Top 9 Rock Festivals of All Time

This week Classic Rock Review joins the celebration of the 45th Anniversary of the historic 1969 Woodstock Music Festival. In conjunction with Top 9 Lists, we present a list of the Top 9 Rock Festivals of all time, along with a bonus list of Top 9 Single Day, Single Location Concerts.

Woodstock from behind the stage

1. Woodstock

August 15-18, 1969
Bethel, New York

This remains the mother of all music festivals, held at a 600-acre dairy farm owned by Max Yasgur. A series of coincidental events unfolded which effected the location and operation of this festival, which grew to become a “free” event for over 400,000 attendees. Regarded as a pivotal moment in popular music history, 32 acts performed during the rainy weekend, starting with Richie Havens, and concluding with a memorable performance by Jimi Hendrix as the crowd dispersed mid-morning on Monday, August 18th. Woodstock was immortalized in a later documentary movie as well as a song by Joni Mitchell, who was one of many major acts that did not attend by later regretted it.

Woodstock Performers: Richie Havens, Sweetwater, Bert Sommer, Tim Hardin, Ravi Shankar, Melanie, Arlo Guthrie, Joan Baez, Quill, Country Joe McDonald, Santana, John Sebastian, Keef Hartley Band, The Incredible String Band, Canned Heat, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin with The Kozmic Blues Band, Sly and the Family Stone, The Who, Jefferson Airplane, Joe Cocker and The Grease Band, Ten Years After, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills, & Nash, Paul Butterfield Blues Band, Sha Na Na, Jimi Hendrix and Gypsy Sun Rainbows

Buy Woodstock soundtrack
Buy Woodstock: Three Days of Peace & Music DVD

2. Monterey Pop Festival

June 16-18, 1967
Monterey, California

Jimi Hendrix at MontereyCredited as the event which sparked the “The Summer of Love”, The three-day Monterey International Pop Music Festival had a rather modest attendance but was soon recognized for its importance to the performers and significance to the sixties pop scene. The lineup consisted of a blend of rock and pop acts with memorable performances by The Who and Jimi Hendrix Experience.

Monterey Pop Performers: Jefferson Airplane, The Who, The Jimi Hendrix Experience, Janis Joplin, Otis Redding, Booker T. & the MG’s, Ravi Shankar, The Mamas and the Papas

Buy Monterey Pop Festival Live album

3. Live Aid

July 13, 1985
London and Philadelphia

Live Aid, PhiladelphiaStill the largest benefit concert 30 years on, Live Aid was a also the first live multi-venue event, with over 70,000 at London’s Wembley Stadium and close to 100,000 at JFK Stadium in Philadelphia. Organized by musician Bob Geldof of the Boomtown Rats as relief for the Ethiopian famine, the concert evolved from Band Aid, a multi-artist group who recorded “Do They Know It’s Christmas?” in 1984. Live Aid was also one of the largest worldwide television broadcasts, with an estimated audience of 1.9 billion in about 150 nations. Memorable performances and moments included those by Queen, U2, Dire Straits, a reunited Black Sabbath, and a loose reunion by members Led Zeppelin, the first since their breakup in 1980.

Live Aid Performers: Status Quo, The Style Council, The Boomtown Rats, Adam Ant, Spandau Ballet, Elvis Costello, Nik Kershaw, Sade, Sting, Phil Collins, Branford Marsalis, Howard Jones, Bryan Ferry, David Gilmour, Paul Young, U2, Dire Straits, Queen, David Bowie, Thomas Dolby, The Who, Elton John, Paul McCartney, Band Aid, Joan Baez, The Hooters, Four Tops, Billy Ocean, Black Sabbath, Run–D.M.C., Rick Springfield, REO Speedwagon, Crosby, Stills and Nash, Judas Priest, Bryan Adams, The Beach Boys, George Thorogood and the Destroyers, Simple Minds, The Pretenders, Santana, Ashford & Simpson, Madonna, Tom Petty and the Heartbreakers, Kenny Loggins, The Cars, Neil Young, The Power Station, Thompson Twins, Eric Clapton, Led Zeppelin (announced as “Jimmy Page, Robert Plant, John Paul Jones, Tony Thompson, Paul Martinez, Phil Collins”), Duran Duran, Patti LaBelle, Hall & Oates, Mick Jagger, Eddie Kendricks, David Ruffin, Tina Turner, Bob Dylan, Keith Richards, Ronnie Wood, USA for Africa

Buy Live Aid DVD

4. Isle of Wight Festival

August 26-30, 1970
Isle of Wight, UK

Isle Of Wight Festival, 1970In sheer numbers, the 1970 Isle of Wight Festival may be the largest ever, with estimates of over 600,000, which is an increase of about 50% over Woodstock. Promoted by local brothers Ronnie, Ray and Bill Foulk, the 5-day event caused such logistical problems (all attendees had to be ferried to the small island) that Parliament passed the “Isle of Wight Act” in 1971, preventing gatherings of more than 5,000 people on the island without a special license. Memorable performances included late career appearances by Jimi Hendrix and The Doors, and The Who, who released their entire set on the 1996 album Live at the Isle of Wight Festival 1970.

