The Folk Music Revival, 1958-1970: Biographies of Fifty Performers and Other Influential People

The Folk Music Revival, 1958–1970 ALSO BY DAVID DICAIRE MCFARLAND AND FROM The Early Years of Folk Music: Fifty F...

Author: David Dicaire

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The Folk Music Revival, 1958–1970

ALSO

BY

DAVID DICAIRE MCFARLAND

AND FROM

The Early Years of Folk Music: Fifty Founders of the Tradition (2010) The New Generation of Country Music Stars: Biographies of 50 Artists Born After 1940 (2008) The First Generation of Country Music Stars: Biographies of 50 Artists Born Before 1940 (2007) Jazz Musicians, 1945 to the Present (2006) Jazz Musicians of the Early Years, to 1945 (2003) More Blues Singers: Biographies of 50 Artists from the Later 20th Century (2002) Blues Singers: Biographies of 50 Legendary Artists of the Early 20th Century (1999)

The Folk Music Revival, 1958–1970 Biographies of Fifty Performers and Other Inﬂuential People

DAVID DICAIRE

McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London

LIBRARY

OF

CONGRESS CATALOGUING-IN-PUBLICATION DATA

Dicaire, David, 1963– The folk music revival, 1958–1970 : biographies of ﬁfty performers and other inﬂuential people / David Dicaire. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-6352-7 softcover : 50# alkaline paper 1. Folk musicians — Biography. and criticism. I. Title. ML394.D519 2011 781.62'1300922 — dc23 [B] BRITISH LIBRARY

2. Folk music — History

2011034607

CATALOGUING DATA ARE AVAILABLE

© 2011 David Dicaire. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. On the cover: Joan Baez and Bob Dylan at the Civil Rights March on Washington, D.C., 1963 (National Archives and Records Administration); guitar © 2011 Shutterstock Manufactured in the United States of America

McFarland & Company, Inc., Publishers Box 611, Je›erson, North Carolina 28640 www.mcfarlandpub.com

To John Brownlie, who will always have a folk tune in his heart.

Table of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Part One. The Revivalists: Behind the Scenes . . . . . . . . . . . . . 7 Gordon Friesen (1909–1996) and Agnes “Sis” Cunningham (1909–2004) Broadside Magazine . . . . . . . . . . . . . . . . . . . . . . . . . 9 Harold Leventhal (1919–2005) The Star Maker . . . . . . . . . . . . . . 13 Milton Okun (1923– ) The Studio Chameleon . . . . . . . . . . . . . . . 16 Irwin Silber (1925–2010) The Broker . . . . . . . . . . . . . . . . . . . . . . 20 Kenneth Goldstein (1927–1995) The Scholarly Folkie . . . . . . . . . 23 Ralph Rinzler (1934–1994) Background Man . . . . . . . . . . . . . . . . 27 Frank Hamilton (1934– ) The Teacher . . . . . . . . . . . . . . . . . . . . . 31

Part Two. The Revivalists: The Performers . . . . . . . . . . . . . . . 37 Erik Darling (1933–2008) Walk Right In . . . . . . . . . . . . . . . . . . . Doc Watson (1923– ) Deep Gap Folkie . . . . . . . . . . . . . . . . . . . . . Harry Belafonte (1927– ) Caribbean Folk . . . . . . . . . . . . . . . . . . . Bob Gibson (1931–1996) 12-String Songs . . . . . . . . . . . . . . . . . . . Ramblin’ Jack Elliott (1931– ) Hard Travelin’ . . . . . . . . . . . . . . . . Eric Von Schmidt (1931–2007) Cambridge Folk . . . . . . . . . . . . . . Fred Neil (1936–2001) Cult Success . . . . . . . . . . . . . . . . . . . . . . . . Dave Van Ronk (1936–2002) The Mayor of MacDougal Street . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John “Spider” Koerner (1938– ) Spider Web . . . . . . . . . . . . . . . . . Judy Collins (1939– ) A Golden Voice . . . . . . . . . . . . . . . . . . . . . Richie Havens (1941– ) Mixed Bag . . . . . . . . . . . . . . . . . . . . . . . . vii

39 43 48 54 58 63 67 72 78 84 89

viii

Table of Contents

Tom Rush (1941– ) The Circle Game . . . . . . . . . . . . . . . . . . . . . . 95 Tim Hardin (1941–1980) Bird on a Wire . . . . . . . . . . . . . . . . . . . . 99 Eric Andersen (1943– ) Blue River . . . . . . . . . . . . . . . . . . . . . . . 102

Part Three. The Political Folk . . . . . . . . . . . . . . . . . . . . . . . . . 107 Odetta Holmes (1930–2008) Voice of the Civil Rights Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Utah Phillips (1935–2008) The Golden Voice of the Great Southwest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peggy Seeger (1935– ) Manchester Angel . . . . . . . . . . . . . . . . . . Tom Paxton (1937– ) Ramblin’ Boy . . . . . . . . . . . . . . . . . . . . . . . Carolyn Hester (1937– ) Texas Songbird . . . . . . . . . . . . . . . . . . . Phil Ochs (1940–1976) The Singing Journalist . . . . . . . . . . . . . . Joan Baez (1941– ) Determined . . . . . . . . . . . . . . . . . . . . . . . . . . Bob Dylan (1941– ) Folk Troubadour . . . . . . . . . . . . . . . . . . . . . Country Joe McDonald (1942– ) Fixin’ to Die . . . . . . . . . . . . . . Arlo Guthrie (1947– ) Family Link . . . . . . . . . . . . . . . . . . . . . . .

108 115 120 125 132 137 144 151 162 169

Part Four. Groups and Duos . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 The Kingston Trio (1956– ) Trendsetters . . . . . . . . . . . . . . . . . . . The Clancy Brothers and Tommy Makem (1956–2007) Irish Hearts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chad Mitchell Trio (1958–1967) Missed Opportunities . . . . . . . New Lost City Ramblers (1958–1975) Old-Time Reintroduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ian and Sylvia Tyson (1959–1975) Canadian Folk Duo . . . . . . . The Limeliters (1959–1965, 1973–2010) Successful Formula . . . Peter, Paul and Mary (1961–1970) Deep Roots . . . . . . . . . . . . . . Simon and Garfunkel (1964–1970) The Sounds of Silence . . . . . The Byrds (1964–1973) Folk Rock Fusion . . . . . . . . . . . . . . . . . . The Lovin’ Spoonful (1965–1968) Good-Time Folk . . . . . . . . . .

177 184 192 197 204 209 214 221 230 236

Part Five. Other Performers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Miriam Makeba (1932–2008) Empress of African Song . . . . . . . 243

Table of Contents

Gordon Lightfoot (1938– ) Canadian Troubadour . . . . . . . . . . . Buffy Sainte-Marie (1941– ) Canadian Native Folk . . . . . . . . . . . Martin Carthy (1941– ) Father of the English Folk Revival . . . . Bert Jansch (1943– ) English Finger Picker . . . . . . . . . . . . . . . . . Joni Mitchell (1943– ) Canadian Prairie Folk . . . . . . . . . . . . . . . Ralph McTell (1944– ) Streets of London . . . . . . . . . . . . . . . . . . Donovan Leitch (1946– ) Sunshine Superman . . . . . . . . . . . . . .

ix

249 256 262 270 277 284 292

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Introduction There have been many musical chapters that retain nostalgic and idealistic proportions long after the golden period has faded into the pages of history. In the 1920s, the ﬁrst wave of recording sessions in jazz, blues, country and folk sparked a billion-dollar industry and continues to drive the modern sound. The 1930s and 1940s big band era is still fondly remembered. The rhythm and blues period of the World War II years and the subsequent explosion of rock and roll in the 1950s are other classic examples. The folk revival, which caught ﬁre in the late 1950s and faded in approximately 1970, holds its own fascination and continues to reverberate through modern music to this day. Although it is difﬁcult to pinpoint an exact date of when the revival began, historians and critics seem to agree that the initiator was The Weaver’s cover of “Good Night Irene,” the old Leadbelly staple, released in 1949, which zoomed up the charts to number one becoming the ﬁrst folk song to become a massive hit. They would follow with “So Long It’s Been Good to Know Yuh” and “Kisses Sweeter Than Wine.” However, the communist threat of the early part of the 1950s decimated the industry. Many of the style’s most established performers including Pete Seeger, Woody Guthrie, Lee Hays, Ronnie Gilbert, Irwin Silber, Gordon Friesen, Agnes “Sis” Cunningham, Fred Hellerman, Josh White, and Burl Ives among others, were accused of being communists and blacklisted. The McCarthy witch hunts drove the genre underground as only a handful of singers continued to ply their trade. Interestingly, Harry Smith’s Antholog y of American Folk Music, the most inﬂuential recording on modern folk artists, was released at the height of the “red” scare. The landmark collection was one of the essential links between the traditional practitioners of the early years and the new generation that starred during the revival. In the 1950s, the term “beatnik” was coined and the mode of dress, talk and, most importantly, the music (folk), was embraced wholeheartedly. The rebellious attitude of the average bongo playing, poetry loving, peaceful individual was romanticized and localized in the North Beach of California and 1

2

Introduction

Greenwich Village in New York. Opposite to the scruffy college dropouts were the clean-cut youths who sought out an education and had serious career ambitions. They were centered in and around the college and university districts of Chicago, Boston and Denver. Both would support different sides of the folk revival. Overnight, there was an explosion of coffee houses, clubs and other venues dedicated to serving the folk crowd that had sprung up around the country. The beatniks who were infatuated with poetry, often voiced their works to the accompaniment of bongos, acoustic guitars, and harmonicas, among other instruments. They wrote material that dealt with the same themes that many of the established singers of the circuit had been practicing for years, which included a hatred of war, as well as freedom and social justices for all people around the globe. Meanwhile, those on school campuses across the nation championed the groups that harmonized on traditional material, such as The Kingston Trio, Chad Mitchell Trio and The Limeliters, mainly because the members of these outﬁts were made up of college students. Dozens of folk enthusiasts performed in the coffee house circuit, as well as playing at private parties, open-air concerts, and hootenannies. The practice of passing folk music down from one generation to another had not changed. The greatest transition was the content of material performed at the various venues. While the traditional songs continued to be part of everyone’s repertoire, the emergence of more personal creations, often in lyrical poetic form, began to dominate the catalog of many practitioners. The era of the singer-songwriter had begun. At the start of the folk revival, there were essentially two schools of thought. The ﬁrst consisted of the emerging singer-songwriters who wrote their own words to traditional melodies and, in some cases, worked out entirely new methods. Later, their material would take on a much more personal reﬂection on a wide range of topics, including social and political causes. The second stuck to traditional songs and styles helping popularize the Appalachian, Cajun and old-time music that the folklorists in the ﬁrst half of the century had worked so hard to preserve. The Kingston Trio was one of the ﬁrst groups to popularize the established songs into gold charting success. However, they projected a much more clean-cut image than the average beatnik and had a clear knack of revitalizing traditional material into a modern sound. A good example of this successful method was their ﬁrst of many hits, “Tom Dooley,” an old folk tune brought to a contemporary standard. They would be instrumental in inﬂuencing the formation of other singing outﬁts including Peter, Paul and Mary, The Limeliters and the Chad Mitchell Trio who surpassed the initiators on a commercial level. Joan Baez was the ﬁrst of the singer-songwriters to make a strong social

Introduction

3

and political impact. Soon after arriving on the scene, the “determined one” was quickly championed as the voice of the new generation of performers. The self-penned material, as well as many songs derived from The Antholog y of American Folk Music served as the foundation of her catalog. Unlike The Kingston Trio, she was blatantly political and was one of the key ﬁgures of the Civil Rights Movement and the growing unrest over the involvement in Southeast Asia. Although a powerful, talented personality, Baez would give way to an unknown singer who hailed from Minnesota, but moved to Greenwich Village in order to begin his ascent. Bob Dylan would be crowned the messiah of the modern folk movement. Initially his repertoire consisted of bluesdrenched material that ignited the search for the authentic performers who reigned in the primitive, shining era of the 1920s. However, the evolving artist would create in a very short time a breadth and depth of work that would place him at the forefront of the revival inﬂuencing dozens of aspiring artists. A renewed interest in regional music exploded and fueled the revival. Suddenly, the forty-year-old recordings of Uncle Dave Macon, Clarence Ashley, Buell Kazee, Robert Johnson, Dock Boggs, Skip James, Lonnie Johnson, the Carter Family, Blind Lemon Jefferson, Sam “Lightnin’” Hopkins, the Stanley Brothers and Bill Monroe, among others, surged in popularity. The search for the authentic voices of the American folk-based music led to the discovery of several ﬁgures living in poverty and forgotten by the music industry. For example, Sam “Lightnin’” Hopkins was living in a Houston ghetto; Skip James was working in a hospital; Clarence Ashley was performing menial tasks; Buell Kazee was a minister; and Dock Boggs was a retired miner. Nearly all of the able-bodied performers enjoyed a career renaissance, many four decades after they had achieved a brief taste of success. The folk revival rekindled an interest in roots music including traditional folk, Appalachian Mountain music, jug band, blues, country, bluegrass and old-time. New outﬁts were formed all across the country championing the old-time musicians by reaching back into the respective catalog to bring the songs into the modern era for a new generation to enjoy them. One of the best of these modern groups was the New Lost City Ramblers who boasted a Seeger (Mike). The reissue of many recordings from the 1920s and 1930s brought to light an era that had been long forgotten. For many years, archivists, folklorists and collectors such as John Lomax, Alan Lomax, Harry Smith, Charles and Ruth Seeger, Helen Flanders, John Jacob Niles, Bascom Lamar Lunsford, and Margaret MacArthur, among others, had scrambled around the country recording and documenting the regional styles of every folk music sect including Appalachian, Georgia Seas, East Coast, West Coast, Midwest, Plains,

