18
Oct 06

MATTHEWS SOUTHERN COMFORT – “Woodstock”

FT + Popular54 comments • 4,920 views

#292, 31st October 1970

In the whole Popular project so far, “Woodstock” represents my biggest turnaround in opinion between hearing and writing about it. On first listen it sounded dreary, sappy and self-satisfied – I had it earmarked for a 2, or even a 1.

I don’t know what exactly changed my mind. Hearing it one hungover morning in late Summer and letting it soothe me? The acquisition of such CDs as The Best Of Bread giving me a taste for wet but beautiful seventies dreampop? Repeated exposure to the Glastonbury Festival? Maybe I just listened a bit harder and felt the fear in the song. “Woodstock” isn’t self-satisfied, or not in the way I thought. It’s full of the dread of a moment passing, energy dissipating, opportunities slipping away. You don’t have to be a hippy to recognise that feeling. It doesn’t come across in the lyrics, particularly, just in the sorrow-laden singing and drifting melodies: the repeated triads in the guitar break being particularly effective at conveying this air of desperate futility.

Learning that Joni Mitchell wrote the song after missing Woodstock explains a lot of this dread. It explains the song’s spiritual vibe, too: legends always grow more in the minds of people who weren’t ‘there’, and this song helped shape and transmit the Woodstock legend, and by extension the legend of the hippy era and movement, turning the Festival (and in some ways the 60s itself) into a sacred, doomed, unrepeatable moment. The song’s sadness becomes self-fulfiling and defeatist – those who came after Woodstock could never recreate it; no route back to the garden ever existed. If you’ve ever given part of yourself to a scene – whether major or minor, vast or tiny, whether you called that lost moment “punk” or “rave” or “The Round Table” or “old ILM” – you might know that defeatism too well.

{democracy:7}

7

Comments

1 2 All
  1. 26

    since the uk rock, pop and style press largely established itself as a media presence via punk, i think the punk bludgeon is a LOT BIGGER than the hippy bludgeon nowadays, at least in the uk — which is a hard fact to get yr head round when “being an out-group” is what we so routinely deploy to establish our subcultural credentials (it’s punk’s victory* that mark g is battling against, and fair enough, bcz it stifles and distorts his voice)

    in the us, maybe not so much: boomer has a lot more resonance there, and feels a bit borrowed when you (ok i mean i) use it over here

    *(the hippy political defeat was annoyingly presented as a kind of victory; the punk media victory is annoyingly presented as a defeat)

  2. 27
    blount on 21 Oct 2006 #

    late 70s punk explosion not quite a dominant myth on american landscape i don’t think, though it is acknowledged at least – very very often in vh1 type historia de la musica rock docs it (in a move that provokes both roffles and outrage from me) will jump from ramones/patti smith -> nirvana, like the thread just completely died with patti falling off the stage or the ramones calling phil spector and then a decade later kurt cobain just upped and revived it and ladies and gentlemen here’s the 90s. increasingly but still only very slightly i’ve been detecting some golden age haze applied to alt rock Xplosion with cobweb gravy about how music ‘meant something’ and the famous ‘we won’, i heard some spin on this around the time of ‘rock is back!’ and hear it occasionally when someone bemoans the present day rockband as so shallow and facile in comparison to, um, deadeye dick or the crash test dummies. there may be a clinton nostalgia factor there thoguh which would be understandable. boomers fairly absent from pop culture now (the red hot chili peppers qualify as ‘my god the mileage! what legends, what vets! lo they were there at the dawn of stonehenge/woodstock 94!’)(cf. politicians, ugly buildings, whores), but still obv very dominant in the overall cultural landscape (if america is undergoing a ‘a second great awakening’ per dubya a huge number of boomer’s staring death in the eye obv factor #1; cf current ad for retirement plans w/ dennis hopper going on about how ‘we aren’t gonna do retirement like our parents maan, we’re gonna do it cool, we’re revolutionary’), i think a certain segment of my generation (X) are resigned to ‘these fuxx are gonna be in power til we’re pushing 65 and henry rollins is hawking xtreme retirement plans’ though there are potential bright spots on the horizon (edwards and obama both decidedly post-nam/post-boomer if hard to think of as remotely gen x), see also the suv: an object built on a marriage between boomer reality and boomer delusion.

