queen, a tribute to – yes, you guessed it – Queen. This Canadian band, which has been around for 15 years, features Rick Rock (as Freddie Mercury), Bob Wegner (as Brian May), Phil Charrette (as Roger Taylor) and Mitch Taylor (as John Deacon). Despite some technical issues they seemed to have, especially in the beginning, Simply Queen put on a great show. It was quite obvious that Rock and Wegner have closely studied Mercury and May, respectively, beyond the music to mimic their onstage personas. So similar to the Glimmer Twins and also TUSK, Simply Queen is an audio-visual experience. While they mostly perform in Canada, they venture out to the U.S. fairly frequently. For more information and their schedule, visit their website. Here’s a nice rocker called It’s Late. Written by Brian May, the song is from News of the World, Queen’s sixth studio album released in October 1977.
With some not so great things that have happened on the family front over the past two weeks, Rock the Farm could not have come at a better time for me. Oftentimes, I feel music is the best therapy and distraction when the shit hits the fan. I was a happy camper. Can you tell from the selfie?
This was the 6th annual Rock the Farm festival and my third time there in a row. I have every intention to return next next year. More information about this great event is available here.
Sources: Wikipedia, Rock the Farm website, One Fine Tapestry website, Coo Coo Cachoo Facebook page, Decade Facebook page, Glimmer Twins website, TUSK website, Simply Queen website, YouTube
1964:The Beatles performed the first of two gigs at Forest Hills Tennis Stadium in Queens, New York during the U.S. leg of their world tour that year. They played their standard 12-song set of original tunes largely drawing from the A Hard Day’s Night album, as well as rock & roll covers. The tunes included Twist And Shout, You Can’t Do That, All My Loving, She Loves You, Things We Said Today, Roll Over Beethoven, Can’t Buy Me Love, If I Fell, I Want To Hold Your Hand, Boys, A Hard Day’s Night and Long Tall Sally. After the show, The Fab Four met Bob Dylan who visited them in their suite at the Delmonico Hotel in New York City. Beatles biographer Jonathan Gould noted the musical and cultural significance of the meeting, saying within six months, “Lennon would be making records on which he openly imitated Dylan’s nasal drone, brittle strum, and introspective vocal persona”; and six months after that, Dylan began performing with a backing band and electric instrumentation, and “dressed in the height of Mod fashion.” While the fact that great music artists influence each other isn’t exactly surprising, based on The Beatles Bible’s account of that night, it seems to me John, Paul, George and Ringo primarily got stoned with Dylan who brought along some grass to smoke. Not really sure how much their condition allowed them to have meaningful conversations about music. Here’s some footage from the Forest Hills show, a great illustration of Beatlemania, which makes me wonder why The Beatles didn’t stop touring earlier.
1965: Exactly one year after The Beatles, Bob Dylan took the stage at Forest Hills Tennis Stadium, marking the first night of a 40-date North American tour. Following a solo section, Dylan played an electric set. This all happened only about a month after he had rattled the “folkies” at the Newport Folk Festival. On that night in Forest Hills, Dylan’s electric backing band featured guitarist Robbie Robertson and drummer Levon Helm, who were then associated with a band called The Hawks, a predecessor to The Band. Harvey Brooks (bass) and Al Kooper (organ) rounded out the line-up. After the first two shows of the tour, Robertson and Helm insisted that their mates from The Hawks join Dylan’s backing band: Rick Danko (bass), Garth Hudson (keyboards) and Richard Manuel (drums). Dylan agreed, and until May 1966, they would be billed as Bob Dylan and the Band. Here’s a clip of Like A Rolling Stone, which supposedly was captured from the Forest Hills gig. The sound quality is horrible, but, hey, it’s mighty Dylan and it’s historical!
1968: Simon and Garfunkel’s fourth and second-to-last studio album Bookends hit no. 1 on the UK Official Albums Chart Top 100, starting a five-week run in the top spot there. Apart from the title track, the record featured gems like America and the no. 1 U.S. single Mrs. Robinson. Written by Paul Simon, the tune had become famous the previous year when it had been included in the American motion picture The Graduate. I’ve always loved the bluesy touch of that song.
1972: Alice Cooper topped the British singles chart with School’s Out, scoring his only no. 1 hit anywhere in the world. Credited to Cooper (lead vocals) and the members of his band at the time, Michael Bruce (rhythm guitar, keyboards, backing vocals), Glen Buxton (lead guitar), Dennis Dunaway (bass, backing vocals) and Neal Smith (drums, backing vocals), the tune was the title track of the band’s fifth studio album released in June 1972. School’s Out also became Cooper’s biggest chart success in the U.S., peaking at no. 7 on the Billboard Hot 100. According to Songfacts, Cooper during a 2008 interview with Esquire said, “When we did ‘School’s Out,’ I knew we had just done the national anthem. I’ve become the Francis Scott Key of the last day of school.” It’s also safe to assume, Cooper shocked some school principals and parents.