4

Introduction

Cajun and Cowboy. The songs these ethnomusicologists preserved played a large inspirational part as documented and recorded material for the revival. Although the musicians garnered the most attention during the revival, a different generation of archivists and collectors at the forefront of the excitement scrambled to protect what was being created at a furious pace. As well, producers, folklorists, arrangers, music publishers, promoters and festival organizers were of equal importance marketing the folk songs and singers. Unlike their predecessors, the new generation were much better educated due to the efforts of the Seegers, the Lomaxes and all of those who had worked tirelessly to preserve the rich folk tradition. Ethnomusicology had become part of the regular curriculum in many universities and colleges. Another of the major factors that enabled the folk revival to enjoy such a positive, quick swing in popularity was the explosion of new labels — both large and small — that sprouted up in every corner of the country in order to capture the excitement. Elektra, Vanguard and Columbia were just a few of the companies that signed up many of the emerging artists that appeared on the scene as eager executives scrambled to ﬁnd anyone with a competent voice and good guitar beat to add to their stable of performers. Without this involvement from the recording industry, the boom would not have been nearly as successful or powerful. The advent of record companies created a division in folk between those who remained true to the original material and others that were considered visionaries. By 1963, the genre was becoming more than just the popular tunes of the day; the newly recorded music championed political and social causes and protests. Folk music provided the soundtrack for the Civil Rights Movement, the great push for equality in America. The March on Washington featured performances from Joan Baez, Bob Dylan, Peter, Paul and Mary, Josh White and Harry Belafonte. Others, such as Pete Seeger, Guy and Candie Carawan and Odetta Holmes, were keen supporters for the rights of the minorities. Later in the decade, issues such as the arms race, the growing unrest with the escalation of the Vietnam War, the environment, the plight of the American Native, the threat of nuclear war and the right to smoke marijuana were some of the subject matters that provided fodder for folk-based songs. Suddenly, folk music was open to different audiences and venues. For decades, the genre had been regulated to the smaller halls and clubs, but during the revival, larger opportunities such as arenas and festivals became commonplace. Many of these acts broke open at the Newport Folk Festival, which launched the careers of countless artists during its reign including Baez and Dylan, among others. While the coffee houses and intimate clubs would play an integral role in the grass roots effort to promote folk, it was the large, open-air concerts that brought it greater attention. A good number of the

Introduction

5

performers would also appear at the blues, rock, bluegrass and country events spread throughout the United States and internationally. The golden era of the folk revival spanned from 1958 to 1970. In 1965, when Dylan went electric, he was booed off the stage, and suddenly the genre had lost its most important ﬁgure. However, already many bands with strong folk roots were delving into a louder, fuller electric sound including The Lovin’ Spoonful, The Byrds and Country Joe and the Fish, who led the charge of the folk rock movement. They would take the initial elements of the traditional sound and channel it to the listener in a different package. By the late 1960s, while the revival was considered essentially over, the introspective singer-songwriter remained a viable ﬁgure in the industry and a chart-topping artist type throughout the 1970s and beyond. Large annual festivals continued to draw sizeable crowds throughout the United States, and other parts of the world as the inﬂuence reached international levels. Although it would never again enjoy the attention it did during its special era, folk remained vibrant. Roots events like jamborees and hootenannies performing in smaller concert venues, coffee houses, and tiny clubs continued to thrive in every part of the country. The American folk boom would help fuel the second British folk revival and spark an explosion in the Canadian music industry. The inﬂuence of Dylan, Baez, Phil Ochs, Dave Van Ronk, Ramblin’ Jack Elliott, Peter, Paul and Mary, The Kingston Trio, Doc Watson and many others would reverberate throughout the entire global musical community. The art of music has always been one of imitation and creation, and the revival was no different. To this day, performers across the planet cite the efforts of the revivalists as having an immense impact on their own artistic vision. The ﬁrst book in this series, The Early Years of Folk Music: Fifty Founders of the Tradition, focused on a sweeping history from past centuries to the cusp of the folk revival. It featured a broad, global viewpoint that presented several layers of the many aspects of the genre on several different levels and served as a solid precursor to the present work. The major connection between the two volumes exists in the linking of performers who created the foundation and those that came along and reaped the rewards of that established structure. This book is dedicated to those who brought the near decade of folk’s modern golden age to life. It is divided into ﬁve parts. The Revivalists: Behind the Scene highlights the promoters, publishers, producers and the academic sect that were integral as background ﬁgures. The Revivalists: The Performers depicts the practitioners who helped bridge the change from the traditional material to a more personal perspective. The Political Folk focuses on the politically and socially conscious full-ﬂedged singer-songwriters. Part four, Groups and Duos, is devoted to those combos who were of seminal inﬂuence. The

6

Introduction

ﬁfth section, Other Performers, illustrates the reﬂective inﬂuence of American folk on other performers found all over the globe, particularly England and Canada. The roots revival of the late 1950s and early 1960s is long over, yet the genre continues as a vital force despite ﬂuctuation in popularity over the past decades, a malady that affects every style. Although it took the traditional sound many years to achieve the kind of success and attention other types had already enjoyed, the golden period remains one of the most vital in modern musical annals as it continues to fuel popular music to this day. But, no matter the performer(s), decade, venues, material or audience, folk remains the music of the common people.

PART ONE

The Revivalists: Behind the Scenes Although the performers received much of the credit and attention during the folk boom, those behind the scenes were of vital importance. It was the arrangers, publicists, concert organizers, promoters and song publishers who provided the much needed support in order for the singers and musicians to build a career. There was also an army of folklorists who continued the work of the Lomaxes, the Seegers, John Jacob Niles, Helen Flanders and Bascom Lumar Lunsford, among others. The advent of folkloric and ethnomusicology subjects being taught in the colleges and universities across the nation encouraged many eager students to learn about the rich vein of traditional American music. The result was a bright, well-educated generation of folk enthusiasts armed with an encyclopedic knowledge of thousands of songs and an understanding of how important it was to preserve the entire catalog. Many would branch out into the folk universe and carve out their own niche, promoting the genre as equally as any performer on the circuit. They would create a bridge between the old-time musicians of the prewar years and the newer artists of the folk revival. This link was essential because it provided the cohesion of traditional music, the very bedrock that the new generation of singers would draw inspiration from to write fresh material. Some of the more famous folklorist who aren’t included in this book include the scholar MacEdward Leach, who dedicated his time to the folk music of Newfoundland and produced The Ballad Book, The Critics and the Ballad, and Folk Ballads and Songs from the Lower Labrador Coast. David Evans concentrated on the folk blues idiom and wrote Big Road Blues: Tradition and Creativity of the Folk Blues. Neil Rosenberg focused on the study of contemporary folk music traditions, particularly the relationship between popular music and the local and regional sounds. Edward D. Ives, another educated folklorist, hailed from White Plains, New York. The man studied English at the University of Maine and later 7

8

Part One. The Revivalists: Behind the Scenes

taught folklore at the institution after obtaining a PhD on the subject from Indiana University. He performed as a folk singer to supplement his income as a lecturer and was introduced to the lumber camp singing tradition of Maine, New Brunswick and Prince Edward Island. For forty years, he explored the northeast oral tradition, publishing several books. He passed away on August 1, 2009, after writing about the Northeast musical tradition and establishing the Maine Folklore Center. There were other important ﬁgures. George Wein, the American jazz promoter and producer, founded the Newport Jazz Festival and then later established the Newport Folk Festival. Ken Irwin, Bill Nowlin and Marian Leighton-Levy founded the Rounder label. Originally a blues, blues-rock, string band, and bluegrass company, they would expand to include thousands of titles in folk, soul, Cajun, Celtic and Soca. They would go on to invest considerable time and money in certain projects, including the Alan Lomax Collection. Bess Lomax Hawes was a musician, folklorist and researcher, the daughter of John and Bess Lomax, and sister of Alan. Paul Clayton specialized in sea chanties and whaling songs and was an avid collector. W. K. McNeil, folklorist, historian, and record producer, concentrated on the Ozarks and Appalachian mountain cultures. Sam Eskin, a folklorist and collector, devoted his life to the folk style sweeping across the country and exploring many regions. Vance Randolph studied the folk culture of the Ozarks and wrote many books on the subject. The ﬁgures found in this part are an assembly of contributors who made their mark behind the scenes of the folk revival in a variety of capacities. They were just as important as the singers and musicians who garnered all of the frontline attention. Gordon Friesen and Agnes “Sis” Cunningham were left-wing political supporters who operated Broadside magazine and published many of the songs that deﬁned a generation. Harold Leventhal was the star maker, the promoter and manager with foresight and leverage. Milton Okun would release a few of his own albums but would gain fame as an arranger and producer of such acts as the Brothers Four, the Chad Mitchell Trio; and most importantly, Peter, Paul and Mary. Irwin Silber was a tough, feisty, outspoken individual who managed to keep the magazine Sing Out! running for years despite the many obstacles. Kenneth Goldstein was one of the great architects and intellects of the folk revival. With a PhD in folklore and folk life, he added a deﬁnite and different intellectual dimension to the era. Ralph Rinzler was one of The Greenbriar Boys before moving on to do important work in a capacity of roles as the director of the folk music department at the Smithsonian.

Gordon Friesen and Agnes “Sis” Cunningham

9

Frank Hamilton wandered around the country before he cofounded the Old Town Folk School and proceeded to teach the world about the rich vein of American traditional music.

Gordon Friesen (1909–1996) and Agnes “Sis” Cunningham (1909–2004) Broadside Magazine There were many contributors to the folk revival each with their own special gifts and abilities. Some were singers and musicians, while others produced the records. A number of people collected traditional material, and different ﬁgures wrote about the times, capturing the excitement and era in print for generations to look back upon and enjoy. Two such individuals were responsible for fueling the revival with their pen and transcribing talents. They were Gordon Friesen and Agnes “Sis” Cunningham. Gordon Friesen was born on March 3, 1909, in Weatherford, Oklahoma, into a large family. After a brief relocation to Kansas, they returned to their native state to endure the Depression, the Dust Bowl and a migration west to California in search of a better life. However, Friesen stayed behind to try and make it as an author, earning a living as a reporter for the local newspapers as well as the Midwest wire services. In his spare time he worked on a number of unpublished novels attempting to be the next William Faulkner, John Steinbeck or Ernest Hemingway. Along the way the ambitious young man met others interested in making careers as writers including the Western novelist Louis L’Amour and pulp icon Jim Thompson. All three worked as members of the New Deal-funded Federal Writers Project. Friesen gained notoriety as a writer not for his unsold ﬁction but for the many strong and objective letters to the editors of the Oklahoma Times chastising the newly formed FBI for their decidedly racial proﬁling against Oklahoma City’s Communist Party bookstore. His efforts brought much unwanted attention from the authorities, who were not impressed, and from the leader of the state Communist party, who offered the brash young man the position of chairman of the Oklahoma Political Prisoner’s Defense Committee. It was about this time that Friesen met Sis Cunningham. Agnes “Sis” Cunningham was born on February 19, 1909, in Watonga, Oklahoma, growing up poor on the family homestead located on the former Cheyene-Arapaho Indian reservation. Her father was a devoted socialist who

