Doors: "When the Music's Over" (Saturday) The Moody Blues: "Nights in White Satin" (Sunday) Kris Kristofferson: "Me and Bobby McGee" (Wednesday) Joni Mitchell: "Woodstock" (Saturday) Mitchell: "Big Yellow Taxi" Miles Davis: "Call It Anything" (Saturday) Leonard Cohen: "Suzanne" (Sunday) Emerson, Lake & Palmer: "Pictures at an Exhibition" (Saturday) Hendrix: "Machine Gun" † Hendrix: "Voodoo Child (Slight Return)" Joan Baez: "Let It Be" (Sunday) Jethro Tull: "My Sunday Feeling" (Sunday) The Doors: "The End" (Saturday) † Great Awakening: "Amazing Grace" Hendrix: "Foxy Lady" The Who: "Naked Eye" Bob Dylan: "Desolation Row" (studio version played over the end credits) " † " indicates songs that are not included on the CD. Reception Time Out magazine said "The music is exemplary stuff to anyone who heard it the first time aroundthe Doors, Free, Kris Kristofferson (who eventually stormed off stage), the Who, Miles Davis (silhouetted against the dusk), Jethro Tullbut it's the hilarity of the sound-bites that makes this really worth catching." TV Guide said "Lerner's sharp, devastingly funny film, which was to be financed by the profits, remained one of its greatest casualtiesuntil now. Lerner managed to capture all the hilarious backstage wheeling and dealing, as well as some of the era's best live music." The Austin Chronicle said "because Message to Love does such a fine job of underscoring the ideology of a generation in conflict with the commercialism of festivals like Wight, it's easy to forget about the quality performances captured by Lerner over the five days that the festival raged". Deseret News said "Though the performances are great, the 'warts-and-all' approach the film takes elevates it from being just a good music documentary to a great one." The Independent suggested the film was "twice as entertaining if you fast- forwarded through the music". Variety magazine said this expertly-edited film had "a far deeper historical insight than similar pics from its original era", adding "images are in good shape, and sound quality is excellent." At the Boston Society of Film Critics Awards in 1997, the film was nominated for Best Documentary. Rolling Stone placed it at number 21 in their list of the greatest rock documentaries. Vulture.com included the film at number 37 on their list of the best music documentaries of all time. Musicoholics had it at number 37 on their list of Legendary Music Documentaries. It was listed at number five on the list of Top 10 Music