Tag Archives: Woodstock Music and Art Fair

Bumpier Day Wallkill Woodstock

Bumpier Day Wallkill Woodstock

July 8, 1969

Woodstock Ventures

Those of you who have followed this blog (thank you!) already know that despite the notion that Woodstock was the only rock festival in 1969, that year was a very busy for festivals. By July 8, 21 festivals had happened with 25 more  to go before the end of the year.

Woodstock Ventures was simply another one on that long list. Four more guys who decided to put on festival.

Bumpier Day Wallkill Woodstock

The Bumpy Road to Wallkill

In April, Howard Mills had agreed to rent a piece of property to Woodstock Ventures and the Town of Wallkill granted the necessary permits.

There are many accounts of the Woodstock Festival. Each has its unique perspective. Nevertheless, it is important to keep in mind that thoroughly organizing such an event is far more important than someone taking notes on everyday’s every conversation and keeping a written record of the moment to moment happenings.

Bumpier Day Wallkill Woodstock

Bob Spitz, Barefoot in Babylon

Many consider Bob Spitz‘s Barefoot in Babylon (originally published in 1979; re-released in 1989) one of the better accounts of the days leading up to the famous Fair. Having said that, Spitz relates conversations the organizers had as if he or someone had recorded them. They were not. Based on his research, though, July 8, 1969 was a big day on the road to Bethel and the Woodstock festival.

Bumpier Day Wallkill Woodstock

8 July 1969

Providing food for attendees an obvious priority. Woodstock Ventures had problems finding people or a group to do that job. At a point, the Ventures had arranged for Nathan’s hot dogs to provide their food, but on this date the Middletown Fire Department unanimously turned down a proposal to supply personnel to run Nathan’s food concessions.

The fire companies’ membership objected to the long hours Nathan’s had required. Middletown is next to Wallkill, the planned site of the event.  Peter Goodrich, assigned the task,  continued to try to find companies for the festival’s food concession stands.

July 8 Wallkill Woodstock festival bumpy
“Scotchtown” was the intended location of the event. Middletown is just south of that Wallkill area. Click on the picture to enlarge.
Bumpier Day Wallkill Woodstock

Fire protection

On the same day, Wes Pomeroy (security) and Don Ganoung (general assistant) met with the Wallkill fire advisory board to discuss the festival’s fire protection needs. Instead of evaluating the festival’s requirements and coming to an informal arrangement, the advisory board decided not to act on the proposed plans until the town board asked it do so.

Bumpier Day Wallkill Woodstock

Another Wallkill!

On the same day, Joel Rosenman,  one of the four Woodstock Venture organizers, received a letter from Margaret Y Tremper, the deputy town clerk from the Town of Shawangunk, NY. The letter informed the festival organizers that the festival address used on advertising was misleading as Wallkill, NY (about 30 minutes away in Ulster County) was not the same as the Town of Wallkill (Orange county), where the festival actually was. She requested that they correct their advertising to avoid having thousands of attendees mistakenly arriving at her location and not theirs.

Bumpier Day Wallkill Woodstock

Outside worries

On that day, a Smoky Robinson and the Miracles concert in Boston resulted in scattered incidents of stone throwing and window breaking after the sound system has problems. The last thing the organizers needed was additional reasons for Wallkill to kill their event.

Bumpier Day Wallkill Woodstock

Legal changes

Miles Lourie resigned as counsel for Woodstock Ventures because of the recent appointment of Peter Marshall as an additional counsel.

Bumpier Day Wallkill Woodstock

All these things made July 8, 1969 a busy day for those on the bumpy road to a Bethel, NY. Unbeknownst to its residents, in 5 weeks a festival called Woodstock would make history there.

And little did anyone know that this apparent mountain of a day was simply a molehill!