10

Part One. The Revivalists: Behind the Scenes

managed to keep the family together through the toughest of times. The feisty, independent daughter absorbed her father’s mental strength and loyalty, as well as his love of music; he was an amateur ﬁddler. Cunningham graduated from Southwestern State College and went on to study radical politics at Commonwealth College. Like her future husband, Agnes also became a writer; however, she penned songs instead of novels. Some of the tunes included “How Can You Keep on Moving (Unless You Migrate Too),” “There Is Mean Things Happening in This Land” and “Sundown.” It would be a few years before the world would hear any of this material. In 1937, Cunningham became a music teacher at the Southern Labor School for Women in North Carolina. On the curriculum were political and labor-union standards. In 1939, she accepted the position as an organizer for the Southern Tenant Farmers’ Union and also found time to establish, in conjunction with others, the Red Dust Players, a theatrical troupe that toured Oklahoma and surrounding states. When they passed through Oklahoma City, she met Friesen. The couple were married in 1941, a few short months before the United States entered World War II. After the wedding, they relocated to New York City to join friends Woody Guthrie and Pete Seeger. The newlyweds settled in the communal Greenwich Village and called their place the Almanac House. It was the center of many hootenannies as folk singers such as Cisco Houston, Bess Lomax, Lee Hays, Millard Lampell, Arthur Stern, Baldwin and Peter Hawes, Josh White and Burl Ives, and also Guthrie and Seeger, often visited. In 1942, Friesen and Cunningham joined the Almanac Singers that included Guthrie and Seeger as well as a revolving personnel of Houston, Lomax, Hays, Lampell, Ives and Stern White. The group recorded the album Dear Mr. President, with Sis contributing the classic “Belt Line Girls.” During the war, the couple relocated to Detroit and were active in community projects. Gordon wrote for the Detroit Times, and they formed a Motor City version of the Almanacs playing at local venues. She worked in a defense plant becoming a “Rosie the Riveter.” In 1944, they returned to New York and found work with the Ofﬁce of War Information. Later in the 1950s, because of their political views, they would be blacklisted and their musical ambitions would remain mostly dormant for a few years. Despite this, the spirited Cunningham continued to write topical songs, including “Mister Congressman” and “Fayette Country,” which was a tune that predated the Civil Rights Movement. However, they continued to struggle and survive the McCarthy witch hunts like many of their contemporaries. Things began to change in the later part of the decade as the folk revival loomed on the horizon. When the scene exploded, the couple

Gordon Friesen and Agnes “Sis” Cunningham

11

were eager to undertake any task in order to make some kind of contribution. The idea for the magazine Broadside originated with friend Pete Seeger while he was on tour of Britain. The political songwriter voiced his displeasure of no solid American songs being published for fear of repression, whereas in England this type of silence did not exist. Friesen and Cunningham jumped at the opportunity and gave the rag the title “Broadside,” in honor of the overseas tradition of printing songs on sheets of paper for sale on the streets. The ﬁrst issue featured leftist-minded musicians performing songs that were recorded on a reel-to-reel tape recorder. The tunes, which included “Talkin’ John Birch Paranoid Blues,” the very ﬁrst Bob Dylan compassion ever published, were then printed out on a mimeograph machine and smuggled out of the couple’s apartment in order to conceal the illegal activity of running a business out of their home. With Bob Dylan making regular contributions, the magazine began to gain some important attention. However, with the stone classic “Blowin’ in the Wind,” Broadside rose to the forefront of the folk revival and became a genuine necessary operation. The Dylan composition was a social and political statement that ushered in the protest song. From this point on, the periodical published more fervent anthems, including Phil Ochs “I Ain’t Marching Anymore” and Janice Ian’s racially-toned classic, “Society’s Child.” Broadside would also accept social and political pieces from Buffy SainteMarie, Eric Andersen, Peter La Forge, Pete Seeger and Malvina Reynolds, among others. During their quarter century run, thousands of songs would be published, making the periodical eagerly anticipated from all those in the ﬁeld. The team of Friesen and Cunningham, who had once been blacklisted and forced out of the music business, were now revered for their efforts. As the folk revival faded, the popularity of the magazine also declined. It would become a bimonthly and eventually a semiannual publication. In 1988, the Friesens dished out their 187th issue, which was the last one. It was considered the end of an era, but the duo could look back with pride at the difference they had made. During their prime, they were one of the leading voices of the folk revival, and more importantly, contributors to the political and social changes that occurred in the country and at a global level. In 1996, Friesen died. In 1999, Cunningham published their collaborative memoir, Red Dust and Broadsides: A Joint Autobiography. A year later, Smithsonian Folkways created a ﬁve-CD box set, The Best of Broadside 1962 –1988, derived from the most popular and best songs during the run of the magazine. On June 27, 2004, in New Paltz, New York, “Sis” Cunningham passed away. Gordon Friesen and Sis Cunningham were folk revival necessities. Their publication of the songs that mattered enabled them to play a vital role dur-

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Part One. The Revivalists: Behind the Scenes

ing a concentrated period. Although their contribution was not a musical one, they played an important role which allowed the musicians like Dylan, Pete Seeger, Ochs, Sainte-Marie, and La Forge to gain a foothold in the industry. The unspectacular yet integral contributions from the husband-wife team were an effort appreciated from various ﬁgures in the industry, including promoters, publicists, managers and concert organizers. While the duo did participate as part of the revolving lineups of the Almanacs, they were never important musicians. Aside from the magazine, the biggest contribution was Cunningham’s sharp songwriting skill that created a small but noteworthy catalog. “Belt Line Girls,” “Mister Congressman,” “How Can You Keep on Moving (Unless You Migrate Too),” “My Oklahoma Home (It Blowed Away”), “Fayette Country,” “There Is Mean Things Happening in This Land” and “Sundown” provide a very slim yet interesting collection. The New Lost City Ramblers and Ry Cooder both covered “How Can You Keep on Moving (Unless You Migrate Too).” They performed different roles in the publication of the magazine. Cunningham, the more musical of the two as a ﬁne singer and accordionist, transcribed the chords and lyrics to the songs from tape recordings made by the musicians. Friesen, the writer, created the commentaries for each published tune that required a certain perspective. They were a strong team and worked well together. The magazine fueled the careers of Bob Dylan, Phil Ochs, Tom Paxton, Malvina Reynolds, Buffy Sainte-Marie and a number of other leftist political commentators. Without Broadside, many of these artists and their thoughtprovoking songs would not have received the same exposure. Although it was a small production and often teetered on bankruptcy, the periodical shaped people’s consciousnesses’ on both sides of the Atlantic through the two-way exchange of song. But, despite its limited circulation, Broadside’s owners had the courage to print such controversial songs as Bob Dylan’s “Blowin’ in the Wind,” Janis Ian’s “Baby I’ve Been Thinking,” Peter La Forge’s “The Ballad of Ira Hayes,” Phil Ochs’s “Changes,” Thom Parrott’s “The Aberfan Coal Tip Tragedy,” Malvina Reynolds’s “Little Boxes,” Buffy Sainte-Marie’s “Welcome, Welcome Emigrante,” Pete Seeger’s “Waist Deep in the Big Muddy” and Nina Simone’s “Mississippi Goddam.” On the other side of the Atlantic they inﬂuenced John Brunner, Alex Comfort, Ewan MacColl and Peggy Seeger, Matt McGinn, Vanessa Redgrave and Leon Rosselson. Gordon Friesen and Sis Cunningham were instrumental in fueling the political and social aspect of the folk revival. They arrived on the scene with their magazine a year before the turbulence exploded with the assassination of a president. With Broadside, they assured that the leftist-wing had a strong, clear voice — one that would take over in the latter part of the decade.

Harold Leventhal

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Harold Leventhal (1919–2005) The Star Maker The producers and promoters had a major hand in shaping the folk revival and, most importantly, the path of the singers who often garnered all of the glory. Many of the musicians were aspiring artists totally unknown in the industry who reached fame through the efforts of the people working behind the scenes. One of these individuals who constantly championed the entertainers was dubbed the star maker. His name was Harold Leventhal. Leventhal was born on May 24, 1919, in Ellenville, New York. When his father died, his mother took the family to New York City’s Lower East Side. In high school, the young man, a member of the Young Communist League, was arrested for attempting to organize other students to protest against engaging in future wars. The economic hardships of the Great Depression shaped his outlook on the poverty and distress of the common person. After graduation, Leventhal attempted to administrate a union in a factory and was ﬁred. He started his music career as a song promoter for composer Irving Berlin as part of the Regent Music Company. He also frequented the Manhattan nightclub circuit providing Frank Sinatra and Peggy Lee with new song material. He hustled the bandleaders Harry James, the Dorsey Brothers and Benny Goodman. While they were lean times, Leventhal managed to survive and enjoyed what he was doing. During World War II, he served in the U.S. Army Signal Corps. It was while stationed in India that he met Mahatma Gandhi, the famous peace activist who would lead his people to freedom through non violent methods. This had a profound effect on Leventhal, shaping his sense of social control and outrage, a necessary tool that would be utilized at a later date. After the war, he returned to New York and worked for his brother. He also continued his left-wing causes and eventually entered the circle of folk singers that included Woody Guthrie, Cisco Houston, Ronnie Gilbert, Lee Hays, Fred Hellerman and others. Leventhal was astonished by their deep talent and troubled that none were major stars, mostly because of their political viewpoints. In 1948, he worked on Henry Wallace’s failed presidential campaign and connected with Pete Seeger. He had begun to promote different traditional singers and musicians, including Woody Guthrie and Leadbelly, trying to secure them a wider audience for their music. Each were major folk artists who lived on the fringe and were bête noires in the eyes of the authorities. In 1951, Leventhal accepted management of the group, The Weavers. It

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was an inauspicious time to tackle that position because of the anti–Communist witch hunts that blacklisted the outﬁt and forced it to disband. However, he remained faithful to his charge and continued to support them during their darkest years when it was difﬁcult to secure a paying performance or record any new material. In 1955, he used old-fashioned managerial knowledge to get all four members to perform. The concert would become a landmark incident in the history of American traditional music and inspired dozens of aspiring musicians to begin careers as entertainers. The event was one of the seed starters for the revival as The Weavers had always been one of inﬂuential groups in the annals of folk music. The star maker would not limit his talents to folk artists. He also supported world music and produced the debut New York performances of Jacques Brel, Miriam Makeba, Nana Mouskouri and Ravi Shankar. Later the music lover embraced jazz and helped The Modern Jazz Quartet gain acceptance. Leventhal was an aggressive individual, able to convince promoters and concert organizers to give his groups a chance. He used leverage in order to progress the careers of those under management. In 1963, Leventhal enjoyed his most famous moment when he organized Bob Dylan’s appearance at the New York Town Hall. It was the singersongwriter’s ﬁrst metropolitan concert performance and considered a major event in the annals of folk music history. It was a night of magic as the young artist, who had begun to take the ever increasing popular folk music to even greater heights than anyone could have ever imagined, would utilize the vital appearance to create more excitement. Because he was able to bring Dylan to the forefront, Leventhal increased to a stellar reputation as a mover and shaker. It would enable him to gain greater leverage guiding the careers of Joan Baez, Johnny Cash, Harry Belafonte, Phil Ochs, Judy Collins and Peter, Paul and Mary. With the exception of Cash, all the aforementioned where integral to the folk revival and remained solid attractions after the era had ended, thanks to the star maker’s efforts. One of Leventhal’s closest associations in the folk world was Woody Guthrie. When the latter succumbed to Huntington’s disease, it was Harold who took care of the estate. In 1976, he produced Bound for Glory, the Woody Guthrie biopic. He gave Woody’s son, Arlo, a position in his company, and produced Alice’s Restaurant, one of the deﬁning counterculture ﬁlms of the era. The promoter also managed Arlo’s annual Carnegie Hall holiday concert. In 1980, the star maker assumed the same mantle for Wasn’t That a Time, the much acclaimed Weaver’s reunion. In 1989, Leventhal won a Grammy for his production work on the album Folkways: A Vision Shared — A Tribute to Woody Guthrie and Leadbelly. That same year he would earn an Emmy for the television ﬁlm We Shall Overcome.

Harold Leventhal

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Although he slowed down in his later years, the behind the scene, jack-of-alltrades was able to look back on a very successful career as someone who had made a difference. On October 4, 2005, Leventhal died at the age of eightysix. Howard Leventhal was an integral part of the folk revival. In the era of McCarthyism and during the Civil Rights Movement, folk music became the voice of the country’s conscience and the star maker was one of the prime individuals responsible for making that voice heard. He possessed an excellent business acumen that enabled him to become the period’s most successful promoter. Although known as a folk enthusiast, surprisingly his musical taste was very eclectic. It ranged from the country blues of Lightnin’ Hopkins to the danceable jazz of Duke Ellington. He championed Dexter Gordon, the giant sax player who enjoyed success with his modern hard-driving sound. He also was a fan of the folk traditionalists Cisco Houston, Theodore Bekel and Oscar Brand. Another one of his favorite projects was aiding Mahalia Jackson, the great gospel-blues singer. Leventhal was the type of person who fought for the rights of the artists in an industry that took advantage of many, especially blacks and women. He championed those singers and ensured that they received fair deals. A list of the performers whose careers he encouraged includes Judy Collins, Miriam Makeba, Buffy Sainte-Marie, and Joan Baez. He also managed the international acts of the Clancy Brothers, Ewan MacColl, Donovan, the group, Pentangle, Jacques Brel, Nana Mouskouri, Mercedes Sosa and the Indian sitar player, Ravi Shankar. One of his primary roles was that of promoter. In 1961, he organized a birthday beneﬁt event for Martin Luther King Jr. at Carnegie Hall, which was a breakthrough for the civil rights leader who won the white general public to his side. Leventhal also possessed a knack for promoting concerts to help raise funds for deceased individuals. He organized the tributes for Phil Ochs, Paul Robeson, and most notably, Woody Guthrie. While most dismissed the latter as an avowed Communist, the star maker defended the trendsetting folk singer as a larger-than-life character. Leventhal also produced theater. In 1952, he helped the blacklisted Will Geer to gain a spot in the off–Broadway production, Mark Twain. Later he produced Joseph Heller’s We Bombed in New Haven, Jules Epstein’s But Seriously, Rabindranath Tagore’s King of the Dark Chamber and Jules Feiffer’s The White House Murder Case. The background man was a professional ﬁgure who understood all of the nuances of this business in addition to music. Because of his work, he was highly regarded and received many awards. In 2002, he was honored with the Folk Alliance Lifetime Achievement Award and spotlighted a year later as the focus of an all-star Carnegie Hall tribute.