Isle of Wight 1970 Performers: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby, Gary Farr, Supertramp, Howl, Black Widow, The Groundhogs, Terry Reid, Gilberto Gil and Caetano Veloso, Fairfield Parlour, Arrival, Lighthouse, Taste, Rory Gallagher, Chicago, Procol Harum, Voices of East Harlem, Cactus, John Sebastian, Shawn Phillips, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson, Lake & Palmer, The Doors, The Who, Sly & the Family Stone, Melanie, Good News, Ralph McTell, Heaven, Free, Donovan, Pentangle, The Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens

Buy Message to Love, The Isle of Wight Festival DVD

5. Ozark Music Festival

July 19-21, 1974
Sedalia, Missouri

Ozark Music Festival stage“No Hassles Guaranteed” was the motto of the Ozark Music Festival, held at the Missouri State Fairgrounds in 1974. While this festival offered an impressive lineup of artists as well as a crowd upwards of 350,000 people, the Missouri Senate later described the festival as a disaster, due to the behaviors and destructive tendencies of the crowd.

Ozark Music Festival Performers: Bachman–Turner Overdrive, Aerosmith, Premiata Forneria Marconi, Blue Öyster Cult, The Eagles, America, Marshall Tucker Band, The Nitty Gritty Dirt Band, Boz Scaggs, Ted Nugent, David Bromberg, Leo Kottke, Cactus, The Earl Scruggs Revue, Lynyrd Skynyrd, Electric Flag, Bob Seger & the Silver Bullet Band, Joe Walsh and Barnstorm, The Souther Hillman Furay Band, The Ozark Mountain Daredevils, Charlie Daniels Band, REO Speedwagon, Spirit

6. US Festival

May 28-30, 1983
Devore, California

Steve Wozniak’s US Festivals were staged on two occasions in September 1982 and May 1983. The second of these was packed with a lineup of top-notch eighties acts who performed in an enormous state-of-the-art temporary amphitheatre at Glen Helen Regional Park.

1983 US Festival Performers: Divinyls, INXS, Wall of Voodoo, Oingo Boingo, The English Beat, A Flock of Seagulls, Stray Cats, Men at Work, The Clash, Quiet Riot, Mötley Crüe, Ozzy Osbourne, Judas Priest, Triumph, Scorpions, Van Halen, Los Lobos, Little Steven & the Disciples of Soul, Berlin, Quarterflash, U2, Missing Persons, The Pretenders, Joe Walsh, Stevie Nicks, David Bowie

7. The Crossroads Guitar Festival

June 4-6, 2004
Dallas, Texas

Crossroads Festival 2004 adStarting in 2004, the Crossroads Guitar Festivals have been held every three years to benefit the Crossroads Centre for drug treatment in Antigua, founded by Eric Clapton. These concerts showcase a variety of guitarists, with the first lineup at the Cotton Bowl stadium in 2004 featuring some legends along with up-and-comers hand-picked by Clapton himself.

2004 Crossroads Guitar Festival Performers: Eric Clapton, Johnny A, Vishwa Mohan Bhatt, Ron Block, Booker T. & the M.G.’s, Doyle Bramhall II, JJ Cale, Larry Carlton, Robert Cray, Sheryl Crow, Bo Diddley, Jerry Douglas, David Honeyboy Edwards, Vince Gill, Buddy Guy, David Hidalgo, Zakir Hussain, Eric Johnson, B.B. King, Sonny Landreth, Jonny Lang, Robert Lockwood, Jr., John Mayer, John McLaughlin, Robert Randolph, Duke Robillard, Carlos Santana, Hubert Sumlin, James Taylor, Dan Tyminski, Steve Vai, Jimmie Vaughan, Joe Walsh, ZZ Top, David Johansen

Buy Eric Clapton: Crossroads Guitar Festival 2004 DVD

8. Live 8

July 2, 2005
Locations world wide

Pink Floyd at Live 8Held 20 years after he organized Live Aid, Bob Geldof’s Live 8 was even more ambitious, being held in nine different locations around the world on the same day. Timed to coincide with the G8 conference in Scotland that year, the goal was to raise money to fight poverty in Africa. The most memorable moment from the concerts was at Hyde Park in London where the classic lineup of Pink Floyd reunited for the first time in over two decades.

