WOODSTOCK @ 40

Woodstock had an undeniable impact on the music and the culture of its day. But its ripple effects through the business of music continues. Festival co-creator Michael Lang, Metropolitan Talent Co-CEO John Scher and WSJ music critic Jim Fusilli talk about Woodstock’s legacy.

For most music fans, the film “Woodstock, the album “Woodstock: Music from the Original Soundtrack and More,” both released in 1970, and “Woodstock 2,” out 14 months later, were the definitive documents of the three-day festival. But in a few cases, the albums and the film substituted live performances recorded elsewhere for the actual performances at Woodstock. They are yet another illustration that much of the music at the festival was pretty subpar, as I wrote today. Audio links are below. Arlo Guthrie’s “Coming into Los Angeles” is an example. The performance featured in the Woodstock film and album is fairly pristine, but during his actual performance, his vocal mike cut out for the entire first verse and chorus. (For music fans, a small comfort is we get to hear jazz drummer Paul Motian behind Guthrie at the festival.) In the film, you’ll notice we never actually see Guthrie singing. Mountain’s reading of “Theme for an Imaginary Western” at Woodstock is less powerful than the one included in the “Woodstock 2” album. Felix Pappalardi’s vocal mike cut out briefly and guitarist Leslie West was a bit tentative until the chorus. The substitution of a different “Wooden Ships” by Crosby, Stills, Nash and Young is baffling. The one on the original Woodstock album is fine, but the performance at Woodstock is better, if a bit ragged. During the real Woodstock performance, you can hear Neil Young’s guitar surrounding Stephen Stills’ vocal entrance.