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Then there was a different kind of accolade: he was the model for the impresario, Irving Steinbloom, immortalized in Christopher Guest’s folk satire ﬁlm, A Mighty Wind. Although Leventhal wasn’t a ﬁgure on the forefront of the entertainment business, his behind the scenes work did not go unrecognized. Howard Leventhal was one of the driving wheels as manager and concert promoter before, during and after the revival. He played an integral role in boasting the careers of Dylan, Baez, Collins, Ochs and Arlo Guthrie. His work in ensuring that the memory of Woody Guthrie was not forgotten is a major reason why the legend still commands respect. Leventhal was an honorable decent person, a noble character who will forever be known as the star maker.

Milton Okun (1923– ) The Studio Chameleon There were many important ﬁgures during the folk revival who devoted their talents in a number of different areas outside of the performance circle. They were instrumental in the behind the scenes activity and remained unknown to the general record buying public. One of these individuals recorded, sang, produced and arranged for some of the top artists and earned the reputation as the studio chameleon. His name was Milt Okun. Milton Okun was born on December 23, 1923, in Brooklyn, New York. As a child, he became interested in music. He survived the Great Depression, learning many valuable lessons along the way about the human condition and the common person. These lessons would serve well into his adulthood. Already he possessed some chameleon like abilities as his wide interest in music extended from traditional folk to opera. After making personal contributions to the Second World War effort, he became a music teacher in a junior high school in New York. Although it was a well paid position, the musician yearned to extend his talent in different, more creative and interesting areas. He had developed his musical skills as a good pianist as well as singer and was just waiting for an opportunity. Okun caught that break when hired as the pianist and a member of The Belafonte Folk Singers. In the 1950s, Harry Belafonte was a rising star who commanded international attention. Okun made a name for himself on the short tour, impressing many with his musical skills and abilities as an arranger. Although not from the Caribbean, he was able to mold the Calypso-inﬂuenced folk sound which Belafonte performed into a pleasing audio package. At the end of the

Milton Okun

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summer, the piano player returned to the role of teacher; but eventually he left to become the full-time arranger and pianist for Belafonte’s outﬁt. For ﬁve years, Okun held onto the post and was an integral part in Belafonte’s rise to fame as a renowned folk singer and media star. However, Okun became restless and wanted to accomplish more, so he left the fold. During his stint with The Belafonte Folk Singers, the former teacher made quite a name for himself as arranger, producer and leader. This apprenticeship in the music world would be invaluable in his later endeavors. Okun began a solo career playing clubs around the New York City area as a pianist and singer. By this time the industrious individual had taught himself to play guitar. This skill, combined with his strong tenor voice, helped him to cut a few albums. From the mid- to the late-1950s, at the edge of the folk explosion, he was one of the most proliﬁc musicians on the scene. In 1955, he released Merry Ditties on the Riverside label. The fourteen song LP was a revelation at the time because it didn’t try and extend the songs into long-playing format. The concise style celebrated the genuine spirit of the traditional material that was covered. That same year, Every Inch a Sailor was released offering ﬁfteen songs with the theme of the sea and sailing men. He continued to perform as a solo artist and record for the Stinson and Riverside labels. His next project was I Sing of Canada. It was an interesting and adventurous endeavor for an American to cover sixteen songs associated with various regions and the people of Canada. Some of the tunes were in English and some in French. However, once again, he presented everything in an authentic traditional style with his unmistakable tenor voice accompanied on his own guitar. The only addition was the assistance of Joe Jaffe on banjo for a little extra ﬂavor. Okun was much different than the average folk singer on the circuit in regards to releasing his material. He concentrated on speciﬁc dimensions of the traditional songs and each new project was an exploration in that speciﬁc area. A good example was the ten-song Adirondack Folk Songs and Ballads. His simple yet effective style enabled him to pull off the collection with compact and concise effectiveness. His next album was a more serious entry and contained eighteen songs derived from Anglo-Scottish and Irish sources. On this record, Traditional American Love Songs, he combined his skills with the talented Ellen Stekert. Their rendition of “The Cambric Shirt,” which Simon and Garfunkel reworked into “Scarborough Fair/Canticle,” became a folk classic. It was by far the best record Okun released as an artist. Although he was an active live performer and record maker, it was time for a change. In 1957, he combined forces with Leon Bibb, Libby Knight and Holly Wood to become a member of The Skifﬂers quartet. They cut an album Goin’ Down to Town on the Epic label, appeared on The Today Show, and also

18

Part One. The Revivalists: Behind the Scenes

recorded a few jingles; but the band had no staying power and broke up without ever realizing their full potential. It was a vital learning experience for Okun, who gained valuable insight on group dynamics and how to blend the different voices, personalities and abilities. These lessons were drawn upon many times over his career. After a few years of struggling as a musician, Okun decided to become a producer. It was a life-changing experience and an important footnote in the folk revival history because he would be instrumental in shaping the sound of the early 1960s. Because of his involvement in various projects in his career, the talented musician and arranger was able to draw on past experiences to excel in a variety of studio situations to become the chameleon. Okun cut his teeth producing for Paramount Records and the work of Lee Holdridge, the Haitian bandleader who would go on to work on soundtracks, ﬁlm music and TV scores. He then worked with Taro Meyer, who was known more as an actress than a singer. His ﬁrst break came when he was assigned to help the Chad Mitchell Trio and was listed as conductor and composer on their initial effort. He helped them quickly achieve a wider audience and would be listed as arranger and music director on other releases from the group. However, he established his true credentials as a producer, arranger and musical director with Peter, Paul and Mary. The trio and Okun clicked in the studio and the result was enormous popularity for the group — one of the mighty folk forces during the revival. As the man who steered them when they made their most famous records, including the cover of “Blowin’ in the Wind” which catapulted them to fame, the chameleon was integral to their success. Over the years he worked with a number of different acts including the Brothers Four, the undergraduates from the University of Washington who provided an alternative sound to the political slant of Bob Dylan, Joan Baez and Phil Ochs. The group’s blended harmonies, polished stage show and choice of material put them in the same category as The Kingston Trio, the Chad Mitchell Trio and The Limeliters. Another of his listed credits was Laura Nyro, the famed songwriter who wrote many hit songs for others. Some of her songs include the Fifth Dimension’s “Wedding Bell Blues,” “Blowing Away,” “Stoned Soul Picnic,” “Sweet Blindness,” “Save the Country” and “Black Patch”; Blood, Sweat & Tears and Peter, Paul & Mary with “And When I Die”; Three Dog Night with “Eli’s Coming”; and Barbra Streisand with “Stoney End,” “Time and Love,” and “Hands Off the Man (Flim Flam Man).” In the 1970s, Okun worked mainly as an arranger with John Denver on many of his most famous songs including “Rocky Mountain High,” “Sunshine on My Shoulders,” and “Take Me Home Country Roads.” He guided

Milton Okun

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the bespeckled singer to incredible success throughout the decade and the association continued until Denver’s unfortunate death in 1997. Later, he would supervise the many posthumous recordings from Denver’s rich catalog. Okun also worked with other acts including the Irish Rovers, Tom Paxton, Starland Vocal Band and Roger Miller. A music lover of all styles, he cherished the role as overseer of the work of one of the world’s most famous tenors, Plácido Domingo. In the role of manager and producer, the chameleon helped the Spanish-born singer to achieve international success. Undoubtedly, the behind the scenes man had a knack in creating material that pleased the general consensus of the record buying public. For the rest of his career, he would spend time as a producer, teacher, arranger, author and owner of music publisher Cherry Lane Publishing Company — a multimedia company credited with such well-known TV shows and ﬁlms as Nine, The Hangover, Hancock, G.I. Joe: The Rise of Cobra, Shrek, Shrek 2, Shrek 3, Inglorious Basterds, Up, No Country for Old Men, Grey’s Anatomy, Pokemon, The Hills, Glee, The Ofﬁce, Parks and Recreation, and CSI, among others. Okun continues to make contributions to the world of folk and entertainment as a whole. Milton Okun was a revivalist of the highest order. Although his own recordings never made a powerful impact, the work performed as arranger and producer helped shape the sound of the folk revival. After the era ended, he continued to produce quality work, most notably with John Denver and Plácido Domingo. As founder of Cherry Lane, the chameleon initiated and built one of the top media companies in the world. Although not regarded as a great instrumentalist, he was able to utilize his limited musical talent to advantage. As a pianist, he was always able to ﬁll out the sound in a recording studio — often uncredited. On occasion, Okun also blended his tenor voice with a background choir to provide a particular session with more punch. The master technician always knew how to mix the right ingredients to create a balance of sound. However, his major contributions in the music world were as arranger and producer. A short list of the artists he worked with include Peter, Paul and Mary, The Chad Mitchell Trio, Peter & Gordon, The Brothers Four, The Irish Rovers, John Denver, Plácido Domingo, Anita Carter, Emmylou Harris, Miriam Makeba, Laura Nyro, The Brandywine Singers, Jose Carreras, Harry Belafonte, and Tom Paxton. Okun boosted the careers of these artists enabling them to reach great heights of fame, while he remained a behind the scenes chameleon. Milton Okun had a tremendous inﬂuence on the folk revival as one of the background people. However, his contributions and the roles played were many and as vital to the era as anyone else behind the scenes or on stage as

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Part One. The Revivalists: Behind the Scenes

a performer. His work as the studio chameleon remains an integral part of that golden era of music.

DISCOGRAPHY: Every Inch a Sailor, Stinson SLP65. I Sing of Canada, Stinson SLP71. Adirondack Folk Songs and Ballads, Stinson SLP82. America’s Best Loved Folk Songs, Baton BL 1203. Merry Ditties, Riverside RLP 12-603. Traditional American Love Songs, Riverside RLP 12-634. Hootenanny with the Skifﬂers, Columbia HL7307.

Irwin Silber (1925–2010) The Broker The total depth of a person’s contributions can be measured in several different ways. During the folk revival, there were many individuals who made enormous, yet subtle benefactions to the cause with their abilities as non-musicians. One of these ﬁgures was known as the broker for his skills as an arranger and negotiator. His name was Irwin Silber. Irwin Silber was born on October 17, 1925, in New York City. He attended local public school in Manhattan and absorbed everything the city had to offer including the different ideologies of many individuals. Before his eighteenth birthday, he was already a member of the American Student Union, the Young Communist League and the American Youth for Democracy. Musically, the young man loved traditional folk songs and eventually developed an interest in labor tunes, union anthems and protest numbers. It ﬁtted perfectly with his world outlook. The ardent leftist would be most comfortable with the music of Woody Guthrie, Pete Seeger, Lee Hays, Fred Hellerman and Ronnie Gilbert. While attending Brooklyn College, the aspiring musician attempted a singing career by forming the American Folksay Group. He remained active in folk circles and forged permanent friendships with Alan Lomax and Pete Seeger. That same year, Silber helped organize People’s Songs Inc., which published a bulletin to promote the plight of the common working American. A year later, his role as one of the acknowledged driving forces behind the project was upgraded to executive secretary. In 1948, the People’s Songs campaigned hard for Henry Wallace’s failed bid to become president. It was a bitter lesson for Silber, but he carried on.

Irwin Silber

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In 1949, People’s Songs folded; however, he teamed up with Pete Seeger to form the magazine Sing Out! It was dedicated to the musicians ﬁghting for the causes of the average worker and the name was derived from a line in the folk classic “If I Had a Hammer.” In May 1950, the initial issue of the magazine was made available and featured the song “If I Had a Hammer” on its cover. Since there was nothing comparable available in the industry at the time, the periodical received a fair amount of attention. It would later go on to print for the ﬁrst time the songs “Sixteen Tons,” “This Land Is Your Land,” “Michael Row the Boat Ashore,” “Bells of Rhymney,” and “Cotton Fields.” Like Seeger, Guthrie, Ives, Josh White and many other artists of the period, Silber was called before the House Committee on Un-American Activities. Although the magazine was seen as a threat to national security and his political beliefs were attacked, Silber persevered and remained devoted to the causes he held so dearly. At the time, the minor talented musician also remained active in New York folk singer circles. While he had never entertained the idea of becoming the editor because of the strong demands imposed upon the position (he had drawn bad experiences from the People’s Songs failure), when the editor of Sing Out! became ill, Silber assumed the responsibilities on a temporary basis. Over the years, the duties would increase and include the contribution of a column entitled “Fan the Flames,” which proved to be always interesting and controversial. A good example would be the open letter to Bob Dylan at the height of the musician’s popularity. He accused the revered singer and the man many considered the modern messiah of the folk movement of being out of touch with his audience. Dylan countered with the stinging lyrics in “Positively Fourth Street.” When the enthusiasm of the folk revival faded, Silber managed to steer the magazine through the tough period as other styles of music including Southern blues, bluegrass, psychedelic and hard rock all ruled the musical airwaves. The goal was to move the traditional music forward and the broker always succeeded in doing so despite the many obstacles in the way. He also provided stiff competition for the magazine Broadside, although they operated on a much different level. The broker was revered for his insightfulness on a number of different issues and the careers of certain individuals. He was also an advisor to many people, most notably Moses Asch, the founder of Folkways Records. In the late 1950s and 1960s, Silber aided Asch in various manners. Irwin was well aware of the cultural impact on a domestic and international level that the record label would have on future generations. Silber branched out in different ways. During his time at Sing Out!, he was involved in many projects including the publication of folk song collections. In 1960, Songs of the Civil War became available and was a steady seller.

