Tag Archives: Woodstock Music and Art Fair

CCR Stuart Stu Cook

CCR Stuart Stu Cook

Woodstock alum
Rock and Roll Hall of Fame inductee
April 25–Happy birthday!
CCR Stuart Alden Stu Cook
Stu Cook at Woodstock
CCR Stuart Stu Cook

Stuart’s Start

Stuart Alden Cook was born on April 25, 1945. His first instrument was the trumpet, but when he, John Fogerty, and Doug Clifford formed the Blue Velvets in high school, Cook switched to rhythm guitar.

At a point he bought a bass and decided that was the instrument for him. In a 2014 interview in Bassplayer, Cook said, “I liked bass—you played one note at a time, and you got paid as much as everybody else!”

CCR Stuart Stu Cook

Creedence Clearwater Revival

Creedence Clearwater Revival’s success was not an overnight one, but once it arrived the four members rode a tsunami of hits which included a performance at the Woodstock Music and Art Fair in 1969.

Internal personnel issues arose and Creedence broke up in 1972. Stu Cook and Doug Clifford, friends since high school, formed a production company. They also joined the Don Harrison Band, which released two albums (1976, The Don Harrison Band  and Red Hot in 1977).

The performance of Creedence’s music had gone away. John Fogerty didn’t perform the music until the end of the 1980s and his estranged brother Tom died in 1990. 

Creedence Clearwater Revival was inducted into the Rock and Roll Hall of Fame in 1993, but “leader” John Fogerty in an unusual move did not invite Stu Cook or Cosmo Clifford to join him playing. John explained in a 2015 Rolling Stone article, “at the end, when everybody’s onstage, jamming, if we all happen to be onstage, that’s fine. I’m just not going to stand on a stage with those people, three in a row, play our songs, and be presented as a band — particularly because these guys just sold their rights in that band to my worst enemy. I also made it very clear that if I didn’t play at all, that was fine too.”

CCR Stuart Stu Cook

CCR forms

CCR Stuart Alden Stu Cook

In 1995 Stu Cook and Doug Clifford formed Creedence Clearwater Revisited and after a court battle regarding the name continues as such today, a testament to the power and popularity of the music.

From AllMusic: Suffice it to say that these guys are singularly unlikely to ever be a major creative force (or even part of one) in rock music the way they were…, and the chance of anything new or fresh issuing forth from them is practically nil. But that’s also true of Chuck Berry and a lot of other names bigger than Cook or Clifford, and CCRevisited does put on a good show, and crowds looking for good-time rock & roll music enjoy them, the same way that Rob Grill & the Grass Roots or whatever version of “Herman’s Hermits” Peter Noone is fronting can pull 15,000 to an outdoor venue on a decent summer night. At least CCRevisited doesn’t pretend to be anything more than what it is, even if they’re not too much more than a flesh-and-blood jukebox.” 

CCR Stuart Stu Cook

Nowadays

From the CCR site, “About the current state of affairs Stu says, “There’s still some meat on the bone, baby.””

CCR Stuart Stu Cook

CCR Doug Cosmo Clifford

CCR Doug Cosmo Clifford

Woodstock alum
Rock and Roll Hall of Fame inductee
Happy birthday…April 24, 1945
CCR Doug Cosmo Clifford
picture from: http://creedence-revisited.com/band/doug-cosmo-clifford/

DG’s acceptance at Rock and Roll Hall of Fame induction 

One of the most common questions  Museum guests at the Bethel Woods Center for the Arts ask me is, “What was your favorite group?” My polite answer is that that’s like asking me which is my favorite grandchild? Hopefully getting a chuckled response, I then say that the band whose 8-track I went home and bought was Creedence Clearwater Revival.  

In 1969 I didn’t get jamming. I loved albums and FM stations’ explorations, but when it came to a live performance I was looking for what I’d heard on the album. 

Creedence Clearwater Revival Woodstock performance fit that expectation. Great sound, tight playing, one hit after another. 

CCR Doug Cosmo Clifford

Blue Velvets

Doug Clifford, Doug “Cosmo” Clifford was CCR’s drummer and an original member of the band. In fact, it was John Fogerty, Doug Clifford, and Stu Cook who first formed a group without John’s older brother, Tom. The trio called themselves The Blue Velvets.

Golliwogs

In 1964, as a quartet with Tom, they signed with Fantasy Records as the Golliwogs. 

The band stalled in 1966 when both John and Doug received draft notices.  John Fogerty joined the Army Reserve;  Clifford the Coast Guard Reserve.

CCR

Things got back on track by 1968 after John Fogerty and Doug Clifford were discharged and the band became Creedence Clearwater Revival and released its first album, Creedence Clearwater Revival, on July 5 of that year.

 Some success in ’68 led to a breakout 1969: three hit albums and an invitation to the Woodstock Music and Art Fair. Their performance was, according to John Fogerty, subpar and that is the purported reason why he declined any inclusion from their set on the 1970 album. John blamed it on the audience. The Dead had preceded CCR and when CCR came on, John reportedly saw, “Dante scene, just bodies from hell, all intertwined and asleep, covered with mud,”

Stu Cook disagreed saying, ““The performances are classic CCR…”

Keep in mind that the Dead had closed with a rousing  39 minute rendition of Pigpen doing their classic “Turn On Your Lovelight.” And it was the middle of the night, so I’m not sure how John could have seen much at all.