  3. 28
    Anthony on 22 Oct 2006 #

    is this the same one as joni mitchell, b/c Paglia has some interesting things to say about it in the last record, if it is

  4. 29
    Anthony on 22 Oct 2006 #

    she basically talks about it as the beginning of the end of 60s utopianism, and compares it to the romantics, blake esp. i really like this song, and i know wood stock is a deeply problematic touchstone, but the idea of communalism and changing the world and all of that nonsense gives me a sort of warmth

  5. 30
    markgamon on 22 Oct 2006 #

    Beg pardon, folks. I’m not battling against punk. I was there for that too, though more as an interested observer than a participant. And I still love Pretty Vacant. ‘Hippy’ and ‘punk’ seem to me to be two sides of the same coin – and I suspect they’re being endlessly repeated in popular culture as we speak. Wasn’t the rave scene just a new local take on the pop festivals of the late 60s?

    I do get pissed off when the current cultural media (punks to a man, as lord sukrat rightly points out) sneer at the 60s and idolise punk culture. Jonathan Ross is a prime culprit. There’s great art in every generation. Even prog-rock had its moments: I caught myself listening to a Yes album the other day and had to admit it was musically pretty stunning, despite the lyrics being hippyshit twaddle (that’s not to say I have a kind word for Gentle Giant, by the way).

    I dunno. Of course it’s about where you were when you were 14. I was lucky enough to be 14 when White Rabbit and Sergeant Pepper came out, and unlucky not to have been a couple of years older so I could actually be at UFO in its heyday. In truth, my cultural touchstone is probably the British Blues Boom, which also gave us some fine stuff and some rubbish.

    I was on the tail end of hippy and just a little too old for punk. I still prefer the positivism of hippy, but I’m dismissing neither.

  6. 31
    Daniel_Rf on 22 Oct 2006 #

    “Given the degree to which women and people of various colors have moved up and through society in the decades since, I’d argue that belief has turned out to be not exactly wrong, albeit not exactly like the believers at the time foresaw.” – this got me thinking, how much *was* identity politics a part of 60′s hippiedom? Like, it’s probably more or less a given that the views towards race and gender were more progressive than the preceding generation’s, but actual involvement in such causes seems more a post-Woodstock, 70′s thing. Racial harmony and equality tends to show up in 60′s hippie pop culture mostly as just another factor in the larger plan for world peace and whatnot (longhairs always present in reconstructions of Vietnam protests in movies, but hardly ever in reconstructions of Civil Rights marches and such), while feminism of course had to have had an…ambiguos relationship with hippies and “free love”, at best.

  7. 32
    Erithian on 26 Oct 2006 #

    Hippy and punk as two sides of the same coin (whoops, I typed “con” there at first!) – pretty much what Sandi Thom was getting at. She knew that punk rockers didn’t wear flowers in their hair, but conflated ’77 and ’69 as eras she yearned to have lived in, where it seemed to her that music was more a cause than a commodity. Our no doubt varying views on the merits of that record will have to wait a while for an airing, but for me it was one of the freshest and most original Number 1s in a long time.

  8. 33
    Marcello Carlin on 26 Oct 2006 #

    In the same way that George W Bush was one of the freshest and most original American Presidents in a long time.

  9. 34
    Erithian on 26 Oct 2006 #

    And the connection is…?

  10. 35
    Marcello Carlin on 26 Oct 2006 #

    The connection is that both phenomena ease my understanding of what a suicide bomber must feel like.

  11. 36
    Alan on 26 Oct 2006 #

    i don’t know about the exact connection mc has in mind, but that sandi thom song was howling hypocrisy combined with the crassest “authenticity or death” sentiment, and it made me want to bully world leaders into a war on iraq

  12. 37
    Marcello Carlin on 26 Oct 2006 #

    Yes, that’s about the size of it.

  13. 38
    Tom on 26 Oct 2006 #

    The shame of Tooting. :(

  14. 39
    Erithian on 26 Oct 2006 #

    No point arguing with that!

  15. 40
    Tom on 26 Oct 2006 #

    It will make for an interesting debate when the time comes, though I think you’re the only person I’ve ever talked (or ‘posted’) to who has a good word to say for it!