Bumpier Day Wallkill Woodstock

Young Drummer Michael Shrieve

Young Drummer Michael Shrieve

Born July 6, 1949
Santana
Woodstock Music and Art Fair
Rock and Roll Hall of Fame
Happy birthday!
Young Drummer Michael Shrieve
photo from http://www.michaelshrieve.com/gallery.html#
Young Drummer Michael Shrieve

OPEN-HEARTEDNESS

Michael Shrieve’s internet page opens to this statement:

MUSIC PROMPTS US TO RESPOND WITH OPEN-HEARTEDNESS INSTEAD OF JUDGMENT. IT USHERS US TO A HIGHER PLACE FROM WHERE WE CAN SEE BEYOND DISTRACTIONS TO WHAT IS TRUE AND GOOD AND LASTING. IF MUSICIANS ACCEPT THIS RESPONSIBILITY, THEY CAN CHANGE THE WORLD.

Such a view is not surprising from someone who has spent a lifetime with open-hearted music.

Young Drummer Michael Shrieve

Young, not youngest Shrieve

When guests enter first part of the Main Gallery in the museum at Bethel Woods Center for the Arts they are surrounded by some of the 400,000 people who sat on the field at that historic event.

Above guests is a movie showing with commentary pieces of the festival. While Michael Shrieve does his iconic drum solo with Santana, Country Joe McDonald exclaims, “17!” referring to Shrieve’s age. On Saturday 16 August 1969, Michael Shrieve was young, but not that young.

Shrieve was born on July 6, 1949. He had just turned 20. We can forgive McDonald. By early Saturday, it was already a long weekend.

Interestingly, even Shrieve’s internet site gets it wrong. It states, “ As the original drummer for Santana, Michael – at  age nineteen – was the youngest performer at Woodstock.” 

Wrong twice as Sha Na Na’s Henry Gross, born on April 1, 1951 and 18 that August was likely the youngest performer.

And CSN & Y’s bassist Greg Reeves may actually have been younger, but there’s a mystery there.

Ah well. Such is Woodstock Haze.

Young Drummer Michael Shrieve

Santana

During a performance at the Fillmore Auditorium, Shrieve came to the attention of Santana’s manager. A short time later Shrieve joined the band and became a mainstay. His jazz background helped develop a sound already influenced by the band Latin percussion component.

The aforementioned drum solo at Woodstock, it’s inclusion on the album as well as the movie put Michael Shrieve forever into the 1960s’ musical picture.

Young Drummer Michael Shrieve
photo from http://www.michaelshrieve.com/gallery.html#
Young Drummer Michael Shrieve

Michael Shrieve

Young Drummer Michael Shrieve
Shrive at the Monument at Bethel Woods Center for the Arts (photo from Shrieve’s Facebook page https://www.facebook.com/michaelshrieve

Shrieve remained with the Santana band until 1974 and has continued to be active since. He has released several of his own albums and collaborated with or sat in with dozens of other albums.

He occasionally rejoined the Santana band which continued to undergo various personnel changes throughout the years.

In 1998, the he was inducted into the Rock and Roll Hall of Fame with the rest of Santana.

Young Drummer Michael Shrieve

James Royal Robbie Robertson

James Royal Robbie Robertson

Remembering Robbie on his birthday
July 5, 1943 – August 2, 2023
The Band
Woodstock alum
James Royal Robbie Robertson
Jaime Royal “Robbie” Robertson was born on July 5th in Toronto, Canada. His father from Toronto; his mother, of Mohawk descent, born and raised on the Six Nations Reservation. At an early age, Robbie begins learning guitar from relatives during his summer visits to the reservation. (photo & text from Robertson site)

A lucky few are born with a silver spoon in their mouth. Apparently, James Royal “Robbie”Robertson was born with a guitar in his hands.

James Royal Robbie Robertson

Early on before Dylan…

Like many (most?) lifelong rock musicians, Robbie Robertson began playing in local bands in his mid-teens. By the time he was 18 he, along with Levon HelmRick DankoRichard Manuel, and Garth Hudson) was a part of Ronnie Hawkins’s band, Hawkins and the Hawks.

In 1961, Robbie Robertson and his mates became the Canadian Squires and released “Uh Uh Uh” with “Leave Me Alone” on the B-side. Robertson is credited for writing both.

