I really must be getting old. But this IS 2019, which marks the fiftieth anniversary of the original Woodstock Music and Art Fair which marked "three days of peace and love" in August of that year. It was definitely a happening which took place in the White Lake section of Bethel New York in the Catskills. They say if you remember Woodstock, you weren't there. As I was only twelve when it took place, I wasn't there but definitely remember hearing news reports about this so-called "hippie-fest".
As the fiftieth anniversary approaches, there is a bit of controversy regarding plans to stage another concert: The original site, which has now become the Bethel Woods Center for the Arts, containing museum and amphitheater, is planning to commemorate it with a weekend of concerts in August; while the original promoters of Woodstock are throwing a bash of their own the same weekend---in Watkins Glen.
There's something that doesn't seem right here. Read below the history and understand why.
In subsequent years, its legacy has only grown in stature. The following year, 1970, for example there was so many references to the festival: Joni Mitchell, though not present at the site, wrote a song, "Woodstock" which accurately described the goings on there; Crosby, Still, Nash & Young, who were there (Graham Nash was dating Mitchell at the time). CSN&Y's version hit #11 in the late spring of '70. Melanie, a folkish singer from New Jersey who performed on the first evening of the weekend which had a folk theme (the likes of Joan Baez, Richie Havens, and others took the stage that first night), had a big hit that summer with "Lay Down (Candles in the Rain)" about the experience. Then of course, the iconic movie Woodstock, complete with images and a huge soundtrack album was very big that year as well. Another version of "Woodstock"--this one by British band Matthews' Southern Comfort--reached #23 in the spring of 1971.
Although there were many important rock festivals before Woodstock, that weekend set the standard for all future festivals to be compared to. The ill-fated Altamont Free Concert, held just months later in December 1969, however, showed a dark side to a concert experience. Rock had come of age during the 1969-71 period, many saying that its growth slowed and even dwindled as there was "nothing new" to come out. (That really wasn't true as the introspective singer-songwriter, glam and theatrical rock, country and southern-rock and eventually, punk and new wave) would follow during the 70's).
The next notable festival came in 1973 at Watkins Glen in Western New York State. "Summer Jam", as it was called, featured the Allman Brothers Band, The Grateful Dead and The Band and even drew more fans (600,000) than Woodstock did.
But after Watkins Glen, the big concert event died down, and Woodstock remained #1 when it came down to historical events, rivaled only by the Monterey Pop Festival two years prior. And pretty much, Woodstock became the watermark for anything that came later.
The biggest gathering in the 1980's was Live-Aid which was a unique concept. Thanks to advancing satellite technology, there were simultaneous gatherings in both London's Wembley Stadium and Philadelphia's John F. Kennedy Stadium, with artists alternating performances between the two sites. One artist, Phil Collins, performed in London, then took a supersonic transport (SST) to the states and performed again in Philly. That was the happening of that generation, to which Joan Baez, proclaimed to the crowd..."This is your Woodstock, and it's long overdue", coming sixteen years after the iconic weekend. And it pretty much was. The mid-eighties were full of charity records such as "Do They Know It's Christmas" and "We Are the World", which dealt with famine in Ethiopia, and the organizers responsible for those all-star recordings planned Live-Aid. While not as talked about as Woodstock, it was a milestone in rock history for that time period. Several "spin-offs", including Farm-Aid, appeared as annual gatherings for many years to come.
Then came the nineties and the "traveling festivals". Lollapalooza, H.O.R.D.E., Lilith and several others were noted not for it's one-time staging, and not only it's multi-site tour during the summer, but for its annual recurrence with a new line-up of artists.
And then there's Woodstock '94 and '99.
With rock music looking back at its own history, there was much talk about an anniversary festival in 1994 for Woodstock's 25th anniversary. Rock was still going strong, with the grunge and post-grunge movements in vogue. Classic rock was very big as well, paying homage to almost forty years of the genre. Thus, the original promoters resurrected Woodstock '94. As the original site was still private and thus inaccessible, they decided to hold it in Saugerties< NY---some eighty miles from the original site of Bethel but only ten from the town of Woodstock, where the original festival was named after (and slated to be held close to). And although acts that played the original, such as Crosby, Stills & Nash, The Band, Country Joe McDonald, Joe Cocker, Santana and others, came back for the 25th "reunion" (as did bands from that era that did not play, such as Allman Brothers Band, Traffic, popular bands of the day--most notably Nine Inch Nails, Green Day, Collective Soul, Sheryl Crow, Blues Traveler--were very much present. In fact there were probably three or four times the amount of performers that the original concert weekend had, and unlike the original, there were many stages on the festival grounds, with artists performing simultaneously.
