DC-based Author of Come Together: How the Baby Boomers, the Beatles, and a Youth Counterculture Combined to Create the Music of the Woodstock Generation … Smithsonian Lecturer .. Writer … Speaker … Tour Guide/ Focusing on the Baby Boom Generation, Classic Rock, Issues on Aging Especially as They Affect Men & Dissent, Protest, and Free Speech
1967 was a year filled with psychedelic sights and mind-expanding sounds.
On London’s Carnaby Street, fashion boutiques were offering hip, wild, colorful clothing for with-it British men and women. Meanwhile, young Americans from San Francisco to New York City were letting their hair grow long, while simultaneously tuning in and turning on to marijuana, LSD, and the sounds of Jimi Hendrix, Pink Floyd, and the Vanilla Fudge. And reflective of all that was swirling around them, the Beatles produced their pot and acid-drenched masterpiece Sgt. Pepper’s Lonely Hearts Club Band.
To say that the album was revolutionary in its time is understatement. But earlier this month, the Mark Morris Dance Group proved that more than 50 years later, there still is innovation to be found in the musical masterpiece.
For three sold-out nights at the Kennedy Center in Washington DC, the New York City-based dance company, directed by noted ballet and opera choreographer Mark Morris, presented the group’s reworking of Sgt. Pepper’s titled Pepperland, a stunning visual dance performance set to six much-altered Beatles songs and seven original pieces composed by pianist Ethan Iverson.
Here is a summation of the one-hour performance from score notes by Iverson, who led the seven-member live pit band which included a single vocalist, two keyboardists, a trumpeter, a trombonist, a percussionist, and, most interestingly, a theramin player. (For those not familiar with the theramin, and many in the performance hall were not, the one-of-a-kind electronic instrument is a single oscillator with two metal rods used to change pitch and amplitude controlled by a single performer using hand gestures above the rods):
Sgt. Pepper’s Lonely Hearts Club Band
The original album ended with an unprecedented effect, a very long chord. Fifty years later, perhaps a similar chord is a good place to begin …
A formal invocation of personalities from the LP cover
With a Little Help from My Friends
When Ringo sang it, he was on top of the world. Our version is more vulnerable.
In an age of Tinder, a Lonely Heart advertisement might seem hopelessly quaint. But everyone has always needed to find a match.
When I’m Sixty-Four
In between 6 and 4 is 5. All three counts (to the bar are heard) are heard beneath the music-hall scuffle.
A single offhand line from “Sgt. Pepper” germinates into a full-fledged sonata.
Within You Without You
George Harrison’s sincere study of Indian music aligns easily with another Harrison interested in bringing the East to the West: the great composer Lou Harrison, one of Mark Morris’s most significant collaborators. The hippie-era sentiment of the lyric remains startlingly fresh and relevant today.
Glenn Gould said he preferred Petula Clark to the Beatles. Apparently, Gould, Clark, and a chord progression from “Sgt. Pepper” all seemed to have inspired this mod number.
The first thing we hear on the LP is a blues guitar lick, here transformed into a real blues for the horns to blow on. Wilbur Scoville invented the scale to measure hot sauce: The original Sgt. Pepper?
After seeing Bach’s Brandenburg on the telly, Paul McCartney came into the studio and told George Martin to add piccolo trumpet to “Penny Lane”. Indeed, detailed references to European classical music are one reason so many Beatles’ songs still stump the average cover band.
Not on “Sgt. Pepper,” but nonetheless originally planned to be, and, of course, especially relevant to the city of Liverpool.
A Day in the Life
Theremin nocturne, vocal descant, apotheosis.
Sgt. Pepper’s Lonely Hearts Club Band
Another unprecedented effect on the original LP was a reprise of the first theme, which is part of why it is called the first concept album. Our later vantage point enables us to project into the next decade, the ‘70s, and conjure a disco ball. Thank you, Beatles. Thank you, Sgt. Pepper.
If you consider 1965’s “Like a Rolling Stone” by Bob Dylan and “(I Can’t Get No) Satisfaction” by the Rolling Stones as the first two great classic rock singles and the Beatles’ Rubber Soul as the initial classic rock album (which most musicologists do), then that makes the genre 55 years old next year.
But as 2019’s evidence shows, you can rightfully claim classic rock is barely showing its age for a type of music that, if it were a person, would be eligible for membership in AARP in 2020.