  16. 41

    by the time that time comes* we will have passed through loathing and “ironic love” to ALL OF US ADORING IT mark my words

    (ps i still haven’t heard it somehow)

    *=21 years hence acc.the LORD CUSTOS OMICRON 7-year CYCLE OF ROCK HISTORY™

  17. 42
    Marcello Carlin on 26 Oct 2006 #

    There won’t be the Mary Hopkin factor.

  18. 43
    Erithian on 27 Oct 2006 #

    Tom – yes I did like the Sandi Thom record, although I realise the proper time to discuss it is way into the future. Come to think of it, you’re the first person I’ve encountered who had a good thing to say about Stars on 45, but hey, vive la difference!

    MC and Alan – disagree with my musical tastes by all means, but random references to Bush, Iraq and suicide bombers are more than a bit silly.

  19. 44
    Marcello Carlin on 27 Oct 2006 #

    Who said anything about “random”?

  20. 45
    Tom on 27 Oct 2006 #

    Haha luckily I will not have to justify my fondness for S-on-45 on this blog! (Catchall excuse: I was 8!)

    I will have to save my reasons for JIVE BUNNY.

  21. 46

    JIVE HITLER MORE LIKE

  22. 47
    Marcello Carlin on 27 Oct 2006 #

    *falls off chair in office sinker you badstar (misprint)!* ;-)

  23. 48
    Chris Brown on 29 Oct 2006 #

    Keeping my powder dry for the time being, I’ll just point out that the title of the Sandi Thom song was the one aspect of it I had no problem with it. Otherwise “both sides of the same con” is only too apt.

  24. 49
    Antony Smith on 4 Dec 2006 #

    An aside…but rather an important one…
    One of the posts above mentioned Britain’s “biggest other movement linked to pop”…ie the late-sixties underground and punk were all there was.
    One again it seems the biggest pop cultural “movement” of all is airbrushed out of the history of popular culture.
    The dance culture of 1988- was far more significant than either of the other two in the significance it made to British youth’s lives. Hippy and punk were only ever adopted by a tiny minority of the youth as a whole.This was particularly the case with ‘working class’ youth (obviously with “hippy” and despite punk’s attempt to falsify proletariat credentials equally with the latter movement .Also it only really effected the same small sector of the music buying public just a younger generation.IE those who believe in the worthiness of “rock”.
    Acid house/rave and its aftermath brought a whole new group of people into the equation including a far more significant proportion of females.It changed the whole way a generation (approx those born from about 1964 onwards)spent their time and although classless was and is a genuine working class phenomenon (something punk never really was).

  25. 50
    Marcello Carlin on 4 Dec 2006 #

    Did anyone ever do an Acid House cover of “Woodstock”?

  26. 51
    Waldo on 29 Sep 2009 #

    I was away at school camp at Marchants Hill, Hindhead when this was going up the charts and this is my association with it. Marchants Hill was tucked away in a wooded area of outstanding natural beauty and was a lovely retreat for inner city council high-rise kids, of which I was one. I thought the song was wonderful and magical and spoke of dreamland and safety and places other than Stockwell. Yes, comfort. Believe me, that’s quite sufficient to be able to claim my love for it.

  27. 52
    flahr on 27 Nov 2010 #

    I notice Tom abandoned his attempt to justify liking Jive Bunny in the end ;)

    Very pretty song this, I feel all shivery listening to it and I’ve been trying to sing along to the gently dreamy chorus. Guitar work in the background is fab although the solo is a bit unnecessary. I reckon I should like it less than I do* but I like it a lot. 7/8.

    *it feels like it being a pretty song gives it an unfair advantage, y’know? Like a pretty song doesn’t have to be as good as a not pretty song for me to like it the same amount.

  28. 53
    Lena on 10 May 2012 #

    Back to the garden? Never left it: http://musicsoundsbetterwithtwo.blogspot.co.uk/2012/05/this-land-is-our-land-clarence-carter.html Ta for reading, everybody!

  29. 54
    Lena on 15 May 2012 #

    Good God, y’all: http://musicsoundsbetterwithtwo.blogspot.co.uk/2012/05/flowers-are-better-than-bullets-edwin.html Thanks for reading, everyone!

1 2 All

Add your comment

(Register to guarantee your comments don't get marked as spam.)


If this was number 1 when you were born paste [stork-boy] or [stork-girl] into the start of your comment :)

Required

Required (Your email address will not be published)

Top of page