Woodstock 1969, or 1967?


 

In 1967, as The Beatles, The Stones, The Grateful Dead, The Jefferson Airplane, The Jimi Hendrix Experience, Pink Floyd, Cream, and the rest of their ilk were peddling their "psychedelic horsesh*t"---as Atlantic Records president Ahmet Ertegun characterized Disraeli Gears after he listened to the acetate Cream had given him of their new album---to the exploding Rock music audience, there was an unheard music revolution simmering underground in Woodstock and nearby West Saugerties.

 

Bob Dylan and The Hawks spend all of 1967 getting together in a pink house on a 100 acre lot in West Saugerties, making music in the basement of the house. Hawks organist Garth Hudson set up some mics, plugged them into a Uher reel-to-reel tape recorder, and Dylan and the quartet (Hawks drummer Levon Helm left the 5-pc---heh---band in 1965, not at all caring to perform for the booing audiences they encountered on the Dylan world tour, for which Dylan had hired the Hawks. Helm was replaced by the drummer who had been working in Johnny Rivers’ band. When the second leg of the 1966 tour was cancelled, the drummer returned to work in the Los Angeles recording studios.).

 

The recordings Dylan and The Hawks made of course became known as The Basement Tapes, and they were in essence the seeds planted for the music that Dylan and The Hawks soon harvested on their own separate albums. Dylan recorded and in December of 1967 released John Wesley Harding, an album of music about as far from psychedelia as you can get. His previous 1966 album had been the amphetamine-fueled Blonde On Blonde, which absolutely bristled with kinetic energy. JWH was the opposite of BOB, in terms of both music and lyrics. He had been instrumental in creating the Counter Culture, and just as it was taking over the world of the younger generation, he turned his back on it.

 

Dylan’s manager Albert Grossman negotiated a record deal for The Hawks (they were contemplating a name change; suggestions were The Honkies, The Crackers, both of which were rejected wink). All through 1967 Hawks pianist Richard Manuel had been learning to play the drumset Dylan brought into the basement, Levon Helm still absent from the band. Helm had worked on an oil rig in the Gulf Of Mexico, then relocated to Los Angeles where he became part of the local music scene (Leon Russell, Delaney & Bonnie, etc.), giving drum lessons to make money (one of his students became the drummer in Linda Ronstadt’s first backing band.).

 

Richard Manuel was a fast study (in that year of ’67 he developed his own unique and wonderful style of drumming. He plays drums on half the songs on The Band’s second album), but The Hawks would of course need a full-time drummer. Hawks bassist Rick Danko gave Levon a call, informing him of the offer from Capitol Records of a million bucks. Levon jumped into his Corvette and drove straight to West Saugerties, and moved into the pink house.

 

The Hawks became The Band with the release of their debut album, Music From Big Pink. To say it caused quite a stir is a gross understatement (George Harrison characterized them as "the best band in the history of the universe"). That album and it’s follow up, the self-titled "brown" album, changed the course of Rock music. But that course was one not followed by all, in both terms of musicians/bands/songwriters/etc. and the audience. Led Zeppelin is the band that really took over the world, and they weren’t alone. But The Band were the most respected by their peers. A "musician’s band."

 

I say all the above to lay the foundation for the video clip below, a wonderful 36 minute film about Dylan, The Band, and Woodstock the town. It is entitled "What Really Happened To Woodstock’s Americana Movement Of The 1960’s", and I think you will find it worth your time to watch.

 

https://youtu.be/8MDcnoLgLxg?si=FS7EBR484pQkQkMt

 

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The Dead’s second and third albums (Anthem Of The Sun and Aoxomoxoa) were (and I guess still are) amazing examples of psychedelic music, probably my favorites of the genre (though my exposure to that music is admittedly limited). And those 1968 and 1969 albums (respectively) are extreme examples of how against the direction Rock music was heading that were John Wesley Harding and Music From Big Pink (and even more so the music found in The Band’s 1969 s/t second album). There are other examples, for instance the Country & Western movement in Rock (spearheaded by Gram Parsons and Chris Hillman in The Flying Burrito Brothers. Their 1969 album The Gilded Palace Of Sin is a stunning piece of work), following their redirection of The Byrds from Folk-Rock (Roger McGuinn and David Crosby were Folkies) to pure C & W (Hillman had been in several Bluegrass bands before joining The Byrds) on the 1968 album Sweetheart Of The Rodeo, a hugely influential album amongst musicians (at least the one’s I knew).

That The Dead would follow their above two albums with Workingman’s Dead and American Beauty in 1970 is astonishing. I think everyone agrees that WM and AB toil in roughly the same field as do The Band in their s/t second (brown) album. Jerry Garcia had deep roots in Bluegrass music, so it wasn’t a stretch for him. In his musical journey he alternated between abstract psychedelic improvisation and more structured Hillbilly music (though Bluegrass also features lots of instrumental improvisation), but was unfortunately limited by his lack of vocal ability. IMO, of course. And he was a barely adequate pedal steel guitar player, certainly not a master of the instrument. IMO.

 

By the way, for those who don’t know:

 

- Dead lyricist Robert Hunter has collaborated with Jim Lauderdale on a coupla albums. Jim is another favorite Hillbilly Singer/Songwriter of mine, whom I first saw live when he was serving as Lucinda Williams’ rhythm guitarist/harmony singer/bandleader on her Car Wheels On A Gravel Road tour. Playing drums in her band was the great Jim Christie.

- In his later years Band bassist Rick Danko did quite a bit of music making with Jefferson Airplane guitarist Jorma Kaukonen. I much prefer Jorma’s acoustic guitar playing to his electric.

 

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       Have you heard Blue Country Heart by Jorma?  Excellent  (imo)