Andy daly sha na na3/2/2024 ![]() Pepping it up, vocalist Donny York took the lead for an energetic stomp through Elvis Presley’s 1961 hit “(Marie’s The Name) His Latest Flame.” The Surfaris’ classic instrumental “Wipe Out” pumped the crowd further, complete with the famed ferocious drum breaks being replicated easily by Jocko Marcellino and epileptic dancing fits from guitarist Henry Gross. Versions of The Del-Vikings’ “Come Go With Me” and The Rays’ “Silhouettes” showcased the group’s strained-but-sincere harmonies before the gold lame-clad vocalist Rob Leonard stepped forward to deliver the lead on a severely tongue-in-cheek version of Mark Dinning’s teen tragedy classic “Teen Angel.” The crowd roared with appreciative laughter. Their set began with a ripping version of The Silhouettes’ “Get A Job,” their speed-freak intensity impressive considering the early hour, and the stunned audience gave them an effusive ovation. Somehow or other, this group of greasers-with a healthy dose of wink thrown into their act-snuck onto the Woodstock bill as the festival’s penultimate act. Contemporary groups such as The Mothers of Invention and Fleetwood Mac regularly incorporated similar ’50s throwback segments into their acts, but these were more straight parodies and none of the others took it quite this far. Complete with leather jackets, greasy ducks-ass hairstyles, and gold lame suits for its front line members, the band went for it, bringing back deceptively simplistic early rock in an era dominated by more progressive musicians (such as the bemused gentleman watching Sha Na Na from the side of the stage, Jimi Hendrix). One can only imagine the shock and surprise that must have come over the audience when Sha Na Na walked onto the stage. Having been up all night rocking out and partying, the crowd-or what was left of it-was pretty beat by 7:45 am. ![]() By chance, Woodstock promoter Michael Lang happened to catch one of these early shows and offered the chance for Sha Na Na to have their big break at Woodstock. They quickly caught the attention of the hip cognoscenti such as Fillmore promoter Bill Graham, who would have Sha Na Na open for heavyweight counterculture acts such as the Grateful Dead and Frank Zappa’s Mothers of Invention at the Fillmore East. Sha Na Na began performing in New York City clubs in 1969. They added Joe Witkin (keyboards), Henry Gross and Elliot Cahn (guitars), Bruce “Bruno” Clark (bass), and Jocko Marcelino (drums) to their large vocal lineup, dressed in gold lamé and leather jackets, and slicked back their hair, and Sha Na Na was born. The name change was necessary because there was already a group by that name, famous for their version of the garage band classic, “Louie Louie.” The name Sha Na Na was taken from the 1957 song, “Get a Job,” by the Silhouettes, which became part of their repertoire. Sha Na Na was the creation of Columbia University students Donald “Donny” York, Rob Leonard, Alan Cooper, Frederick “Dennis” Green, Dave Garrett, Richard “Richie” Joffe, and Scott Powell, who were part of an a cappella group known as The Kingsmen. With gold lamé and gold boots, jeans and rolled-up shirt sleeves, and lots of greasy hair, Sha Na Na took the stage on Monday morning at Woodstock. Performed Monday morning, August 18, 7:45–8:15 am Performing songs from the 1950s and looking nothing like the young people in the audience, they danced, dit-dit-dited, and doo-wopped their way through a high-energy half-hour set that left people delighted and bewildered.Ĭelebrating the 50th anniversary of the Woodstock festival, August 1969–2019 Day Three, Performer 9: Sha Na Na ![]() Rock ’n’ Roll tribute band Sha Na Na wins everyone’s prize for the most out-of-place act at Woodstock.
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