Various Artists, “Woodstock: Music from the Original Soundtrack and More” (Rhino)
“Elliott from Harvard, the hitchhikers you picked up need the pills from your car. Please go to the information station right away.”
It’s all there. The chirping birds, the crackling PA announcements, the “no rain!” chants and subsequent thunderclaps. All nestled between performances from Richie Havens, Canned Heat, Joan Baez, Crosby, Stills, Nash (& Young) and a dozen others.
Upon its original release in the summer of 1970, “Woodstock: Music from the Original Soundtrack and More” stayed atop Billboard’s album chart for a month. This 40th anniversary edition retains all of the lo-fi, analog soundboard charm without the artificial overdub of 21st century technology like ProTools.
Itap a trip back in time, long before three-day festivals were controlled by corporate sponsors or special V.I.P. packages went for $30,000 (looking at you, Lollapalooza).
Leave that clunky iPod adaptor at home, and take this double-disc memoir on the road with you this summer. But make sure you’re ready for group sing-alongs to Joe Cocker’s version of “With a Little Help from My Friends” (long before it became The Wonder Years theme song) and Country Joe McDonald’s “I-Feel-Like-I’m-Fixin’-To-Die Rag.” “Woodstock Two,” a companion release with expanded tracks from Jimi Hendrix and other artists, is also available in a 40th anniversary edition.— John Hendrickson
Dinosaur Jr., “Farm” (Jagjaguwar)
For all the buckets of bad blood, exhaustion and diluted creativity of Dinosaur Jr.’s members over its 25 on-and-off years, it’s remarkable how distilled and vital they sound in 2009.
Original trio J. Mascis, Lou Barlow and Murph delighted fans by reuniting for 2007’s better-than-average “Beyond,” and anyone looking for more of the same will be heartened by “Farm.” Songs like “Pieces” and “There’s No Here” are familiar and relaxed but with a melodic urgency and precision lacking on even some of the band’s ’90s output. (“See You,” in fact, is a gem that shines like the band’s biggest hit, “Start Choppin’.”)
Mascis’ proto-Eddie Vedder squawk is in fine form on the drawn-out “I Don’t Wanna Go There.” His ragged, fuzzed-out solos — so influential to alt-rock in the ’90s — never feel unnecessary. Even Barlow’s contributions sound like the work of an artist at the top of his game — something all the members have made a case for here. — John Wenzel
Peña, “Best Friends” (Big Punisher)
“Best Friends” is a three-song EP from local artists Peña in which each cut is divided into Sides A and B. Part thunderous metal instrumentals, part spacey electronic blips, it sometimes feels like more of a rudimentary lesson than a developing structural work. Drummer Michael Scarano ceaselessly attacks his kit from a jack rabbit’s perspective, and Aaron Ray and Dave Allen’s dual guitar lines rarely fail to walk hand in hand.
Even if it is a bit formulaic, these songs can, and do, fall apart into beautiful, occasionally unexpected deconstructions. The album-closing drones of “Slept Inept” evoke a slow-motion car crash, complete with a dramatic scream and mournful trumpet notes from guest musician Joshua Trinidad.
“Best Friends” isn’t quite a highway accident, but it maintains the eerie property of not being able to pull your head away. — John Hendrickson
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John Wenzel is the co-editor of Reverb, editor of the blog and an arts and entertainment reporter for The Denver Post. His book was recently published by Speck Press.
John Hendrickson is a Features writer for The Denver Post, an editor and featured writer at and a regular contributor to . In 2009 he was named one of the by . He’s currently shopping for a new turntable.