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Five years later, The Great Atlantic and Paciﬁc Song Book was released to enthusiastic reviews. Two years later, Songs of the Great American West appeared and stood next to other volumes as an important work. In 1967, Silber left Sing Out! having done everything that was possible for the magazine. He moved on to work for The Guardian, a radical weekly, utilizing his many years of experience to give the rag a much different edge. In 1972, he became its executive editor and remained in that capacity for six years. Throughout his tenure at the paper, he championed controversial stances on a number of political and social world issues. In 1978, Silber left after factional disagreements and to devote more time to other projects. In 1970, he formed a record label, Paredon, with his wife, folk singer Barbara Dane. Paredon existed for a dozen years and concentrated on protest songs from liberation movements around the world. Silber was always interested in the freedom of the common person, whether they were Americans or citizens of some other country. In 1979, the couple moved to California to pursue other interests. Their independent recording company ﬂourished with Dane producing some ﬁfty albums and Silber handling all of the promotion and distribution. Later, they would donate the label’s collection to Smithsonian Folkways making another signiﬁcant contribution to the folk ﬁeld. On September 8, 2010, the wonderful American journalist, editor, publisher and political activist died from complications of Alzheimers. Irwin Silber was a champion of the revival. In the late 1940s, the folk enthusiast paid his dues as the ﬁrst magazine that he worked on provided the broker with the necessary experience to survive later endeavors. An outspoken individual, Silber was never afraid to state an opinion, and it was this heart and love for the traditional sound that became his legacy. He was a behind the scenes agitator during the revival questioning some of the practices of the biggest names in the business. While the magazine Sing Out! didn’t enjoy a massive circulation, the rag was widely distributed and those in the business read and supported it. The column “Fan the Flames” was the driving force behind the rag and certainly added to the number of copies sold. There was a deﬁnite power behind the publication that was derived from Silber’s hard-line approach. While his duties as the editor of Sing Out! certainly kept him busy, he still retained an interest in the occurrences in the folk world. He never lost touch with old friends like Lomax and Seeger and promoted the latter’s concerts as important events. He helped out Lomax with the many ﬁeld recordings made from all parts of the globe. Silber was always ready to champion the authentic folk singers for their efforts, not those he believed diluted the product. This opinion was well documented in his column. A good example of his devotion was as organizer and coproducer of the ﬁrst hootenannies at

Kenneth Goldstein

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Town Hall and Carnegie Hall made up from artists blacklisted, including Howard DaSilva, Morris Carnovsky, Josh White, Sonny Terry, Brownie McGhee and Leadbelly. Another ﬁgure the broker aided and backed was Paul Robeson. The two had met at camp and discovered a shared interest in music, philosophy and life in general; they continued the friendship throughout the years. Robeson, the bass-baritone concert entertainer and ﬁlm actor, was also a social justice activist drawing much unwanted attention from the authorities for his strong political and social viewpoints. However, the entertainer always had backing from Irwin. In turn, the famed singer wrote the introduction to one of Silber’s books. The broker was also a noted writer aside from the weekly articles in his magazine. He published over ten books, mostly music oriented with a few exceptions. One of the more interesting projects was Press Box Red, the story of Lester Rodney, a Daily New Yorker reporter who initiated the campaign to integrate the major leagues ﬁve years before Jackie Robinson broke the color barrier. Irwin Silber was one of the unsung heroes of the revival. Although he never received the attention of Bob Dylan, Phil Ochs, Joan Baez, or the group Peter, Paul or Mary, as well as some of the other performers, the stern individual fanned the ﬂames and kept the momentum and interest going. Even after the boom was over, the broker continued to support the careers of many traditional artists.

Kenneth Goldstein (1927–1995) The Scholarly Folkie In the ﬁrst half of the 20th century, many folk enthusiasts scurried around the country collecting and preserving folk songs. Their efforts were not wasted because much of the material amassed would provide a foundation for the performers during the revival. There was also the fact that the research conducted led to folklore traditions being taught in colleges and universities, which would produce a better educated generation. One of these individuals was the ﬁrst scholarly folkie, Kenneth Goldstein. Kenneth S. Goldstein was born on March 17, 1927, in Brooklyn, New York. His mother was of Latvian heritage and his father of English descent, creating an appreciation for ethnic music and culture that the young boy would carry throughout his entire life. He grew up during the Great Depres-

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Part One. The Revivalists: Behind the Scenes

sion and learned some very tough life lessons. While interested in music, this curiosity would not fully develop until years later. He attended City College in New York, earning bachelor’s and master’s degrees in business administration in theoretical mathematics and statistics. Although an admirable and useful degrees, they are a long way from the scholastic realm that he would one day rule. Instead of going to work, Goldstein joined the Army and served his country. After the war, the enterprising young man worked in New York as a market researcher and analyst. More importantly, while not at his regular post, the ambitious man doubled as folk music director for various labels including Stinson, Folkways, Prestige and Riverside. For the Stinson label, he produced the studio chameleon Milt Okun’s Adirondack Folk Songs and Ballads. In the 1950s, along with his marriage and family responsibilities, Goldstein had a burning interest in traditional sounds. Although not interested in emulating Pete Seeger or Woodie Guthrie, the scholarly one was more concerned with the discipline of the genre. This involved ﬁeld studies, which took him through his home state and inspired further intellectual adventures in North Carolina for ﬁve years (1952–1957), with a side excursion to Massachusetts (1953). Later on in the decade, Goldstein won a fellowship that allowed him to travel to Northeastern Scotland to conduct ethnographic folklore ﬁeld work. It was a thrilling opportunity and he managed to draw much from the various experiences. Although his work as a ﬁeld researcher was of the utmost importance, the years as a producer were of equal value. He recorded Jean Ritchie, the Rev. Gary Davis, Lightnin’ Hopkins, and the blues-folk duo Sonny Terry and Brownie McGhee. While Goldstein was putting their music down on record, as a folklorist the clever individual also knew that it was being preserved for posterity. The intellectual included personal linear notes that were both reﬂective, heartfelt and intensely scholarly. Despite possessing a solid traditional education, as well as a burgeoning musical knowledge, he earned a PhD in Folklore and Folklife at the University of Pennsylvania. He joined the faculty and remained there for the next twenty years. In 1964, Goldstein’s dissertation served as his ﬁrst book, A Guide for Field Workers in Folklore. It would quickly become a standard scholarly text that was widely translated and acknowledged as a must read for anyone interested in folk music. Throughout the years, he collected and studied ballads, ghost stories, sea songs and riddles from a number of regions including Scotland, Newfoundland, and as far away as Australia. Goldstein was an incredibly organized person who was able to commit boundless energy and deep thought into a multiple number of projects simultaneously. In 1967, he received the Lindback Foundation Award for distinguished teaching, illustrating the point that the man was capable of juggling many tasks and doing them well.

Kenneth Goldstein

25

He also spent the decade publishing. For the entire 1960s, the scholarly folkie was executive editor and president of Folklore Associates. The ambitious young man worked for Breakwater Books and Folklorica Inc. and later became editor and president for Pastime Books. There were many facets to his career and personality that allowed him to delve into a myriad of projects. Goldstein always put a personal stamp on the many endeavors tackled. A standing member of the Pennsylvania Folklore Society and the American Folklore Society, he served as president of the latter from 1975 to 1976. Despite his brief stay, he had a profound impact on the organization. During this period, Goldstein also found time to assist the secretary of the Smithsonian Institution on folklore and folk life subjects. He also served on the advisory and review panel from the folk arts program of the National Endowment for the Arts. In 1976, he was appointed the head of the Department of Folklore at Memorial University. A couple of years later, he became Research Associate in the department, a post held for the duration of his stay at the university. Operating from his seat at the school of higher learning, Goldstein was able to coordinate all of his other interests in the genre including providing teachings, research and lectures. Many of these would be recorded and collected in various forms. In the late 1970s until the 1990s, he began to conduct ﬁeld studies in Newfoundland. The result would be a massive work totaling more than thirteen hundred songs and the discovery of the rich vein of nearly two hundred and ﬁfty singers and storytellers from the Canadian province. He presented a different side of the deep Maritime folk roots that existed ever since the settlers had arrived hundreds of years before. In the 1980s and stretching into the next decade, he took a special interest in the Heritage Affairs commission in Pennsylvania. In 1988, he became an adviser to the Australian National Folk Trust. On November 11, 1995, Kenneth S. Goldstein, one of the driving forces behind the preservation, education and expansion of folk music from an international level, lost his courageous battle with cancer. Kenneth S. Goldstein was a folk scholar. His contributions to folk music before, during and after the revival are enormous. One of the most important — if not the most important — non musical performers, the combination of intelligence, attention to detail, dedication and seemingly boundless energy etched him permanently as a key ﬁgure in traditional music circles in his own country, as well as on an international level. He was well-known among scholars from all branches of folklore and folk life. A measure of his abilities exist in the eight editorships achieved in the many organizations he led in an academic and mainstream setting. He was the editor and president of Folklife Associates, Pastime Books, of the Amer-

26

Part One. The Revivalists: Behind the Scenes

ican Folklore Society and the Pennsylvania Folklore Society. He was a council member of the Folklore Society of England. He was also a trusted adviser to the National Endowment for the Humanities, as well as the Smithsonian Institute. His collection of books and records are housed at the Center for Southern Culture in Oxford, Mississippi. The Middle Tennessee State University center for popular music in Murfreesboro, Tennessee, holds his accumulation of American broadside and country-western folios. The massive legacy left behind was well documented and remains on display for others to understand the vast contributions he made in the folk idiom. His ﬁeld work in England, Scotland, Newfoundland, North Carolina, Massachusetts and Australia, among other places, resulted in the production of over ﬁve hundred long-playing records. He personally produced and annotated this astonishing number. This particular side of his writing was just one small part of the total output, as Goldstein published ten books and countless articles that were placed in various magazines as well as scholarly journals. The Memorial University of Newfoundland Folklore and Language Archive, or MUNFLA, is the largest sound recording folklore archive in Canada. In 1968, folklorist Herbert Halpert, head of the Folklore Department at the University, founded the site in conjunction with the Folklore and English departments. The archive was created as a repository for the recordings and material of Newfoundland and Labrador folk culture. It contains songs, poetry, children’s songs, folk narratives, as well as personal experience narratives, folk beliefs and the study research and graduate papers. Goldstein deposited a quantity of materials in the MUNFLA, most notably the body of folk songs he collected, along with collaborations between himself and locals from various parts of Newfoundland and Labrador. The ability for a native New Yorker to blend in with a very different type of people is an attribute to the scholar’s overall humanitarian touch. These special contributions enriched the archives and are an integral part of its accumulated depth and breadth. To some, his greatest contribution was that of producer. He managed to record over ﬁve hundred albums of folk recordings that included Celtic, Appalachian, cowboy, regional and other collections of songs. A tremendous amount of effort and learned capabilities were poured into this collection. Goldstein was a noted and valuable historian in the sense that he helped preserve the rich vein of roots music so future generations could enjoy them. Kenneth Goldstein was a folklorist, a man who was well trained in folklore studies and understood the valuable culture enterprises, particularly the intangible heritage. He was an internationally renowned scholar, teacher, author, book publisher, ﬁeld collector, record producer, folk festival organ-

Ralph Rinzler

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izer, lecturer and teacher. His love and dedication to the genre makes him a towering ﬁgure during the revival as well as in the latter half of the twentieth century — the legacy of the scholarly folkie lives on.

