Woodstock 1999

Woodstock 1999


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As a commemorative live album, WOODSTOCK '99 fulfills its role as a chronicle of the infamously epochal concert event of the New Rock Nation. Here are both the musical mayhem and the stark -- at times grim -- cultural snapshots of the three-day event that glorified nudity and beer rather than peace and love. "We don't want anyone to get hurt," the show's hapless


As a commemorative live album, WOODSTOCK '99 fulfills its role as a chronicle of the infamously epochal concert event of the New Rock Nation. Here are both the musical mayhem and the stark -- at times grim -- cultural snapshots of the three-day event that glorified nudity and beer rather than peace and love. "We don't want anyone to get hurt," the show's hapless promoters warn, sounding a bit like ineffectual parents as the sons and daughters (okay, mostly the sons) of the original Woodstock generation torch the place while the Red Hot Chili Peppers rock out on Jimi Hendrix's "Fire." Still, there's plenty of musical fireworks on hand, with the rap-metal contingent rabidly storming Planet Pop like the arachnid monsters from "Starship Troopers." Leading the way are Korn, Limp Bizkit, Creed, Kid Rock, Godsmack, Sevendust, Buckcherry, and the Offspring, who rock, rap, and slam out thunderous power chords, making even DMX's blathering ghetto bizkit "Stop Being Greedy" sound a smidge limp in the testosterone-soaked setting. The result is menacing and, beyond the shadow of a doubt, viscerally exhilarating: the sound of a terrible booty being born. More benignly, Korn's Herculean "Blind" and Kid Rock's acid-hop anthem "Bawitdaba" get at least a couple of ya-yas out. Still, after you crawl away from the first disc's mosh pit, licking your wounds and wishing the 'Stock's profiteers had hired better security, chill out with the hippiecentric second disc, which gets in touch with the fest's communal vibe via an ace Roots jam, a sunny, impassioned Dave Matthews tune, and a Chemical Brothers workout on "Block Rockin' Beats," that's fluid and funky enough to be a live groove band. Other highlights include Everlast's tough, alt-folk rockin' "Ends," G. Love's refreshing "Cold Beverages," and supercharged shots from Live and Bush. Just goes to show that the revolution, for better or worse, has been polarized.

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
The 25th anniversary of Woodstock was such a resounding success, both commercially and critically, that it was inevitable that Woodstock 99 would appear on the 30th anniversary of the legendary free rock festival. Woodstock 99 was a different beast than any of its predecessors, however. The promoters designed it as a mercenary event, trying to earn as much money as possible in the course of three days. They picked a massive abandoned air force base in Rome, NY, and built plywood fences around the perimeters so they wouldn't have any gatecrashers. They decided to not allow any outside containers -- a common and logical safeguard, but that also meant everyone had to pay for water in the middle of the summer. All this was a prelude to a weekend of mayhem that ended in riots and rape. Some may argue that the riots were a reaction to the greed of the promoters, and they have a point -- but that doesn't excuse the numerous sexual assaults and rapes that occurred during the festival. Those assaults and the fires and the aggressively macho alt-metal acts became the legacy of Woodstock 99, and that's probably not what Epic had in mind when they signed a deal to release a double-disc set of highlights in October 1999. Woodstock 99 appeared on time, divided into one disc of metal and one disc that contains everything else that was at the festival. With the exception of Live, who sounds glaringly out of place, the first disc contains all the testosterone-driven acts, including highlights from the notorious sets by Korn, Kid Rock, Limp Bizkit, and Red Hot Chili Peppers. The second is much more sedate, thanks to bands as diverse as Dave Matthews Band, the Brian Setzer Orchestra, Sheryl Crow, Everlast, Everclear, Jewel, Elvis Costello, Alanis Morissette, Jamiroquai, Chemical Brothers, the Roots, Rusted Root, and Bruce Hornsby. Dividing Woodstock 99 makes it more listenable, but it also points out the inherent flaw in the festival -- while the artists on the second disc were true to the intentions of the original festivals, everyone except Live on the first disc were added to the bill to attract young males, who were ready to embrace Woodstock 99 as an opportunity to "f*** sh** up." Consequently, not only was the festival haunted by violence, it also was musically schizophrenic instead of eclectic. There was no reconciling aggro-metal with funk, dance, folk, pop, swing, and straight rock & roll, since the aggression just bulldozed everything else. That doesn't happen with the recording of Woodstock 99, since the discs are separated from each other like misbehaving children, but that very tactic raises the question of who is this for. They're sequenced for two separate audiences, and each would embrace one disc while hating the other -- therefore, it would have been better to release them separately. Even if they released Woodstock 99 this way, it would have been a problematic release because the quality of the music is uneven on both discs. Not only are there some average artists, not every above-average artist turns in a worthy performance. This unevenness does nothing to contradict the notion that Woodstock 99 was an ill-conceived commercial venture from the get-go -- and it doesn't erase the bad taste left by the riots, rapes, assaults, and mayhem, either.