1981: British DJ, producer and band manager Guy Stevens passed away at the age of 38 years from an overdose of prescription drugs he was taking to reduce his alcohol dependency – yikes! Among others, Stevens gave Procol Harum and Mott the Hoople their distinct names. He also co-produced The Clash’s fifth studio album London Calling from December 1979, together with Mick Jones, the band’s co-founder, lead guitarist and co-lead vocalist. Stevens also brought Chuck Berry to the U.K. for his first tour there in 1963. He also was the president of the Chuck Berry Appreciation Society. According to Wikipedia, Stevens introduced lyricist Keith Reid to keyboarder Gary Brooker and told Reid at a party that a friend had turned “a whiter shade of pale”. Supposedly, these words inspired the song with the same title that was subsequently recorded by Brooker’s newly formed band Procol Harum and became a major international hit in 1967.
Sources: Wikipedia, This Day In Music, The Beatles Bible, Songfacts, YouTube
Today 50 years ago, Woodstock kicked off in Bethel, N.Y. To celebrate one of the most pivotal moments in music history, I decided to feature a different clip for each of the four anniversary dates. While my recent Woodstockpost was fairly long, I still felt I had to leave out lots of great music. This four-part mini series will feature additional songs.
August 15, 1969 was a Friday. The above clip shows one of the performers on the festival’s opening day, Tim Hardin, who played in the evening (from 9:20 to 9:45 pm ET, according to Wikipedia). Written by him, If I Were A Carpenter became the American folk singer’s best known song, which first appeared on his second studio album, Tim Hardin 2, released in April 1967.
The tune was covered by many other artists, including Bobby Darin, Joan Baez, The Four Tops,Johnny Cash and June Carter, Bob Seger and Robert Plant. Darin’s cover turned out to be the highest charting, peaking at no. 8 on the Billboard Hot 100. Hardin’s original was a top 40 hit.
…By the time we got to Woodstock/We were half a million strong/And everywhere was a song and a celebration/And I dreamed I saw the bomber death planes/Riding shotgun in the sky/Turning into butterflies/Above our nation… (excerpt from Joni Mitchell tune Woodstock)
Next week is the 50th anniversary of Woodstock, which took place from August 15-18, 1969. Much has been written about this festival, which officially was titled the Woodstock Music & Art Fair. The initiators Michael Lang, Artie Kornfeld, Joel Rosenman and John P. Roberts. The selection of the venue, which ended up being Max Yasgur’s 600-acre dairy farm in Bethel, N.Y. The acts who were not invited or and those who were but chose to decline or didn’t make it there. The artists who performed at the event. The overcrowding with an audience exceeding 400,000 people, more than twice the 200,000 that had been expected, based on advance sales of 186,000 tickets. The mud bath conditions resulting from bad weather.
As a huge fan of music from that era, it felt natural to commemorate this extraordinary moment in 20th Century entertainment history. At the same time, I did not want to create yet another write-up that recaps the history. Instead, this post focuses on what my blog is supposed to be all about: Music I love and therefore like to celebrate. Following are some performance highlights from Woodstock. Since I didn’t have strong feelings about a particular order, I decided to go chronologically.
Let’s kick it off with Richie Havens, the opening act on the first day, Friday, August 15, in the late afternoon, and his riveting performance of Freedom. It was an improvised encore based on the traditional spiritual Motherless Child. “When you hear me play that long intro, it’s me stalling. I was thinking, ‘What the hell am I going to sing?'” he later explained, according to Songfacts. “I think the word ‘freedom’ came out of my mouth because I saw it in front of me. I saw the freedom that we were looking for. And every person was sharing it, and so that word came out.” Sounds like a cool story.
Sweet Sir Galahad is a tune by Joan Baez. Like in other cases at Woodstock, her performance predated the actual recording and release of the song, which first appeared on her 1970 studio album One Day At A Time. BTW, when Baez played it at the festival, it was already past 1:00 am on Saturday, August 16. In order to squeeze the 32 acts into the three days, many artists ended up performing after midnight. As you might imagine, some weren’t exactly happy about it.
Undoubtedly, one of Woodstock’s highlights I’ve seen is Soul Sacrifice by Santana. The band played on Saturday afternoon. Credited to Carlos Santana (guitar), Gregg Rolie (keyboards), David Brown (bass) and Marcus Malone (congas), Soul Sacrifice was included on the band’s eponymous studio debut album, released two weeks after their iconic appearance at the festival. I’ve watched this clip many times, and it continues to give me goosebumps. These guys were lightening up the stage. Live music doesn’t get much better than that. This appearance in and of itself already would have justified Santana’s place in music history. Of course, there was much more to come.
Moving on to Saturday evening brings us to blues rockers Canned Heat and their great tune On The Road Again. Co-credited to the band’s vocalist Alan Wilson, who also played harmonica and guitar, and blues artist Floyd Jones, the track was adapted from earlier blues songs. It first appeared on Canned Heat’s second studio album Boogie With Canned Heat released in January 1968. At Woodstock, it was the band’s closer of their set – what a way to wrap things up!
Next up: Born On The Bayou, one of the killer tunes by Creedence Clearwater Revival. Written by John Fogerty, the song was included on CCR’s sophomore album Bayou Country from January 1969. The band was among the acts performing in the wee wee hours of Sunday morning, August 17. I recall reading that Fogerty wasn’t happy with that time slot, saying the audience was half asleep. That’s why he refused CCR’s inclusion in the 1970 Woodstock documentary, something this band mates felt was a mistake, but John was the undisputed boss. However, footage of CCR is featured in an expanded 40th anniversary edition of the film, which came out in June 2009.
Another highlight of the early hours of Sunday was Janis Joplin with The Kozmic Blues Band. Here’s Try (Just A Little Bit Harder), the opener of Joplin’s third studio album I Got Dem Ol’ Kozmic Blues Again Mama! from September 1969. The song was co-written by Jerry Ragovoy and Chip Taylor. I don’t feel there was any way Joplin could have tried any harder to sing that song than she did. Similar to Santana, the energy of her performance was through the roof. And all of this after 2:00 am in the morning – whatever substance she was on, it apparently worked!
If I see this correctly (based on Wikipedia), the set with the most songs at Woodstock belonged to The Who with 22 tracks. They kicked their gig off at 5:00 am on Sunday. Again, what a crazy thought to play at that time! Still, the kids certainly were alright. Here’s We’re Not Gonna Take It/See Me, Feel Me, the final track from Tommy, the band’s fourth studio album that appeared in May 1969. Like most tunes on the record, it was written by Pete Townshend.
Apart from Jimi Hendrix’s rendition of The Star-Spangled Banner, perhaps the most iconic performance at Woodstock was With A Little Help From My Friends by Joe Cocker, the first act who officially opened the festival’s final day on Sunday afternoon. To me, Cocker’s version of The Beatles’ tune is the best rock cover I know. He truly made it his own. In fact, The Beatles were so impressed with it that they allowed him to cover more of their songs like She Came Into The Bathroom Window. With A Little Help From My Friends was the title track of Cocker’s debut album from May 1969. What an amazing performance!
On to 3:00 am on Monday, August 18 and Crosby, Stills, Nash & Young. For the most part, including set opener Suite: Judy Blue Eyes, it was actually David Crosby, Stephen Stills and Graham Nash only. Neil Young skipped most of the acoustic songs but joined the band during the electric set. Neil being Neil, he also refused to be filmed, feeling it was distracting to both the performers and the audience. Written by Stills, Suite: Judy Blue Eyes was the opening track of CSN’s debut album from May 1969.
A post about Woodstock’s musical highlights wouldn’t be complete without the closing act: Jimi Hendrix. Playing on Monday from 9:00 to 11:00 am, it looks like he had the longest set. Here is his unforgettable rendition of the aforementioned The Star-Spangled Banner. Hendrix effectively used heavy guitar distortion, feedback and sustain to imitate the sounds from rockets and bombs. He truly gave it all he got and collapsed from exhaustion while leaving the stage after his encore Hey Joe.
Woodstock’s original co-creator Michael Lang also helped organize a planned 50th anniversary festival. However, after a series of production issues, venue relocations and artist cancellations, it was canceled on July 31, 2018. A second Woodstock anniversary festival was planned at Bethel Woods Center for the Arts, but in February, the Center announced that instead it will focus on “A Season of Song & Celebration” for the entire summer. The anniversary dates coincide with concerts from Ringo Starr and His All Starr Band (Aug 16), Santana with The Doobie Brothers (Aug 17) and John Fogerty with Tedeshi Trucks Band & Grace Potter (Aug 18).
I’ll leave you with a little fun fact: Tickets for Santana with The Doobies start at about $128.00 (including fees). By today’s standards, sadly, this is fairly normal. But, to be clear, these tickets are the cheapest and will only get you the lawn, the area farthest away from the stage. By comparison, tickets for the entire Woodstock festival in 1969, which as noted above included 32 acts, sold for $18.00 in advance and $24.00 at the gate. That’s the equivalent of approximately $123.00 and $164.00 today. Once again, we see the times they are a changin!
Sources: Wikipedia, Songfacts, Syracuse.com, Bethel Woods Center for the Arts website, YouTube