Ralph Rinzler (1934 –1994) Background Man The folk revival spurred many to take on different roles. Not every ﬁgure was a musician in the spotlight; there were others behind the scene who continued to collect folk songs, set up open air concerts and promote the genre without gaining much publicity. One of these individuals was known as the background man for his tireless efforts. His name was Ralph Rinzler. Ralph Carter Rinzler was born on July 30, 1934, in New York City. However, he grew up in Passaic, New Jersey, and it was here that he discovered and developed a deep love for music. His source was the Library of Congress ﬁeld recordings that the Lomaxes made, exposing the young, curious Rinzler to a cross section of musical styles. The extensive research and studies taught him invaluable cultural and geographical lessons. He attempted his hand at a musical career with mixed results. After seeing the legendary Pete Seeger in concert, Rinzler couldn’t help but pick up the banjo in an effort to emulate one of his idols. Although not musically gifted, the background man was capable enough and realized that contributions to the folk idiom would involve different tasks. Later, while at Swarthmore College, he added the mandolin to the arsenal of musical weapons. Rinzler’s early repertoire was drawn from The Antholog y of American Folk Music, which exposed him to the folk, blues and country sounds of Buell Kazee, Dock Boggs, Henry Thomas, Mississippi John Hurt, Eck Robertson, Uncle Eck Dunford, Uncle Dave Macon, and The Carter Family, among others. He discovered a kindred spirit in Mike Seeger, and the two traveled the Eastern Seaboard of the United States delving into the rich mine of regional traditional music. They performed at different venues gaining invaluable stage experience. In 1958, Rinzler joined The Greenbriar Boys. The foundation of the group was established when John Herald met banjo master Eric Weissberg at the University of Wisconsin. The latter’s musical taste was based on the rich catalogues of Bill Monroe, Lester Flatt, Earl Scruggs and Don Reno. The country-bluegrass-folk material was a perfect school for someone who would make an impact during the revival.

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Part One. The Revivalists: Behind the Scenes

Herald and Weissberg moved to New York where they joined forces with Bob Yellin, who had studied classical violin, piano and vocal harmony, as well as trumpet. When Yellin heard Pete Seeger, he took up the banjo and taught himself how to play the instrument at a proﬁcient level. The loose aggregation of Weissberg, Herald and Yellin landed a few gigs at American Youth Hostels, and more importantly, at the Sunday sessions at Washington Square Park where they absorbed the ﬁne music that ﬁlled the air once a week. Later they performed at the famed Gerde’s Folk City club. Despite the chemistry between the trio, Weissberg left to form The Tarriers, leaving a vacant spot for Rinzler. By this time he had accumulated a sizeable collection of tapes from the old school of folk-country-bluegrass performers, which included Uncle Dave Macon, Charlie Poole, and Riley Puckett, among others. This further education only enhanced his value to The Greenbriar Boys outﬁt who were seeking to change their overall sound. After much rehearsal, the once informal jam sessions began to take on a more serious tone. They were able to mesh their individual talents together in order to create a uniﬁed, exciting sound. The trio traveled to Union Grove, North Carolina, to participate in an Old Time Fiddlers Convention and won ﬁrst prize. Despite this, they continued to fumble for some time, performing on only the rarest of occasions and barely surviving. In 1962, everything changed for the group. First, they backed Joan Baez, one of the premier folk artists of the revival, on her second album. They were featured on two songs: “Pal of Mine” and “The Banks of the Ohio.” On the strength of this showing, they also signed to Vanguard Records and were spotlighted on a folk sampler called New Folks before releasing their self-titled debut. The Greenbriar Boys was a landmark album. More bluegrass than folk, it featured the trio of Herald, Yellin and Rinzler as young, hungry musicians. They delivered classic versions of “We Shall Not Be Moved” (one of the Civil Rights anthems), “Girl on the Greenbriar Shore,” “Down the Road,” “Rosie’s Gone Again,” and “Coot from Tennessee,” all with instrumental power. The latter was a Rinzler original. The group proved that they had the ability and skill to take traditional roots music and breathe fresh life into them. They also changed their strategy and began performing throughout the country instead of remaining within a regional context. On one of their East Coast concerts, the still relatively unknown Bob Dylan opened for them. The Greenbriar Boys repertoire, a mixture of folk and bluegrass with a tinge of blues, never failed to please audiences as they knew how to entertain a crowd as headliners or as one of many groups on the bill. They would record two more albums, Ragged But Right! and Dian & the Greenbriar Boys. The ﬁrst was a logical extension of their debut displaying a strong instrumental ability and powerful vocals. Some of the highlights were

Ralph Rinzler

29

“Sleepy-Eyed John,” “Levee Breaking Blues,” “Roll On John,” “The Blues My Naughty Sweetie Gives to Me” and a Marty Robbins tune, “At the End of a Long, Lonely Day.” On the Dian & the Greenbriar Boys edition, they attempted a different strategy with the inclusion of Dian James, a female singer who gave the group a different kind of vocal punch. The bluegrass, folk and country collection included “Alabama Bound,” A.P. Carter’s “Cannon Ball Blues,” and “Sweet Willie,” a song originating from Jean Ritchie’s rich, extensive catalog. Although it was a ﬁne collection, the record never received the attention it deserved. In 1966, Rinzler left the group to become the director of the folk department at the Smithsonian Institute. Frank Wakeﬁeld, a mandolin player with a good voice, and Jim Buchanan, a solid ﬁddler, joined to try and ﬁll the vacant spot. The new lineup recorded Better Late Than Never, an interesting collection of songs; but at this point the enthusiasm for their style of music had passed. A year later the Greenbriar Boys disbanded, but would occasionally reunite to jam when their schedules allowed them to do so. The groundwork for Rinzler’s high position at the Smithsonian had been laid down many years before. Always a song collector, he continued to research and amass traditional folk and country music recordings. He jumped at the opportunity to catalog the hundreds of recordings in Harry Smith’s collection held at the New York City Public Library. It was a chance to make a major contribution in a much different way. Because of the dedication toward preserving the valuable Smith collection, he was given the position with the Newport Folk Foundation as Director of Field Research Programs, a fancy title that gave him the freedom to roam throughout the country in search of genuine performers for the festival. Rinzler would revive the careers of Bill Monroe, Doc Watson, Clarence Ashley and The Balfa Brothers, bringing their music to the international stage. Being on the road with The Greenbriar Boys enabled him to cross paths with many aspiring folk, bluegrass and country musicians over the years, and he kept an encyclopedia of names in his mind. During this time at the Smithsonian, the albums Old Time Music at Clarence Ashley’s Louisiana, Cajun Music from the Southwest Prairies and The Doc Watson Family, would be made available to the general public. The background man spent the rest of his career functioning in a number of assigned roles as curator, producer, promoter, writer and advocate of American folk music from all cultures. Sadly, on July 15, 1994, Ralph Rinzler passed away. Ralph Rinzler was a genuine background man. The former Greenbriar Boys alumni was one of the most important ﬁgures in the revival and a genuine important personality in modern music. His contributions as a musician, curator, and promoter of authentic American music puts him in the same

30

Part One. The Revivalists: Behind the Scenes

categories as others from the past like the Lomaxes and the Seegers. He had a hand in shaping the course of modern folk music in a number of different ways through the many roles performed with patience, enthusiasm and brilliance. The short stint in The Greenbriar Boys was his strongest contribution in a musical sense. As a member of the group, he maintained the interest in the folk revival honoring the past performers that had been forgotten like Clarence Ashley, Mississippi John Hurt, Buell Kazee, Doc Watson and the Balfa Brothers among others. Although not a master musician, Rinzler managed to add a different folk dimension sound to the band’s bluegrasstraditional foundation. But, it is his work as preserver of American traditional material for which he is best remembered. He continued the efforts of the Lomaxes, the Seegers, Harry Smith, Francis J. Child, Helen Flanders and Moses Asch, among others. From an early age, Rinzler understood the need to maintain and expand on the wide and deep vein of homegrown folk music. This sense of duty enabled the background man to achieve some much deserved exposure during the long tenure at the Smithsonian. His time at the Smithsonian was very important, but so was the role played in shaping the Newport Folk Festival. The event was a major occurrence where musicians, artisans and craftsman from a wide section of American society came together. He reintroduced many vital musical ﬁgures back to the fold including Doc Watson, Buell Kazee, Clarence Ashley and the Balfa Brothers. By reviving an interest in their careers, Rinzler was giving them long due respect. Because of his vast contributions, the Smithsonian ensured that all efforts were well preserved. In 1998, they named the Ralph Rinzler Folklife Archives and Collections at the Center for Folklife and Cultural Heritage for him. The assemblage includes thousands of released discs, hundreds of CDs, as well as numerous acetate discs, audio tapes and videotapes. There was also half a million feet of motion picture ﬁlm. A year after his death, a two-day festival in the background man’s honor was held at the Highlander Education and Research Center, in New Market, Tennessee. All the proceeds of the event that were generated went to the Ralph Rinzler Memorial Endowment for cultural programs. Even after leaving the planet, Rinzler was making important contributions to the music that he had cherished so much. Ralph Rinzler contributed to the folk tradition in many different ways, farther and deeper than many contemporaries. The ability to serve in a variety of capacities was a tribute to the depth, breadth and width of his various talents. He was a prime architect in the folk revival performing many roles as the background man.

Frank Hamilton

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DISCOGRAPHY: • With the Greenbriar Boys Greenbriar Boys, Vanguard BOO1PL7PVA. Ragged but Right!, Vanguard B003XXFOIG. Dian & the Greenbriar Boys, Vanguard B003X0BBAQ. Better Late Than Never, Vanguard B001P497UO. The Best of the Greenbriar Boys, Vanguard 79317. The Best of the Vanguard Years, Vanguard 2206. Big Apple Bluegrass, Vanguard 79723.

Frank Hamilton (1934 – ) The Teacher There were many individuals who made enormous contributions to the folk revival in their own special manner. Some were noted as singer-songwriters and performers, but there were also behind the scenes people, those whose efforts included a multi-talented edge. One of the most important ﬁgures to provide the style with much enthusiasm was the teacher, Frank Hamilton. Frank Hamilton was born on August 3, 1934, in New York City. Despite the fact that he was able to absorb the folk music of Greenwich Village, the youngster was enamored with the music of the American South, namely the soulful blues of T-Bone Walker, Lowell Fulson, Pee Wee Crayton and others. In an attempt to emulate those that he admired the most, the aspiring musician picked up the guitar and practiced honing his skills until proﬁcient. Although not a passionate folk music fan, Hamilton earned impressive traveling points roaming throughout the South collecting songs and performing on street corners, as well as at local bars. He haunted the many venues of the musicians that had made such a strong impact during his formative years when his musical education was being shaped. In many ways, he lived the same life as those ﬁgures that had inﬂuenced him, even retracing their steps. In 1953, he hooked up with Ramblin’ Jack Elliott, another famous roamer, and Guy Carawan. Guy Carawan was born on July 27, 1927, in Los Angeles, California. His mother was a poet from Charleston, South Carolina, while his father was a soldier in World War I who hailed from Rock Hill, South Carolina. Although there was a lot of different music that surrounded him while growing up — especially the Big Band Era — it was not an ambition of the young boy to be a musician. Instead, he earned a mathematics degree from Occidental College and a master’s degree in sociology from UCLA.

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Part One. The Revivalists: Behind the Scenes

Hamilton, Elliott and Carawan formed the Dusty Road Boys, an apt name considering the thousands of miles they covered drifting through America and making historical (personal) stops that included the Asheville Folk Festival. Established in 1928 and located in the mountains of North Carolina, it was a perfect spot for Appalachian mountain people to gather and celebrate their culture, music and lifestyle. It was also an excellent place for three young men eager to learn American roots music ﬁrsthand. The trio made their way to the Grand Ole Opry. A landmark in American music circles, it has been home to countless legends of country and roots music for decades. In many ways, any aspiring musician dedicated to the craft of learning how to interpret the songs that appeared on the Antholog y of American Folk Music needed to make a stop in Nashville. It was at venues like the Asheville Folk Festival and Grand Ole Opry that the ﬁgures that appeared on the classic recording displayed their skills. They continued their journey, keeping it “country” with a visit to the house of the legendary A.P. Carter of the famed Carter Family. One of the ﬁrst outﬁts to answer the call to record in the 1920s, which was at the time a new industry, the patriarchal ﬁgure had preserved hundreds of folk songs from being lost. Carter, along with his wife and sister, performed at hundreds of events like the Asheville Folk Festival, spreading the gospel of traditional music. His passing was a great loss in American musical annals. The trio made another stop at the Highlander Folk School in Tennessee, also important. It was at the institution that the Appalachian culture would be preserved and a stance on the controversial Civil Rights Movement that would explode in a few scant years would be initiated. The group continued on their way trekking across the country to arrive at another vital spot. The trio stopped at Will Geer’s artist colony in Topanga, California, where they met Woody Guthrie. It was through Hamilton that Carawan met members of the People’s Songs. Formed in 1945, the idea behind the organization was to create, promote and distribute tunes of labor for the American people. The founders, Pete Seeger, Lee Hays, Woody Guthrie, Fred Hellerman and others produced the quarterly Bulletin, which was to some extent a forerunner of Sing Out! and Broadside magazines. Eventually, the trio split up, each going their separate ways. Elliott and Carawan would drift to Greenwich Village. An interesting ﬁgure, the latter traveled to England to attend the World Festival of Youth and Students, visited the Soviet Union, and pushed on to the People’s Republic of China. What he observed of the human condition in those two countries had a deep impact on his social and political vision. In 1959, restless and not sure what to do with his life, he returned to the Highlander Folk School as a volunteer. He met his future wife there, Candie, who was working at the center.