James Royal Robbie Robertson

Enter Dylan

1965 was a turning point in rock and roll. Around for a decade already, the nonetheless “new” genre of Rock split with some headed in a new direction.

Why?

Bob Dylan had decided to stop working on Maggie’s farm and go electric. For his band, Dylan recruited Robertson who was quickly followed by the rest of the Squires. They toured with Dylan and then near Dylan’s in Woodstock, NY.

Their pink house was at 56 Parnassus Lane in nearby West Saugerties, NY. They set up a recording studio in its basement and played innumerable hours working on their music together. Dylan frequently stopped by and his famous Basement Tapes came out of this time.

Dylan’s band became The Band and Music From Big Pink became their first album. Al Kooper, in his Rolling Stone magazine review of the album, wrote in Rolling Stone magazine in August 1968, “I have chosen my album for 1968. Music from Big Pink is an event and should be treated as one.”

James Royal Robbie Robertson

The Band

Rolling Stone magazine carried a lot of weight and the fact that the well-respected Al Kooper endorsed it so enthusiastically was a double-barrel boost.

Robbie Robertson, the person who the record credits with doing most of the Band’s composing, became a star along with the rest of the Band.

James Royal Robbie Robertson

Woodstock Music and Art Fair

If the reclusive Bob Dylan wasn’t available for Woodstock Ventures get together in Bethel, NY, then getting the newly anointed Band there was nearly as good.

There style differed from most other bands surrounding them that weekend in general and that Sunday in particular. It is easy to forget how oddly “unrock” their style of rock was.

In concert the Band and Robertson were as tight and proficient as any ever was. Those basement hours paid many dividends.

James Royal Robbie Robertson

Fame

In 1969, they released their second album, The Band. In 1970, Time magazine put Robertson and the Band on its front cover with the caption “The New Sound of Country Rock.”  1970 saw their third album, Stage Fright. Cahoots in 1971. Rock of Ages in 1972.

They toured and they partied. They partied and they toured.

James Royal Robbie Robertson

Last Waltz

By 1976, only eight years after the release of Big Pink, Robertson and the other members took a break. They billed it as the Last Waltz and threw a party filmed and recorded by filmmaker friend Martin Scorsese. A who’s who of friends and musicians participated, including Ronnie Hawkins and Bob Dylan.

James Royal Robbie Robertson

Robbie Robertson

It has been  more than 40 years since the Band’s last waltz. The Band, always without Robertson, got together occasionally to record and tour.

Robertson continued to record as well as acting (eg. the 1980 Carny).

James Royal Robbie Robertson

Film scores

He has often contributed to film scores particularly working with Martin Scorsese (Raging Bull, King of Comedy, Color of Money, Casino, Gangs of New York, Ladder 49, Shelter Island, The Wolf of Wall Street)

In November 2016, Robertson released his large memoir, Testimony.  (NYT review)

Death

On August 2, 2023 Robertson’s management company confirmed the musician’s death. “Robbie was surrounded by his family at the time of his death, including his wife, Janet, his ex-wife, Dominique, her partner Nicholas, and his children Alexandra, Sebastian, Delphine, and Delphine’s partner Kenny,” his longtime manager Jared Levine said in a statement. “In lieu of flowers, the family…asked that donations be made to the Six Nations of the Grand River to support the building of their new cultural center.”

Martin Scorsese: ““Robbie Robertson was one of my closest friends, a constant in my life and my work. I could always go to him as a confidante. A collaborator. An advisor. I tried to be the same for him.

“Long before we ever met, his music played a central role in my life — me and millions and millions of other people all over this world. The Band’s music, and Robbie’s own later solo music, seemed to come from the deepest place at the heart of this continent, its traditions and tragedies and joys. It goes without saying that he was a giant, that his effect on the art form was profound and lasting. There’s never enough time with anyone you love. And I loved Robbie.” [Rolling Stone article]

James Royal Robbie Robertson

Great CBS Sunday Morning interview from 2016