Times for older classic rock artists continue to be productive. For example, three of the top five grossing concert acts this year – Elton John, Metallica, and Fleetwood Mac – perform classic rock. Bruce Springsteen offered 236 solo shows over two years on Broadway, with ticket prices averaging $500 a seat from the box office and more than $1,000 from re-sale. Aerosmith, John Fogerty, Santana, Sting, Rod Stewart, Def Leopard, and Journey all played sold-out residency shows at Las Vegas’ top casinos. The Rolling Stones wrapped up their three-leg, three-year No Filter tour, a series of stadium concerts that attracted 2,290,871 fans and grossed $415.6 million for the band. And the Beatles’ re-release of Abbey Road climbed to #1 on the charts, exactly 50 years after the album first accomplished that feat 50 years ago.
These eye-opening facts evoke two big questions – how did the rock music now deemed classic, which evolved from 1950s rock & roll, become so popular with the Woodstock Generation and why does it continue to thrive despite the fact that most of its first listeners are now in their 50s, 60s, or 70s?
In a three-book series he jokingly refers to as his Rock of Agers trilogy, Washington DC author and former journalist, educator, and classic rock keyboard player Dave Price explores the history of the music of the generation who came of age in the turbulent 1960s and ‘70s and attempts to explain the music’s popularity then and now.
The first book in the series, Come Together: How the Baby Boomers, the Beatles, and a Young Counterculture Combined to Create the Music of the Woodstock Generation was released in November.
Come Together begins with the dropping of the first atomic bomb in 1945 and ends with the final notes Jimi Hendrix played on the last day of the historic Woodstock Festival in 1969. The saga is told in six chronological chapters. In the first, you’ll see how a connected series of innovations, influences, and influencers in the late 1940s and early 1950s paved the way for the rise of rock & roll. The second introduces you to some of the most important early performers of this new music. The third allows you to see how the Beatles reshaped rock & roll both on stage and in the studio. The fourth places you in San Francisco in the summer of 1967, where a new youth “hippie” counterculture was being formed around revolutionary ideas about the role of drugs, sex, and rock & roll in American society. The fifth demonstrates how two of the most significant artists of the late 60s – Jimi Hendrix and the Rolling Stones – crafted some additional touches to the type of music that would be encountered at Woodstock. In the 6th chapter, we’ll end our musical journey and join a crowd of 400,000 to vicariously experience the most-noted music festival of all-time at the historic upper New York state farmland where rock & roll emerged as something which now would soon be known simply as rock.
The second volume in the series, What’s That Sound? 80+ Artists Who Defined the Music of the Woodstock Generation, will pick up with Hendrix’s fading final notes and conclude 50 years later at the 50th anniversary commemoration of that 1969 festival, held at the original site. It is scheduled to be published in late 2020.
The third and final “Rock of Agers” book is tentatively titled Long Live Rock: Why Do the Classic Sounds of the Woodstock Generation Continue to Resonate So Loudly Today. It willdelineate two connected stories – the various ways the sounds of classic rock are being preserved and passed on to new listeners and how you can experience the entire history of classic rock by sailing on four Woodstock-like music themed cruises. Long Live Rock is planned for a late 2021 released.
Price will begin a four-month tour to promote his new book with an appearance in his former hometown of Bridgeton, New Jersey, where he lived for 59 years. On Saturday, Dec. 7th, he will stage a meet and greet and a book signing at the Bridgeton Free Public Library from 11 a.m. to 3 p.m. He will be donating $1 from the sale of each book to the library.
“The Bridgeton Library is a very special place to me so it’s fitting that I begin there,” Price says. “Libraries in general, and the Bridgton Library in particular, have always served as my secular cathedrals. They truly are amazing places. You can learn just about anything you need to know if you take advantage of all the resources a local library offers”.
“I’m sure I wouldn’t have been in position to write any book without the enjoyment, elucidation, and enlightenment that I found in all the libraries I have visited over the years,” Price added. “To me, my library card is just as important as my credit card or my driver’s license. I never leave home without it.”
For my first 64 years on the planet, I never gave any serious thought to writing a book. But in 2017, I discovered the main thing you need for a book – a good idea. Sailing on our first-ever rock cruise, which featured Gregg Allman, I discovered 2,700 rock fans paying at least $2,000 each to hear music that was supposed to be just a passing teenage fad in the mid-1950s. I wondered how exactly did this come to pass.
And now today, 3 years later, my first book — Come Together: How the Baby Boomers, the Beatles, and a Youth Counterculture Combined to Create the Music of the Woodstock Generation — has been published and released.
For now, it is available exclusively at the Politics and Prose book store in Washington, DC. It can also be ordered from the Politics and Prose website. However, the book will be rolling out in other places and as an e-book soon.