While the festival lacked the original's "charm" and was more commercial and polished (and ticket prices were fifteen times more expensive), the concert was a success. Buoyed by that, plans went on for the thirtieth edition for 1999.
In contrast to the '94 edition, Woodstock 1999 was a disaster. Held in Rome, NY, about 100 miles from the original site and a whopping 157 miles from the town of Woodstock, again by the original promoters, it seemed more of a product of the current generation than the one of "peace and love" in the 1960's. The concert was "upscale", heavily commercially sponsored with strong security to prevent gate crashers. Nu-metal was the dominant sub-genre in rock and often promoted violence. Limp Bizkit, a popular band of the day, for example, during their hit "Break Stuff", the fans did just that, tearing plywood from walls. A series of bonfires erupted, especially during the Red Hot Chili Peppers' set with fans dancing around the bonfires (and fueling them), riots, gang rapes, the burning of everything from porta-potties, to various booths, busses and cars. Some say that was the end of rock and roll's dominance as a popular genre.
Yeah, quite the original spirit. A generation that is far removed from their sixties counterpart. And now they want to resurrect it?
And friends, that brings me to the original question: Why two, much less one, restaging of a concert that should have been unique in its time? Here are six reasons why we shouldn't have "Woodstock 50":
1. Are people going to remember this? When we remember Monterey, it's the 1967 concert that introduced Jimi Hendrix to the world and made breakout stars out of Jefferson Airplane, Grateful Dead, Otis Redding and others. Live-Aid? That was 1985. Woodstock? August 1969 at Yasgur's Farm. How often do we refer to Woodstock '94 or '99? How about "Live 8"? To be honest, I had to Google that one: That was the 20th anniversary concert of Live-Aid. For that matter, does anyone remember "Band Aid 30"? Or for that matter Band Aid 20, '89 or whatever incarnation of the supergroup they concocted. "Do They Know It's Christmas" has been remade each time. But guess which is the only version I heard a lot during the past holiday season? Yep, the original. The proposed concerts may have been bigger and more memorable if they went by another name, rather than calling it something that pretty much has nothing in common with. And quick, name ten bands (without Googling them) that played Woodstock 1999. Betcha can't.
2. The 2010's have been marked by many annual festivals, namely SXSW (South by Southwest), and Coachella. There are many, many others of course but those are the biggies. Wouldn't it make more sense to have a landmark concert with a new, fresh, name, one that can be remembered for years to come?
3. If the Woodstock 99 weekend was marred by violence by that generation of fans, how will a 2019 concert in the era of protests, a divided country political-wise, and domestic terrorist groups such as Antifa, fare? While the country was divided in the late sixties as well over issues like Vietnam and civil rights, the "counterculture" that attended was very much "together". Virtually no violence. Today, there is very much a division among those that perhaps are fans of the same music.
4. The original promoters, who have to be pushing 75 years old now (and for that matter the fans who went to the original festival), have decided to hold the 50th anniversary edition at Watkins Glen. So then, why is the festival called "Woodstock" being held in a town remembered for another big concert? Couldn't they wait four years to have a "Watkins Glen 50" bash? They might as well hold it at Monterey if that's their thinking.
5. Chances are, more current bands and acts will be performing. In the current state of music, there are some viable acts out there: Alabama Shakes, Donna Missal, Nathaniel Rateliff, Grace Potter, Gary Clark Jr, Leon Bridges, St. Paul & the Broken Bones, The Revivalists and several others are natural as all of these acts evoke many from the original festival. I'm sure other acts like Portugal. The Man, Panic! at the Disco, Twenty-One Pilots would play. I am also certain that hip-hop, pop and EDM artists will dominate the stages. That's fine and dandy, but again, this is 2019, not 1969. Woodstock?