Frank Hamilton

33

Eventually, he took on the role of music programmer, left vacant with the death of founder and pioneer Zilphia Horton. It was satisfying work, and when the folk revival exploded, Carawan found himself in a very interesting place. In 1960, the college students began the lunch counter sit-in movement, and suddenly the musical program took on a very much different tone. There was a college workshop, which also included a talent show and dance. It was here that Carawan taught the students the song “We Shall Overcome” that would become the Civil Rights anthem. Two weeks later, the students formed the Student Nonviolent Coordinating Committee. At the end of the meeting, Carawan sang “We Shall Overcome,” and everyone joined in. The anthem spread throughout the South as the ﬁght for equality and justice for African Americans was an issue that no longer was to be ignored. Although many would record the song, its emergence from the center gave the institution a special place in the struggle for rights. Carawan and his wife found themselves running the school and were in the thick of the Civil Rights Movement, appearing at many rallies in support of equality and justice. They also attended the march in Washington where Martin Luther King, Jr., delivered his famous speech. Guy and Candie operated the center for over forty years and made many contributions to the folk ﬁeld. Meanwhile, Hamilton settled in Chicago, where, along with Win Stracke, he founded the Old Town School of Folk Music. Winfred “Win” J. Stracke was born on February 20, 1908, in Lorraine, Kansas, but grew up in Chicago’s old town neighborhood. While in high school he began to sing and play guitar, and also became attracted to folk music because of his interests in the labor movement. He would perform on WLS radio station as a singer on the National Barn Dance program. By the 1930s, the aspiring musician and actor had became a member of the Chicago Repertory Theatre, with a focus on how folk music could be utilized to promote and assist the unions. In 1945, after returning from service, he joined his longtime friend and business associate, Studs Terkel. Together they organized a touring folk review entitled I Come for to Sing. They would put on different events and survive the Hollywood blacklist for their involvement in the TV show Animal Playtime. There was a strong, rich history of theater and the arts linked to folk music before Hamilton arrived on the scene. In 1956, after his travel around the United States and abroad was ﬁnished, Hamilton was in Chicago and met Stracke at the famous club Gates of Horn. It was then that they decided to form the Old Town School of Folk Music, dedicated to teaching students popular traditional songs by performers Big Bill Broonzy, Josh White and Odetta Holmes, among others. However, they also unearthed tunes from around the globe that served their purpose.

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Part One. The Revivalists: Behind the Scenes

Stracke ﬁlled the role as the ﬁrst director of the institution and remained involved with the project and the entire Chicago music scene until his death in 1991. The partnership between Hamilton and Stracke was a solid and productive one. The school started in a basement and eventually moved to a large building where thousands of students came through the doors and left with an appreciation of folk and dramatic art. A good example is Bob Hamilton Camp, born October 30, 1934, in London, England. Due to the war, he was transported to the United States along with his sisters and mother. From the start, the young boy developed a love for the stage and became a child actor appearing in Bedlam, in 1945. In those early days, he ﬂourished as an actor with parts that often demanded singing. Blessed with a ﬁne voice, the idea of a musical career still seemed a distant thought. It wasn’t until 1960, when the entertainer made his debut at the Newport Folk Festival, that he began to concentrate on creating folk music. He wrote the song “Pride of Man” that Quicksilver Messenger Service and Gordon Lightfoot covered. Hamilton often teamed up with friend Bob Gibson, and together they penned the song “You Can Tell the World,” which appeared on Simon and Garfunkel’s album, Wednesday Morning, 3 A.M. Camp would be more of an actor than a musician, although he enjoyed a minor hit with “Here’s to You.” Hamilton and Stracke always tried to connect the music to social causes including the Civil Rights Movement, the protest over the Vietnam War, the bloody Chicago Democratic Convention that occurred in the Windy City and other events. In 1975, they began to publish a folk music magazine that ran for a dozen years. By this time the school had attained national and international recognition. Hamilton had always collected songs; and during his tenure at the school, he continued to do so, amassing them in a book that was utilized for teaching. The work featured material from North American sources, but also from such distinct centers as Israel, Ireland, England and Chile. Most of the numbers selected were suitable for group involvement. Over the years, Pete Seeger, Mahalia Jackson, Jimmy Driftwood, Big Bill Broonzy and Josh White all performed at one time or another at the school. Some of them also became teachers, including Broonzy, banjo players Fleming Brown and Stu Ramsay and even Brazilian singer-guitarist Valucha de Castro. The popularity of the institution coincided with the folk boom and retained a level of notoriety long after the revival had faded into the pages of history. Many musicians associated with the school would later enjoy prominent success. Hamilton taught Roger McGuinn, later of the folk rock group The Byrds, to play guitar. Fred Holstein, John Prine, Steve Goodman, Bonnie

Frank Hamilton

35

Koloc and Bob Gibson were some of the other alumni. All took the lessons that they had learned at the institution and spread the tutorials around the country and on an international level. Hamilton found time to record some of his own songs; however, the personal output was very limited because of the heavy teaching duties at the school. In 1962, he recorded Frank Hamilton Sings Folk Songs on the Folkways label. It wasn’t until 1999 that he released Long Lonesome Home, a collection of traditional songs taught to the thousands of students over the years. In 1962, Hamilton joined The Weavers and made his mark on the group during the brief time as a member. He appeared on three recordings including Reunion at Carnegie Hall, Vol. 2; The Reunion at Carnegie Hall, 1963, Pt. 2; and The Weavers Almanac. At one point, the group appeared at the school and performed to the delight of staff and students. However, his heart belonged to Old Town, and he returned to the teaching position. In 1975, the school boasted great success, but from that point on it began to decline, mainly due to the wan in popularity of folk. In 1981, it teetered on bankruptcy but was saved when a new group of directors were brought in. They expanded the school’s curriculum to include ethnic and traditional world music, including performances from Jesus “Chucho” Rodriguez and Henry Hernandez with their Indian Harp and The Inca Peruvian Highland Wind Ensemble respectively. In the 1990s, the school would move into a much larger building, enabling them to expand on their educational programs. At the present time, it continues to hold sponsored concerts and offers music, dance, art and theater classes. They also provide the ability to work solely on the music of one speciﬁc group or individual such as the Beatles, Bob Dylan, Neil Young and The Grateful Dead among others. Every summer, the Old Town School hosts the Chicago Folk & Roots Festival. The dedicated professionals who teach the children include renowned folk, world, bluegrass, jazz, blues and country artists from all over the world. In 2007, the school’s ﬁftieth anniversary, they was a special concert held that featured Jeff Tweedy, Bela Fleck, David Bromberg and Lonnie Brooks, among others. Hamilton continues to teach at the school along with his wife, Mary. Frank Hamilton is a folk music institution. For ﬁfty years, he has dedicated his time and passion to instructing others the beauty of roots music in general and folk music speciﬁcally. Although not the most proliﬁc solo artist, he has made a mark with the long devoted years given to the school and the education of aspiring youth. An adequate musician, Hamilton possessed the ability to pass along the magic of music to the hundreds of students he taught. The special gift that allowed him to act as a conduit of the encyclopedic knowledge to ﬂow was

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Part One. The Revivalists: Behind the Scenes

his greatest contribution. Arguably, his most famous student was Roger McGuinn. One of the leaders of the folk rock movement, the talented individual would add quintessential guitar to The Byrds, and in turn, inﬂuence dozens of others. Although he explored the rock and roll world, McGuinn was a folkie at heart. Hamilton has connected with a lot of important folk ﬁgures. A small list includes Woody Guthrie, Pete Seeger, Odetta Holmes, Cisco Houston, Ronnie Gilbert, Fred Hellerman, Guy Carawan, Ramblin’ Jack Elliott, Bob Dylan, Bob Camp and Win Stracke, among others. Always passionate about folk music, the former world traveler attempted to instill that ﬁre and imagination in the hundreds of students encountered. Frank Hamilton is a gifted individual who found a home at the Old Town School of Folk Music and worked tirelessly to promote the style. Over the decades, his connections with others and the gospel that he exuded spread across the world. Of the many folk characters that make up the special universe of traditional music, the teacher holds a unique spot.

DISCOGRAPHY: Frank Hamilton Sings Folk Songs, Smithsonian Folkways 2437. Sing a Song with the Kingston Trio, Capitol ST-2005. Long Lonesome Home, ITR 609.

PART TWO

The Revivalists: The Performers There is a slight gap in the recorded history of modern folk music due to the McCarthy communist accusations and trials that drove the industry underground in the ﬁrst part of the 1950s. Although there were individuals and groups who still continued to release material during this time, the interest of the genre was at an all-time ebb. However, the style remained vibrant in England and other countries in those difﬁcult times, mostly through the efforts of American expatriates such as Alan Lomax. Once the ban on radio, performances, TV and Hollywood was lifted and those blacklisted were allowed to resume their careers, folk music exploded across college and university campuses all over the country. Overnight coffee houses and clubs sprung up catering speciﬁcally to the folk sound. One of the more important areas was Greenwich Village, becoming a famous mecca. The well-known area in New York City attracted aspiring artists from around the country. They arrived with a folk song in their hearts, beat up guitars, and dreams of stardom. Of the hundreds who pursued fame, few made it; but those who did were on the fringe of the folk revival. They would serve as the ambassadors and early participants of the music. Many of the artists who caught the fever and were part of the ﬁrst wave of folk enthusiasm cited Huddie “Leadbelly” Ledbetter, Woody Guthrie, Cisco Houston, Burl Ives, the Almanac Singers and The Weavers as important inﬂuences. Some saw Jimmie Rodgers, the father of country music, as well as The Carter Family to be important artists. Others focused on old blues singers such as Robert Johnson, Jesse Fuller, Blind Lemon Jefferson and Blind Willie McTell among others. However, one of the main sources that inspired the artists throughout every period of the revival was the Antholog y of Folk Music. Old-time folk spurred them on, such as Cannon’s Jug Stompers, Clarence Ashley, Uncle Dave Macon, Buell Kazee, Prince Albert Hunt’s Texas Ramblers, Eck Robertson, Uncle Eck Dunford, Dock Boggs, The Carter Family, The Stoneman 37

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Family, Norman Poole, and The Carolina Tar Heels, among others. The recordings of these earlier acts would serve as a starting point for all artists of the revival. Interestingly, the able-bodied musicians capable of still playing enjoyed a major renaissance during the late 1950s and early 1960s. While Greenwich Village was an important center, Cambridge, part of the metropolitan Boston area, produced a steady stream of important folk artists, as did other college campuses in Denver, Chicago, San Francisco and Los Angeles. The revival brought out musicians from every corner of the country. The ﬁgures in this section represent a cross-section of every folk dimension that made the folk revival a special era. Erik Darling managed to ﬁnd himself in different types of folk groups and scored the biggest hit of the entire revival era. Doc Watson was the original country boy from North Carolina with the speed and dexterity of a ﬁghter jet on guitar and banjo who had struggled before the revival took hold. Harry Belafonte scored major hits long before the folk revival began. However, he remained a vital force during the most exciting period. Bob Gibson was an integral part of the early years of the folk revival whose brief popularity rivaled that of any other act. Ramblin’ Jack Elliott was a Woody Guthrie devotee and continues to carry the torch until the present day. Eric Von Schmidt emerged from the Cambridge Folk scene and made a strong impact on his contemporaries. Fred Neil was a gifted songwriter who overcame personal obstacles to produce some major folk material. Dave Van Ronk was the undisputed Mayor of MacDougal Street, an artist who never compromised. Carolyn Hester had a high-pitched voice and enjoyed a brief reign atop the folk heap early in the revival. John “Spider” Koerner was a folk blues double instrumental threat who brought awareness to the bluesier side of the folk revival as a solo artist and with his partners, Ray & Glover. Judy Collins broke in singing traditional material, but evolved to cover different styles without leaving her folk base. Richie Havens was a Greenwich Village ﬁxture and gained legendary status as the opening act at Woodstock. Tim Hardin was another Greenwich Village graduate who produced a strong catalog of folk-speckled music before his self-inﬂicted demise. Tom Rush was a Boston-area singer-songwriter who survived when many of his contemporaries faded away. Eric Andersen was one of the original folk poets to emerge from the Greenwich Village scene.