Since this was the last of the festival, we decided to arrive as close to the noon opening as we could to catch any exhibits we had missed and tour the Woodstock Museum one final time.
I headed immediately to the Writer’s Den tent. There were 3 writers of Woodstock books I wanted to talk to –
For a while, we simply wandered the grounds, shooting pictures to capture the spirit of the 50th anniversary. Here’s some of what we saw …
Of course, there were younger folks there, too
On Friday and Saturday, the concerts had started at 7 p.m. But tonight, the 3-group show – Grace Potter, The Trucks/Teschi Band, and closer John Fogerty, who had played the original festival with Creedence Clearwater Revival – was scheduled to commence one hour earlier, at 6 p.m.
The crowd was ready …
… But 15 minutes before the show was to begin, this message flashed on the screen …
Of course, those who had arrived on the lawn as early as 2 p.m. to get as close to the stage as they could, weren’t happy with the announcement. However, security helped clear the lawn, where most people simply left chairs and blankets to mark their spot. We didn’t have to relocate since were had pavilion seats. About half an hour after the announcement was made, the sky darkened, thunder rolled, and lighting flashed. Strong winds gusted, bending trees on the site. Rain drops began pelting the pavilion. After all, this was Woodstock, right. Finally, the storm dissipated, the lawn attendees returned, the concessions reopened, and the concert got set to begin, albeit 90 minutes past its scheduled time.
While we waited, I began chatting with the man beside me. Initially, he told me he and his wife were residents Bethel Hills. In fact, he said his farm was located right next to the festival property. I asked Fred if he had attended the original festival. He said he and his brother wandered over to the site daily after their formwork had been completed. But he had an even more intriguing story about the festival to tell.
“Do you remember the movie?” he asked.
“Of course,” I replied. “I first saw it as soon as it was released and I watched it right before we came up here.”
“Well, remember that opening scene – where a farmer was plowing a field. That was my Dad. Some of those long-haired filmmakers had asked him if they could film him. We didn’t know he was in the movie until a guy who used to work for us called from California to let us know,” Fred said.
He asked me about Grace Potter and I told him she was one of my favorite current touring acts and I seen her several times, first with her band the Nocturnals and twice as a solo act. We also talked a little about Derek Allman and his guitar playing, blues singing wife Susan Tedeschi. Fred told me he had seen John Fogerty a few years ago and I told him I had just seen him on the debut night of his residency at the Wynn Casino in Las Vegas. And then, it was time for then concert to begin.
Grace Potter – “I’d Rather Go Blind”
Tedeschi/ Trucks Band – “Soul Sacrifice”
Tedeschi- Trucks Band – Sly and the Family Stone Medley
And finally, John Fogerty, playing 11 of the 13 songs he played with CCR at Woodstock 50 years ago, as well as some songs from that time and a couple of his other hits.
Since we had spent 11 hours at the Bethel Hills site yesterday, we decided not to go early today. At noon, we went to lunch at the Two Rivers Grill in Matadoras, Pennsylvania where we staying. There we met my new favorite waitress, Lisa, who had just started work that week. For a few years now, if my wife Judy and I order dessert, we share. I’ve made it a standing joke to ask our servers to bring Judy a smaller fork or spoon so that I can get more of the dessert. Today, Lisa complied. But there was a twist. She brought the smaller fork for me, explaining that Judy, as a female, deserved the larger portion. Our dessert was delicious. It was fresh-baked caramel covered apple pie (neighboring upstate New York is known not only as the original home of Woodstock, but also for its apples) with home-made vanilla ice cream. And I don’t even like apple pie.
On the elevator at the Hampton Inn we met a Buffalo couple, Maria and Gunner, who had just arrived that morning and were going to the Woodstock for the first time. They asked us several questions, and since we all had lawn seats for the Santana performance, we asked them if they wanted to travel to the Bethel site with us. They said that would be great and the four of us were on the road by 3 p.m.
While Gunner and Maria wandered around taking in the atmosphere and the sights that we had been exposed to yesterday, Judy and I decided to focus on a just a couple of exhibits.
First up was the Light Bus, a version of which had actually made the journey to the original 1969 festival. In fact, the bus itself has a storied history. In 1968, Bob Grimm, who was then playing in a rock band named Light, asked his friend Robert Hieronymus to “paint us a magic bus”. Heronimus immediately got to work transforming a 1963 split window VW Kombi bus into a vehicle covered with esoteric symbols to welcome in to what was then being called a new Aquarian Age.
