Billy Faier, one of the co-founders of the Woodstock Folk Festival, came to Woodstock as 14-year-old in 1945. According to Eleanor Walden, Billy was a very independent teenager. She remembers visiting his apartment in the mid-1940s in Greenwich Village and listening to folk and blues records. One time in 1946 she and Billy came up to Woodstock for the weekend. Faier loved Woodstock. When he was growing up in Brooklyn, he recalls on his website, he was patronized, ignored and abused by so-called schoolmates. Upon relocating to Woodstock he attended Kingston High School and found he was treated much the same. However, when he moved out and about in the Woodstock community he encountered a group of people who accepted him. These were the artists of the Woodstock Art Colony.
During the 1950s Faier became proficient on the five-string banjo. He recorded a series of albums, including two for the Riverside label and another on Electra. In 1959 he appeared at the Newport Folk Festival. By 1962 Billy was an accomplished and connected folk music veteran, so it makes sense that he co-founded the Woodstock Folk Festival, which occurred that year. After the festival Bernard and Mary Lou Paturel hired him as a talent booker for the Café Espresso.
The Historical Society of Woodstock’s Folk Songs of the Catskills: The Spirit of Camp Woodland exhibit and related events drew hundreds of attendees this past summer. For example, on August 14 nearly 100 people attended the presentation/folk concert with Sue Rosenberg, Pat Lamanna, Joe Hickerson, Mickey Vandow and Eric Weissberg.
During the exhibit people asked about the linkage between Camp Woodland (near Phoenicia, NY) and Woodstock. As it happens, there are innumerable links. Herb Haufrecht, one of the authors of Folk Songs of the Catskills, and a Camp Woodland music counselor, lived in Shady, NY, a hamlet of Woodstock. Another connection was through Barbara Moncure, a local folk singer. She and Alf Evers (for many years the Woodstock Town Historian, and author of Woodstock: History of an American Town) used to venture over to Camp Woodland for the annual festivals. Barbara performed at them, and eventually recorded an album of Catskill Mountain songs for Folkways. In 1959, Alf organized the First Annual Catskill Mountain Folk Music Festival at the Colony Arts Center. Several Catskill Mountain folk singers like “Squire” Elwyn Davis and Harry Siemson, who had previously appeared at Camp Woodland, performed at that festival. Another instance of Camp Woodland/Woodstock linkage occurred in August 1960 when Joe Hickerson, a counselor at the camp, headlined a concert with Carolyn Hester at the Woodstock Playhouse.
Pete Seeger, a big influence at the camp, was connected to Woodstock via his wife, Toshi, who grew up in the town. Pete played at a Woodstock Playhouse concert in 1962. Funds from that concert partially financed the Woodstock Folk Festival at the Woodstock Estates in 1962. Bob Dylan arrived in town around 1963 and John Herald, a former camper, came up to Woodstock in 1965. John Cohen, a former camp counselor, played the Sound-Outs with his band the New Lost City Ramblers.
Many of these interconnections are spelled out in Roots of the 1969 Woodstock Festival, published last year by WoodstockArts.
In 1964 Doug Gilbert, a photojournalist on assignment for Look Magazine, came up to Woodstock, NY, to do a story on Bob Dylan. The folk singer was on the cusp of superstardom. The next two years saw Dylan release Another Side of Bob Dylan, Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. Gilbert took a slew of photos, but Look never ran the story. Years later he unearthed the photos in a shoebox.
On the cover of the Roots book at left, Dylan is pictured exiting the Café Espresso driveway onto Woodstock’s Tinker Street. Riding shotgun on Dylan’s Triumph Motorcycle is John Sebastian.
Tim Hardin (1941-1980) moved to the Woodstock area in 1968 with his wife Susan Morss and his young son Damion. Already the town was a thriving music destination— with The Band, Bob Dylan, the Mothers of Invention, Richie Havens and the Blues Magoos in residence. It is said that Hardin, of all the songwriters in early 1960s Greenwich Village, was the best. His first album, recorded for Verve in 1966, yielded such tunes as “Reason to Believe,” which was covered by Rod Stewart, and “Hang On To a Dream” which became a staple for The Nice. In the aftermath of this release Bob Dylan referred to Hardin as the best songwriter alive.
It was with Tim Hardin 2, his second album, that the songwriter released “If I Were a Carpenter,” his most memorable song. Also on the album were such tunes as “Black Sheep Boy“ and “Lady Came from Baltimore.” During an eight-month period from 1965 to 1966 some of his best-known songs were written on a piano in his room in Los Angeles. By the time Hardin moved to Woodstock his career was taking off. Read the rest of this entry »