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Erik Darling (1933–2008) Walk Right In Folk music is inundated with personalities who played many roles before, during and after the revival. These individuals had a major hand in shaping the course of the style and are responsible for its popularity. One of these ﬁgures was instrumental in two of the biggest hits that propelled the sound of the common man to new heights as he walked right into the pages of history. Erik Darling was born on September 25, 1922, in Baltimore, Maryland, but grew up in the Finger Lakes region of New York state. He developed a strong interest in music, particularly folk, after hearing The Sons of the Pioneers live; but it wasn’t until he was a teenager that the hobby grew more serious. He moved to New York City and discovered the Sunday jams at Greenwich Village’s Washington Square. At the time he had limited ability on the guitar, the only instrument he could play. At Washington Square, the young man met the banjoist Roger Sprung and his brother George. Darling was able to absorb the melodies, chord progressions and learn the words to the traditional material that ﬁlled the afternoon air. A trip to the musical center became a Sunday ritual; and from these weekly excursions, the aspiring artist grew as a musician and made lifetime friendships. When Roger Sprung and a cohort, Bob Carey, decided to form a group called the Folksay Trio, they asked Darling to be part of it. He jumped at the opportunity. It was with this group that he made his ﬁrst recordings as part of a compilation album for the small Stinson label. The Folksay Trio were very much a traditional group who dusted off some old classics and gave them a modern sound. They recorded an interesting version of “Tom Dooley.” The Kingston Trio based their own effort on that, which eventually became a massive hit, accelerating the pace of the revival. Darling heard the legendary Pete Seeger ramble on his banjo, which had an immediate effect spurring a turn in musical direction. He picked up one of the ﬁve-string instruments and began to practice earnestly. Perhaps not the most natural musician, Darling worked hard to become proﬁcient enough to serve an accompanist on a number of recordings, including his own. While the Folksay Trio had provided a solid apprenticeship, it was time to move on. Darling formed The Tunetellers in an attempt to match the success of The Weavers, then the dominant folk group. However, despite the talents of guitarist and singers, Bob Carey, Carl Carlton, Al Wood and Ray Yavneh, as

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well as Darling, the group disbanded quickly after a concert at the Circle in the Square Theatre, which was a ﬁasco. Darling, Carey, and Carlton all decided to take time off to regroup. Darling formed The Tarriers with Bob Carey and Alan Arkin, who would go on to be a future movie and TV star. The group struck gold with their unique arrangement of the Jamaican folk tune, “The Banana Boat Song.” Although Harry Belafonte’s version became more popular, this stab at stardom worked well for the outﬁt because of the master execution of the instruments and a general feel for the material. They were swept up in the calypso tide and even appeared in the movie Calypso Heat Wave. The outﬁt would go on to record “Those Brown Eyes,” “Pretty Boy,” and “Quinto,” but none became a hit. They toured Europe and found some success at a handful of concerts at the famed Olympia Theatre in Paris. The French audience enjoyed their brand of American folk music. However, Arkin, who had major ambitions to be an actor, left to pursue his dream and Clarence Cooper replaced him. The group’s second album, Hard Travelin’, was another commercial failure. Around this time, Fred Hellerman of The Weavers tapped Darling to be in the legendary group. Throughout 1959, he split his time between the two outﬁts until it became impossible to balance both due to scheduling conﬂicts. He had to make a difﬁcult choice because The Tarriers were starting to gain momentum, while The Weavers were a folk staple and had survived the dark period of the McCarthy witch hunts. Darling left The Tarriers and joined The Weavers full time. For the next four and one-half years, he recorded and performed with the group, playing a prominent role in their live album, The Weavers at Carnegie, Vol. 2. He cowrote a number of the songs including “On My Journey,” “Born in East Virginia,” “Stewball,” “Below the Gallows Trees,” “Virgin Mary,” and “In That New Jerusalem.” In the long history of the outﬁt with a high turnover of personnel, the chameleon provided a much needed stability. It was during his tenure with the Weavers that he cut his ﬁrst solo album with Elektra records. He had already done much studio session work for the label, particularly on the Dalliance series of Ed McCurdy albums that contained bawdy folk songs. By this point, Darling had mastered a light, delicate touch on the banjo that served multiple purposes in the recording studio. The album Erik Darling contained a cross-section of material from “Oh, What a Beautiful City” to “Candy Man,” which was part of the blues Rev. Gary Davis’ repertoire. There were more blues, including “J. C. Holmes,” an old Bessie Smith tune, and “Salty Dog,” which stretched back to his Washington Square days. The powerful Pete Seeger banjo inﬂuence was heard on “The Cumberland Mountain Bear Chase.” There was also the number “Paul

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41

and Silas,” a song he and fellow busker, Tommy Geraci, had performed during leaner times. Although a solid record, it didn’t yield any major hits. Darling plugged away as a member of The Weavers, whose popularity constantly ﬂuctuated. He also pursued a solo career and made signiﬁcant contributions on the records of McCurdy, the emerging talent of Judy Collins with the soprano voice, as well as Jean Shepherd. He continued to search for the right formula that would give him an international number one song. In 1962, Darling left The Weavers and formed the Rooftop Singers with Bill Svanoe and Lynne Taylor. The former was a student of ﬁne arts and economics before taking up music full time. Taylor was a veteran jazz singer who had toured with Frank Sinatra, Sophie Tucker, Benny Goodman and Buddy Rich’s band. It was an odd combination of talent, but the chemistry seemed in place right from the start. The trio searched for suitable material and unearthed an old standby, “Walk Right In,” which they reworked. The song originated from the catalogue of Gus Cannon and his Jug Stompers. In 1929, the Appalachian group had recorded the song, but it had never been a big hit. Like other musicians of the era, the Great Depression wiped out their careers. When Darling heard the song, he envisioned what he needed to do to make it a hit. It became the major smash of the folk revival, even surpassing The Kingston Trio’s version of “Tom Dooley.” Even to this day it is played on the oldies stations. There were several reasons why the tune became such a popular chart topper. The pairing of two twelve-string guitars with the groovy feeling that predated the style of music that would soon take over the radio airwaves were all combined to produce gold. In 1963, the Rooftop Singers played the Newport Folk Festival to enthusiastic reviews. However, despite their originality, the fact that Taylor was more jazz than traditional music, and that Svanoe and Darling were much more dexterous than the average folk guitarist, the group’s popularity still waned quickly. Also, since they avoided political material, the trio was separated from the rising activists — Bob Dylan, Joan Baez and Phil Ochs. In 1966, Lynne Taylor left and Mindy Stuart replaced her. Mindy didn’t have the same edge as her predecessor and the energy was essentially gone from the group. Patricia Street succeeded Stuart and shared songwriting credits with Darling, but she too lacked Lynne’s spark. A year later, the group broke up, coinciding with the waning of the folk revival era. After recording a duet album with Street, Darling left the music business. In 1994, he returned with his ﬁrst recordings in nearly thirty years, Border Town at Midnight. Residing in New Mexico, the old master formed a group called Border Town with Sid Hausman and Lynn Lucas. Not a great success, it did put him back on the musical road, even though his past accomplishments

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had long been forgotten by most of the record buying public. On August 3, 2008, Darling paused away in Chapel Hill, North Carolina, from complications due to lymphoma. Erik Darling was one of the most versatile performers to emerge from the folk revival. The master picker of the banjo, six-string and twelve-string guitars was a focused and talented arranger who was able to take old traditionals and breathe new life into them without ruining the original. Although a folkie at heart, he also dabbled in blues, bluegrass, jazz and pop. While the hit “Walk Right In” was perhaps his most shining moment, he made other enormous contributions to folk. His instrumental prowess separated him from many of the other folk ﬁgures who have gained much more attention. Darling had a touch on the banjo and revived interest in the 12-string guitar to the point that everyone was recording with the instrument after the smash success of “Walk Right In.” He had a delicate feel on all the instruments he played that deeply affected the listener. He was able to add little nuances that blended well and gave a song extra punch. He was a chameleon in the studio. His ability to add colors to any recording allowed him to sit in on many sessions for a variety of artists, including Jean Ritchie, Ramblin’ Jack Elliott, Jean Shepherd, Judy Collins, Ed McMurdy and dozens of others. The ability to give the producers a certain touch on either banjo, six-string or twelve-string guitar made him a favorite. It also meant he found a lot of work. The chameleon possessed a unique voice because of an ability to reach high notes. There was not another vocal delivery on the folk circuit that could match the high tenor with a tenacious tremolo feel. In just a handful of notes, he was instantly recognized. While all folk singers assessed an individual vocal delivery, none could ever duplicate or match Darling’s precisely. He was also a ﬁrst-rate arranger. In folk music, this was a very important talent because many songs were derived from traditional sources often a century or more old. He had a shrewd ability to update a song without destroying the original version. He did it with “The Banana Boat Song” and, in particular, “Walk Right In.” Because of his vast musical gifts, he had an inﬂuence on a number of musicians. A short list includes Bela Fleck, Ricky Skaggs, Ian & Sylvia, Peter, Paul and Mary, The Highwaymen, Serendipity Singers, The New Christy Minstrels, the Brothers Four, Theodore Bikel, Bill Svanoe, Lynne Taylor, The Seekers, the Beach Boys and many others. When “Walk Right In” was released and became a smash hit, hundreds of aspiring folk musicians were swept up in Darling mania. Erik Darling was a behind the scenes innovator on the folk scene for decades and possessed an irresistible appeal in his musical delivery. He was

Doc Watson

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able to blend all styles, different instruments, and many distinct voices into one cohesive package. In every situation, whether in a group, as a solo artist, or in the recording studio, the master musician played the role of chameleon perfectly and walked right into the pages of history.

DISCOGRAPHY: • Solo Erik Darling, Elektra 3217. Train Time, Vanguard VRS-9131. The Possible Dream, Vanguard 779. Child, Child, Wind River, 4013. • With the Tarriers Tell All the World, Folk Era Records 1456. The Tarriers, Glory Records PG 1200. Les Tarriers a’ l’Olympia Panoramique, President Records KU-23. Hard Travelin’, United Artists UAL 4033. • With the Weavers The Weavers at Carnegie Hall, Vol. 2, Vanguard 79075. Traveling On, Vanguard VSD 2022. The Weaver’s Almanac, Vanguard 79100-2. Reunion at Carnegie Hall ’63, Vanguard 2150-2. Wasn’t That a Time, Vanguard 147/50-2. • With the Rooftop Singers Walk Right In, Vanguard VRS 9123. Good Time, Vanguard VRS 9134. Rainy River, Vanguard VRS 9190. Best of the Rooftop Singers, Vanguard 79457-2. • With Border Town Border Town at Midnight, Folk Era FE 1417.

Doc Watson (1923– ) Deep Gap Folkie Before the revival, there were many individuals who struggled in near obscurity, plying away and waiting for their big break. The demand for folk music was at an all-time low because of the McCarthy witch hunts and the blacklisting of several key performers. However, when the taste for authentic American roots music was in demand, these ﬁgures rose to the occasion, including the Deep Gap Folkie. His name is Doc Watson. Arthel Lane “Doc” Watson was born March 3, 1923, in Deep Gap, North

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Carolina. An eye infection resulted in a loss of vision before he turned one year old. Despite this obstacle, his parents were determined that their son would lead a productive, plentiful life. They taught him the values of hard work, education and to be self-sufﬁcient — principles that Watson would build a musical career around. Watson attended North Carolina’s school for the visually impaired. Drawn to music at an early age, the enthusiastic young man acquired his ﬁrst guitar, a Stella, and proved that he was a natural. Along with his brother Linny, they became street musicians jamming on Louvin and Monroe Brothers’ songs. Although he was a strong country music fan, his sound was rooted in the wholesome folk style of the Appalachian mountains. Doc was more than just a great ﬁnger picker, he was also a ﬁrst-rate harmonica player and banjoist. This multi-instrumentalist ability would serve him very well later on as he tried desperately to establish a musical career. Although there would be many disappointments, Watson was determined to make it in the music business and refused to quit until he found success. By his early adulthood, he was a standout on acoustic and electric guitar, widely considered one of the top instrumentalists in the state and the entire outer regions. The reputation of the ﬂuidity of his skills spread quicker than the master could unleash one of his many expressive solos. He jammed with many other players, including popular ﬁddle player Gaither Carlton, whose daughter Doc married. The couple would have two children; one of them was a son named Merle. In 1941, Watson landed a spot with a band who played regularly on a radio program in North Carolina. It was at this show that he earned the nickname “Doc” when one of the announcers blurted out the name. A humble man, he accepted the moniker with a keen understanding and gentle manner. It later turned out to be a blessing in disguise because “Doc” was less harsh or obscure than Arthel. It was also much easier to remember. In order to advance his career, he joined Jack Williams’ country and western swing band that played out of Johnson City, Tennessee. One of their main venues was square dances, yet the band had no ﬁddle player. In order to make up the slack, Watson taught himself how to play ﬁddle tunes on both the acoustic and electric guitars. During slack times, he worked as a piano tuner in order to support his family. Despite his talent and sure ability, Watson struggled as a musician. One of the bright spots during this tough period was a trip to New York with the Clarence Ashley String Band. They appeared at the Friends of Old-Time Music concert and it opened a few doors. He was quickly booked at Gerde’s Folk City in Greenwich Village where he impressed with his shining skills. With the American folk music revival just a couple of years old, Ralph Rin-

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zler suggested Doc concentrate on the acoustic guitar and banjo exclusively, two instruments he was highly skilled at. It was a career altering bit of advice. He began to tour as a soloist outside of the North Carolina comfort zone and would gig at such far away places as the Ash Grove in Los Angeles. He turned heads and gained momentum with the release of the album, Clarence Ashley. In 1963, his big break came at the Newport Folk Festival. It was there that he ