After the multi-platinum success of Music from the Original Soundtrack and More: Woodstock that accompanied Michael Wadleigh’s documentary film Woodstock (two million copies sold and it spent four consecutive weeks at the top of the Billboard charts, and even a Top 20 spot on its R&B chart!)…
For those interested in the acoustic Bob Dylan, this concert is like the grail; his voice is in impeccable shape, and his delivery is revelatory. For those interested in the transition from acoustic to electric, this show is the seam, and for those who are die-hard fans, this is another welcome item in the official catalog.
R.I.P. Alvin Lee Of Ten Years After. –– Let's make no doubt about this review from the start: Alvin Lee solo is not the same thing as Ten Years After and such comparisons miss the mark entirely. I loved Ten Years After mainly because of Alvin Lee, but no guitar player can afford to give up a bass/drums rhythm section like Leo Lyons and Ric Lee and expect to sound the same–he had been blessed with those two and the keyboards of Chick Churchill and together they made Ten Years After the legend they were and are today.
Fifty years after the three-day concert made rock’n’roll history, a gargantuan, 38-disc set attempts to tell the full story of the event for the very first time. The mythological status of 1969’s Woodstock Music and Arts Festival can sometimes feel overpowering. The festival is the ultimate expression of the 1960s. Moments from the three-day concert have crystallized as symbols of the era, with details like Richie Havens’ acoustic prayer for freedom, Roger Daltrey’s fringed leather vest, or Jimi Hendrix’s “Star Spangled Banner” held up as sacred countercultural relics.
Notwithstanding one or two isolated exceptions, it wasn’t until the mid-Sixties that independent female voices really began to be heard within the music industry. The feminist movement naturally coincided with the first signs of genuine musical emancipation. In North America, Joan Baez and Buffy Sainte-Marie emerged through the folk clubs, coffee-houses and college campuses to inspire a generation of wannabe female singers and musicians with their strong, independent mentality and social compassion, while the British scene’s combination of folk song revival and the Beatles-led pop explosion saw record company deals for a new generation of pop-folkies including Marianne Faithfull, Dana Gillespie and Vashti Bunyan.
Five CD box set containing a quintet of original albums from the Folk/Pop vocalist: Fifth Album, In My Life, Judith, Who Knows Where The Time Goes and Wildflowers.
This album represents the eighth Big Sur Festival; also probably the last. The performers all appeared for union scale – fifty dollars. Columbia Records paid festival expenses. Tickets were free and all who came were welcome. The festival profits from this album go to the Institute for the Study of Non-Violence, except for Blood, Sweat & Tears' royalties which will be donated to the UNICEF fund for Bangla Desh. Listen closely; what you hear is some of the pop world's finest performers, the mountains of the California Coast, the Pacific Ocean, and thirty-five hundred people all sharing a peaceful, happy afternoon.