6. If there is a fiftieth anniversary weekend of "Woodstock" it should be at the original site. Unlike the prior revivals, the "hallowed grounds" (as Carlos Santana called it at a concert that we attended back in 2010), has been bought and preserved, with a museum and amphitheater on site as well as the original field where the festival took place. Invite just a handful of artists, past and present to play each day, making sure it's in tribute to what had happened in 1969. Something that doesn't purport to be another landmark event that people will forget in another ten years. And since it's to commemorate an anniversary of an important event in rock annals, make sure it's nothing more than that. Don't tarnish the significance of the original, as was done in 1999. Incidentally, less publicized was a four day "festival" on the original grounds that year, which by then was purchased with the intention of developing a museum and amphitheater on the grounds, so it is not unprecedented (Woodstock 99 took place a month earlier, in July of that year).
REVIVAL: Looking at the current SNS 100 chart this week, it seems it's all about The Revivalists who are becoming a hot commodity on my blog list lately. "You and I"---ignored on rock radio despite it being a follow-up to their #1 "All My Friends"--ascends to the top spot here. The prior hit holds at #18 in its sixteenth week. The next single, "Change", which is getting Triple-A airplay (in Billboard's top 5), debuts at a lofty #35. I had wondered why "You and I" got passed over in favor of "Change". I suspect that the song was probably less retro and soulful and more keeping in tune with what's out there now.
Well, one listen and boy was I wrong! Starting off with an acoustic guitar line, it then shifts into something that could have come out during the original British invasion. The band is very much true to its name, and it such a refreshing respite from the current scene. They sort of remind me of Fitz & the Tantrums when they started out, before they went pop, although that sound was more R&B than classic pop. The hope here is that they don't "sell out" just to get on the pop charts. Look for the New Orleans band to get their third straight #1 here on the blog in no time.
"High Hopes" by Panic! at the Disco drops to #2 after a week spent at the top. On the Billboard Hot 100, it drops from its peak of #4 to #6 but it still tops the Alternative and Adult Top 40 lists. "Happier" by Marshmello and Bastille, another song which has been at the top for awhile on those two lists, finally makes a move here, from #14 to #5. "Comeback Kid" by Sharon Van Etten, and "Pink Champagne" by Kitten, also make big leaps into the top 5. "Worst Nights", the new single by Foster the People, is the Impact winner (biggest jump into the top 20), with "Worst Nites"...The song, off to a big start on Alternative radio, has unfortunately stalled out at #13 there this week but makes a good jump on SNS from 22-11.
The two big movers from last week's debuts, Tennis' "I Miss That Feelin'" and Elle King's "Baby Outlaw" both jump just outside the top 20 this week. Unfortunately, both are ignored by radio.
As for the debuts, after The Revivalists is the new single by The Cranberries, the aptly named "All Over Now", from what will be the Irish outfit's final album, the also aptly-named In the End. If you remember, it was just about a year ago that lead singer Delores O'Riordan passed away. The band had been well into sessions for the next album and O'Riordan had recorded her portions before her death. The perfect "farewell" single, with her understated vocals over a sentimental jangly instrumentation reminiscent of The Cure.
While the band's peak years were in the nineties, their reformation in 2011 was a great one, but sadly ignored by radio and the public. Roses, their reunion album in 2012, yielded an SNS #1, "Tomorrow"; the follow-up album, 2017's Something Else, gave us the #8 "Why". Because of my success with those songs, I had to add this one, and turned out, it's another great song. Very few artists have decent farewell songs (R.E.M.'s "We All Go Back to Where We Belong" is a prime example of one). The rest of the band as stated they will break-up after the new album is released in April. They were quoted that it was impossible to continue the band with O'Riordan; getting a replacement was out of the question.
Also new is the latest by San Cisco, "When I Dream"; the band known here for their #7 "Fred Astaire" from early 2014; Hozier, taking another stab at his "Take Me to Church" success, going the sparse hip-hop route with "Movement", and Max Frost (no relation to the fictional sixties band "Max Frost and the Troopers" (of "Shape of Things to Come" fame) comes onto the list with the sugary pop "Good Morning"
Foals, who had a huge SNS hit with "Give It All" three years ago, are back with "Exits". It's another jangly pop song and a welcome one, with almost a folk-ish approach to it. Jack White is back with his "second band" The Raconteurs, with "Now That You're Gone". As usually the case with anything by White, you don't know what you're getting. In this case, it's a blue concocting with some trademark guitar licks thrown in. Must more accessible than some of his recent work, it's another testament to the fact that rock is not dead, it's just that more people need to pay attention to it. Lake Street Dive follows up "Good Kisser" with "Shame, Shame, Shame". With Elle King coming off an SNS hit with "Shame", all we need as a "Shame Shame" to duplicate the 60's-70's trio of "Shame" (Evelyn "Champagne" King), "Shame Shame" (Magic Lanterns) and "Shame Shame Shame" (Shirley & Company). Welles is a journeyman rock artists from Arkansas who enters with "Somebody's Daughter"'.
Finally, re-entering this week is a track from back in 2012, "Elizabeth's Theme" by Dirty Beaches. The song hit #1 for four weeks and evoked many memories for me. For those who are friends of me on Facebook, I used the song as a background for a video I made when we lost a longtime friend, Armand Cistaro. I was, at that time, going to make a video at the beach back then, but never did. It was a perfect song, somberness and all, to use here. I thought it would make a perfect addition to the video. See directly below for my remembrances of him.
REMEMBERING ARMAND: Much of our thoughts here have been on the passing of a dear friend to myself and my Roselle Park cohorts. Armand Cistaro, known since kindergarten, passed away after a month-long battle. Although he wasn't a musician, we had many discussion on music past and present, and was great friends with other classmates of ours who were in local bands such as English Creek Road, Wheatstone Bridge and a few others. He was full of humor, including self depreciating; he'd make us all laugh. Music-wise he told me he's read my blog but really isn't into anything new. He actually busted my chops about liking Fitz & the Tantrums. As mentioned directly above, I made a video montage of pictures I had from my albums as well as by friends who posted old pictures on social media. I was, at that time, going to make a video of "Elizabeth's Theme" at the beach, but never did. It was a perfect song, somberness and all, to use here. The song thus re-enters the SNS 100 at #69. I wanted to use my video montage of my friend, but didn't know how to incorporate it (it wouldn't "paste" into the URL).
Prayers go to his family (wife Estela, children Armand and Amie, and his two grandchildren), and his many friends.
R.I.P. Armand.
Scenes ‘n’ Soundwaves 100
January 27, 2019
| This Week | Last Week | ARTIST-Title | Weeks on List |
| 1 | 2 |
NUMBER ONE:
Album: Take Good Care
|
7 |
| 2 | 1 | Panic at the Disco - High Hopes | 14 |
| 3 | 11 | Sharon Van Etten - Comeback Kid | 9 |
| 4 | 13 | Kitten - Pink Champagne | 10 |
| 5 | 14 | Marshmello & Bastille - Happier | 11 |
| 6 | 10 | Andrew McMahon In the Wilderness - Ohio | 8 |
| 7 | 3 | Caroline Rose - Jeannie Becomes a Mom | 12 |
| 8 | 8 | Molly Burch- Torn To Pieces | 13 |
| 9 | 15 | Trapdoor Social - Hold Me Down | 11 |
| 10 | 12 | Cayucas - Jessica WJ | 11 |
| 11 | 22 |
TOP 20 IMPACT OF THE WEEK:
(Single Only)
|
4 |
| 12 | 5 | Nathaniel Rateliff and the Night Sweats f. Lucius - Coolin' Out | 11 |
| 13 | 6 | Kurt Vile - Loading Zones | 14 |
| 14 | 19 | Mumford and Sons - Guiding Light | 12 |
| 15 | 4 | Shannon Marsyada - Oceans | 8 |
| 16 | 7 | Amy Shark - I Said Hi | 9 |
| 17 | 16 | Greeting Committee - 17 | 14 |
| 18 | 18 | The Revivalists - All My Friends• | 16 |
| 19 | 17 | The Essex Green - Smith & 9th | 13 |
| 20 | 24 | Jade Bird - Uh Huh | 9 |
|
|
Songs
with the greatest increase in favorite points over the prior week.
● Songs
with 25 or more plays on my iPod.
▲ Songs with 50 or more
plays on my iPod.
The “Scenes ‘n’ Soundwaves 100” is a list
of current and recent song playlist which I am listening to.
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