Live 8 Performers: U2, Paul McCartney, Annie Lennox, Mariah Carey, R.E.M. The Killers, The Who, UB40, Pink Floyd, Elton John, Bob Geldof, Velvet Revolver, Madonna, Coldplay, Robbie Williams, Will Smith, Alicia Keys, The Black Eyed Peas, Kanye West, Linkin Park, Jay-Z, Rob Thomas, Sarah McLachlan, Stevie Wonder, Maroon 5, Deep Purple, Neil Young, Buck Cherry, Bryan Adams, Mötley Crüe, Brian Wilson, Green Day, a-Ha, Roxy Music, Dido, Peter Gabriel, Snow Patrol, The Corrs, Zola, Lucky Dube, Jungo, Pet Shop Boys, Muse, The Cure

Buy Live 8 DVD

9. Woodstock ’94

August 12-14, 1994
Saugerties, New York

Organized to commemorate the 25th anniversary of the original Woodstock festival, Woodstock ’94 was promoted as “3 More Days of Peace and Music”. in fact, this concert took place near the originally intended location of that first show and other similarities such as common performers, similar crowd size, rain, and mud.

Woodstock ’94 Performers: Blues Traveler, Candlebox, Collective Soul, Jackyl, King’s X, Live, Orleans, Sheryl Crow, Violent Femmes, Joe Cocker, Blind Melon, Cypress Hill, Rollins Band, Melissa Etheridge, Crosby, Stills, & Nash, John Sebastian, Nine Inch Nails, Metallica, Aerosmith, Country Joe McDonald, Sisters of Glory, Arrested Development, Allman Brothers Band, Traffic, Santana, Green Day, Paul Rodgers Rock and Blues Revue, Spin Doctors, Porno For Pyros, Bob Dylan, Red Hot Chili Peppers, Peter Gabriel

Read more on Woodstock ’94 from our recent Comebacks and Reunions special feature

Bonus Top 9 List: Best Single Day, Single Location Shows

The Who at Concert for New York City

1. The Concert for New York City October 20, 2001. New York, NY
2. The Band’s Last Waltz November 25, 1976. San Francisco, CA
3. Atlantic Records 40th Anniversary Celebration May 14, 1988. New York, NY
4. Concert for Bangladesh August 1, 1971. New York, NY
5. Knebworh Festival June 30, 1990. Knebworth, UK
6. Texxas Jam July 1, 1978. Dallas, TX
7. Farm Aid September 22, 1985. Champaign, IL
8. Canada Jam August 26, 1990. Bowmanville, Ontario
9. Altamont Free Concert December 6, 1969. Tracy, CA


Ric Albano

Shout at the Devil by Mötley Crüe

Shout at the Devil by Motley CrueShout at the Devil is the point where Mötley Crüe‘s musical range widened and the perfect template for “hair metal” was forged for the coming years. Coming nearly two full years after their fine but raw debut , Too Fast for Love, it is clear that the band had fully embraced a Judas Priest style of metal with just a bit of seventies glam rock for full effect in the MTV age. This is also the album where bassist Nikki Sixx fully arrived as a composer, writing hook-heavy anthems that strike adolescents in the heart. Through its title and theme, the album also fully embraces the occult and other dark themes, almost to the point of absolute absurdity.

Much like on the debut album, the guitar work of Mick Mars continues to be the real musical highlight on Shout at the Devil. Mars offers some dirty, crunching, and powerful riffs throughout, while adding a nice variation of melodic leads with varying techniques and sonic flavors. These intense and inspired guitar solos greatly enhance the compositions and bring the album overall to a higher level.

Of course, a little controversy never hurt a rock album’s sales. The original album cover was pure black with a pentagram but was soon replaced due to strong objections by religious groups. Then to just tweak the negative hysteria over the top, the group chose the Beatles’ “Helter Skelter” as the only cover on the album. This choice appears to be solely as a homage to Charles Manson and his group, whose bio carried the same name. Still, aside from messing with the mystique, this song does translate surprisingly well to Mötley Crüe’s style.


Shout at the Devil by Mötley Crüe
Released: September 26, 1983 (Elecktra)
Produced by: Tom Werman
Recorded: Cherokee Studios, Hollywood, May-July 1983
Side One Side Two
In the Beginning
Shout at the Devil
Looks That Kill
God Bless the Children of the Beast
Helter Skelter
Red Hot
Too Young to Fall in Love
Knock ‘Em Dead, Kid
Ten Seconds to Love
Band Musicians
Vince Neil – Lead Vocals  |  Mick Mars – Guitars
Nikki Sixx – Bass, Vocals  |  Tommy Lee – Drums, Vocals


Engineer Geoff Workman composed the haunting “In the Beginning” which acts as an intro piece for the title song “Shout at the Devil”. The great rudimentary stops during the verses topped by the frantic vocals of Vince Neil give this otherwise chanting and fist pumping anthem a definite edge.