Product Details

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Album Credits

Performance Credits

Elvis Costello   Track Performer
Megadeth   Track Performer
Metallica   Track Performer
Red Hot Chili Peppers   Track Performer
Everlast   Track Performer
Kid Rock   Track Performer
Live   Track Performer
Rage Against the Machine   Track Performer
Sheryl Crow   Track Performer
Offspring   Track Performer
G. Love & Special Sauce   Track Performer
Rusted Root   Track Performer
DMX   Track Performer
Bush   Track Performer
Jamiroquai   Track Performer
Korn   Track Performer
Alanis Morissette   Vocals,Track Performer
Chemical Brothers   Track Performer
Everclear   Track Performer
Roots   Track Performer
Our Lady Peace   Track Performer
Brian Setzer Orchestra   Track Performer
Dave Matthews Band   Track Performer
Guster   Track Performer
Lit   Track Performer
Sevendust   Track Performer
Limp Bizkit   Track Performer
Godsmack   Track Performer
Buckcherry   Track Performer
Robby Krieger   Track Performer

Technical Credits

Dave Edmunds   Composer
Jim Morrison   Composer
Kid Rock   Composer
Ray Manzarek   Composer
Dave Matthews   Composer
John Densmore   Composer
Rage Against the Machine   Composer
Brian Setzer   Composer
Glen Ballard   Composer
Zack de la Rocha   Composer
Kirk Hammett   Composer
John Harris   Engineer
Jimi Hendrix   Composer
James Hetfield   Composer
John Holbrook   Engineer
Jason Kay   Composer
Michael Masser   Composer
Kooster McAllister   Engineer
Mark Schafer   Composer
Don Schinn   Composer
David Thoener   Engineer
Lars Ulrich   Composer
Jamiroquai   Composer
Korn   Composer
Alanis Morissette   Composer
Mitch Maketansky   Producer
Cliff Burton   Composer
G. Love   Composer
Roots   Composer
Paul Special   Engineer
Mark Hutchins   Engineer
Sean McClintock   Engineer
Craig Montoya   Composer
Brian Kingman   Engineer
Black Thought   Composer
Art Alexakis   Composer
Phil Gitomer   Engineer
Fred Durst   Composer
Ryan Hewitt   Engineer
Mike Lawton   Cover Photo
?uestlove   Composer
Cafaro   Executive Producer
Charlie Campbell   Engineer
Greg Eklund   Composer
Earl Simmons   Composer
Jason Krause   Composer
A. Fields   Composer
Skip Kent   Engineer
Ryan Shuck   Composer
Joe Bates   Engineer
D. Hewitt   Engineer
Marshall Fawcett   Engineer
Nathaniel Hewitt   Engineer
Wes Borland   Composer
Hardi Kamsani   Engineer
Paul Wolff   Engineer
John Otto   Composer
Steve Sich   Engineer
Greg Langford   Engineer
Robby Krieger   Composer
Sam Rivers   Composer
Scott Storch   Composer

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