End of CCR

In 1970, band tensions had its toll. Tom Fogerty left first and on October 16, 1972 Fantasy Records and the band officially announced the break up.

Doug Clifford solo

Doug Clifford

Doug Clifford released a solo album, Cosmo, and later joined Stu Cook in the Don Harrison Band.

Creedence Clearwater Revival was inducted into the Rock and Roll Hall of Fame in 1993.  Tom Fogerty had died in 1990, but the other three original members were there.

In 1995, Clifford and Cook formed the band Creedence Clearwater Revisited. John Fogerty challenged the name, but the courts decided in Clifford and Cook’s favor. The band has a Facebook page.

CCR Doug Cosmo Clifford

Bob Liikala Group 212

Bob Liikala Group 212

Bob Liikala Group 212 Inter-Media Project

The Town of Woodstock was established in 1787. By the late 1800s it had begun to attract artistic groups such as the Hudson River School painters. In 1902, the Arts and Crafts Movement arrived and in 1906, L. Birge Harrison and others founded the Summer School of the Art Students League of New York.

Bob Liikala Group 212 Inter-Media Project

Maverick Festival

Michael Lang wrote in his The Road to Woodstock that in 1915 the town was the site of  “the first annual Maverick Festival. A flyer promised ‘wild sports going on‘ and the dancer Lada, who illumes beautiful music like poems, and makes you feel its religion…you cry, it is so exquisite to see….All this in the wild stone-quarry theatre, in the moonlight, with the orchestra wailing in rapture, and the jealous torches flaring in the wind! In the afternoon, there is also a concert, with a pageant, and strange doings on the stage….There will be a village that will stand but for a day, which mad artists have hung with glorious banners and blazoned in the entrance through the woods.’ ”

Sounds a bit like that 1969 event, yes?

Bob Liikala Group 212 Inter-Media Project

 Sound-Outs

In the late 1960s there was a series of shows known as Sound-Outs. Local musicians and the friends of local musicians such as like the Blues Magoos, Tim Hardin, Kenny Rankin, Richie Havens, Paul Butterfield, Dave van Ronk, and Van Morrison  performed. 

The local success of these shows likely were partly inspired Michael Lang and Artie Kornfeld‘s idea to construct a recording studio in Woodstock and to finance that construction with a festival.

And also part of that stew that encouraged the arts was the…

Bob Liikala Group 212 Inter-Media Project

Bob Liikala

Bob Liikala Group 212 Inter-Media Proj
House occupied by Group 212 during the late sixties

From the Roots of Woodstock site: The 212 project ran summer retreats from 1967 to 1969 in the old Holiday Country Inn midway between Saugerties and Woodstock on Route 212. It was briefly home to professionals in the visual arts, music, performing arts, film-making and sciences. The collective fostered a collaborative meeting point and simplified time and space constraints for the participating artists. It encouraged them to experiment with the diverse new media and helped them to explore and synthesize the exploding potentials then being articulated through happenings, expanded cinema, environmental music and multimedia theater, dance and sculpture. Some of the projects that emerged in 1967 included Meredith Monk’s Blueprint, which was presented at Montreal’s Expo 67; Horse Play, a happening incorporating animals and audience members by Yayoi Kusama; and Dump Tour, a multimedia event directed by Franklin “Bud” Drake that featured a “deluxe” buffet, champagne, an art auction/burning, an airplane assault involving paper airplanes and White Mass choreographed by Norma Lusk. 

Group 212 was a manifestation of the exploding Woodstock artistic scene—as were the Sound-Outs. Bud Drake’s mother, Pan Copeland, presided over the latter on her farm just up the road. According to Roots of the 1969 Woodstock Festival: The Backstory to “Woodstock,” Pan hoped to craft these concerts into a Newport festivals of rock. 

Nina Yankowitz, a Group 212 artist remembers that she “loved Group 212’s fearless collaborative spirit, and remembers that she first installed her draped paintings on the trees in the surrounding Group 212 landscape. She says that Group 212’s propulsive and adventurous style of mixing music, painting, sculpture, photography, electronic sounds, poetry, and performance art opened her up to embrace new technologies and emerging artistic disciplines. For example, she met Ken Werner, a musician, at 212 in the summer of 1968, and she recalls their collaboration. Werner made an audio rendition to realize Nina’s desire to include sound that would mimic the musical score,Oh Say Can You See, on her draped canvas. This embodied the concept of hearing and seeing sounds as they unfolded from her draped paintings. The installation was exhibited later that year at Kornblee Gallery in New York City.” [my emphasis]

 In other words the artistic freedom that the Woodstock area demonstrated in the late 60s allowed people like Lang and Kornfeld to think a music festival that included art…a fair…a Woodstock Music and Art Fair…was possible.

The following video (by Letitia Smith shows many of the projects that Group 212 helped sponsor.

Bob Liikala Group 212 Inter-Media Project