Like Ken Kesey and his fellow pranksters on their famed bus Further, Grimm and his friends made the trip across country in 1969 to Woodstock. Their painted bus was featured in an AP Woodstock photo that appeared in newspaper’s around America. Based on that photo, the bus began appearing in all kinds of publications and became a a talismanic of the peace and love portion of the late ’60s and early ’70s.
In 1972, the bus was used to run errands for the Savitra commune in Baltimore. Within a short time, the now decaying bus became unusable. However, in 2009, as part of the 40th anniversary of Woodstock, a limited edition diecast model replica of the Light Bus was a popular best-seller.
In 2018, Hironimus and a team of artists restored a 1962 Kombi VW bus in a secluded barn in Maryland. Now, that restoration was drawing big crowds, most of whom wanted to get the pictures taken with the Light Bus in the background.
Next, I headed to Recovery Unplugged tent to talk Jim, a recovering alcoholic police officer from my home state of New Jersey who I had chatted with briefly yesterday. He was at Woodstock at a representative of the music-based alcohol and drug treatment program Recovery Unplugged offers at its facilities in Lake Worth and Fort Lauderdale in Florida and northern Virginia. A fourth facility is expected to open soon in Nashville.
Jim explained that Recovery Unplugged are pioneers in music-based addiction treatment. “Actually, our C.A.C. is the man who literally wrote the book on music-based addiction,” Jim explained, pointing out Paul Pellinger’s book about the story of Recovery Unplugged Music Is Our Medicine. Several musicians including Steven Tyler and Richie Supa of Aerosmith, Morris Day of the Time, and the rapper Flo-Rida are associated with the program.
While we were talking, a Bethel Woods worker approached and told Jim that he and his fellow workers would have to take down their tent and secure all the Recovery Unplugged items as a severe storm was expected to strike the area in about half-an-hour.
Judy and I decided to seek shelter in the Woodstock Museum until the storm passed. We focused on two of the exhibits, one explaining in depth the background of all the artists who performed at the first Woodstock festival and the other a temporary exhibit We Are Golden: Reflections on the 50th Anniversary Festival and Aspirations for a Peaceful Future.
The special exhibition features a collection of of authentic Woodstock artifacts including Jack Cassidy of Jefferson Airplane’s bass guitar and the tunic he wore, handwritten lyrics for the song “Goin’ Up the Country” by Alan Wilson of Canned Heat, and a speaker cabinet and missing equipment used by Bill Hanley, whose work established the standard for outdoor concert sound.
Other sections included Voices from the Past, which presented first-person commentary about changing American society in the 1960s; Woodstock Remembered, first person accounts from people who attended the historic three-day festival; Woodstock Through the Lens, a collection of photos taken at the festival; and What the World Needs Now, an interactive exhibit tat engaged participants in conversations about what they want from society today and how the experiences from 50 years ago could inform attitudes, decision-making, and actions today.
While we were inside, the threatened severe storm never materialized and we headed to the amphitheater lawn to meet Gunner and Maria and enjoy in tonight’s concert with The Doobie Brothers and Santana, with its leader Carlos Santana whose musical breakthrough came from the song “Soul Sacrifice” which was featured in the award-winning 1970 documentary on Woodstock.
Of course, the original Woodstock was plagued by incessant rain storms that turned the festival fields into veritable seas of mud and mess. In fact, one of the lasting moments from the film featured the crowd shouting the “No Rain, No Rain” chant which provided the segue into Santana’s energetic performance.
Well, as if to prove the musical gods have a sense of both history and irony, after the Doobie Brothers concluded their set (which included their huge hits “Listen to the Music”, “Jesus Is Just Alright,” “Long Train Runnin,” and “China Grove,” as well as my all-time favorite Doobie’s tune “Ukiah,” lighting flashed and thunder rolled. Those of us in the amphitheater (which has a reported capacity of 16,200 but on this Saturday night, was estimated to be far more than 20,000) prepared for bad weather, and, indeed just minutes before Carlos Santana and his current band were scheduled to take the stage, rain began falling.
As they have on this tour all summer, Santana was paying tribute both to Woodstock and the 50th anniversary of his band. With an explosion of noise from the crowd, a precoded version of the rain chant from the Woodstock burst from the speakers and, once on stage, the band broke into three songs that became their standards from their initial Woodstock debut – “Soul Sacrifice,” Jin-go-lo-ba,” and “Evil Ways”. Now, while it is true you can’t go home again, or as the Chinese put it, you can’t put you feet in the same river twice, that Santana there-song opening was about as close as you can get if you had been one of the estimated 400,000 who attended Woodstock in 1969.