“Looks That Kill” is the closest to a true classic on the album. Released as a single and peaking at #12 on the Mainstream Rock charts, the song was Mötley Crüe’s first true widespread exposure, due mainly to its heavily rotated video. The song is an early album showcase for Mars, who uses inventive riffing and wailing leads to forge a song that remains an all-time fan favorite.

“Bastard” starts with an awkward drum sequence by Tommy Lee before settling into a hard-rock groove which alternates between the measured verses and driving choruses. Mars’s delicate “God Bless the Children of the Beast” is an acoustic piece with a melodic chorus of electric guitars on top that was no doubt inspired by Steve Hackett and/or Randy Rhoads and acts as an intro to “Helter Skelter” to complete side one.

The second side begins with “Red Hot”, driven by the thumping rhythm of Lee and Sixx, before the pop rocker “Too Young To Fall in Love” with strong vocal melodies and hook which are perfect for what the band was doing at the time, making it a strong radio hit. The middle of the side contains a few boilerplate numbers, “Knock ‘Em Dead, Kid” and “Ten Seconds to Love”, both co-written by Neil and Sixx and combined acting as the only true filler on Shout at the Devil.

What pushes this album over the top is the strong closing track “Danger”, which is the finest pure song on the album. Melodramatic but beautiful, the song contains a variety of guitar textures by Mars along with passionate and wailing vocals by Neil and great drum fills by Lee, making it a very complete band effort and a showcase for their talent at the time. “Danger” is moody and strong, and almost sounds like a holdover of some of the finer material from their first album.

Shout at the Devil sold well (reaching 4x platinum in sales) and acted as a catalyst to propel Mötley Crüe to becoming the top selling heavy metal act of the 1980s. It was also a visible landmark of the high-water mark for the style of rock which would be copied into extinction within a decade of its release.


Part of Classic Rock Review’s celebration of the 30th anniversary of 1983 albums.

1983 Images


Too Fast for Love by Mötley Crüe

Perhaps more than any other band, Mötley Crüe epitomized the “hair band” phenomena of the 1980s, with their updated version of 1970s glam. But they did have a brief moment of pre-glam, pre-hair when they were simply a hungry hard rock band from L.A. looking to make their breakthrough.

The band’s 1981 debut album Too Fast for Love captures this era in raw and unpolished form. There are flaws throughout, including the obvious fact that Nikki Sixx had not yet learned how to play bass (which he later admitted), the overall low budget under-production, and the fact that songs do tend to repeat themselves in near mind-numbing sequence. In spite of this, the album illustrates that there is something real and legit about these four young talents, including Sixx whose main contribution is as the band’s primary songwriter, which can attract even non-fans of the band or the genre.

The talent represented here validates Mötley Crüe as a legitimate rock band. This is especially true for the most talented member of the band, guitarist Mick Mars, who is the only member of the band that truly has his sound fully formed and cultivated on this debut.

Too Fast for Love byMötley Crüe
Released: December, 1981 (Elektra)
Produced by: Mötley Crüe
Recorded: Hit City West, Los Angeles, 1981
Side One Side Two
Live Wire
Come On and Dance
Public Enemy #1
Take Me To the Top
Piece of Your Action
Starry Eyes
Too Fast for Love
On With the Show
Vince Neil – Lead Vocals | Mick Mars – Guitars
Nikki Sixx – Bass | Tommy Lee – Drums

Mars’ sound is the lynch pin that really elevates this album from semi-professional demo to consumer-ready rock product. His technique and sound textures are best displayed on the album’s only ballad, “Merry-Go-Round”, in which Mars alternates between lightly picked staccato notes and sustained, heavy chords and includes a fantastic, overdubbed lead that takes the song home.

However, a true listen to Too Fast for Love reveals that there are some other budding musicians beyond Mars. Although both fall just short of being fully matured in their craft, Tommy Lee plays some animated and entertaining drums while Vince Neil sings with a melodic, new-wave-ish voice.

Several of the songs reflect the band’s seventies influences. The opener “Live Wire”, with it’s machine-gun rift that dissolves into a calmer mid-section is reminiscent of Rush’s “Bastille Day”. Deep Purple’s influence can easily be heard in the entertaining “Piece of Your Action”, while the album’s title song sounds like any number of Kiss songs.

Too Fast for Love also includes a couple of really good rock-pop songs. “Public Enemy #1” would have been a huge hit if it were released during the band’s heyday a half decade later, while the closer “On With the Show” displays the Crüe’s versatility as up-and-coming musicians.

Even some of the album’s weaker songs, such as “Take Me to the Top” and “Starry Eyes” display a bit of authentic, early eighties charm that makes Mötley Crüe’s debut well worth the listen.


Part of Classic Rock Review’s celebration of the 30th anniversary of 1981 albums.

1981 Images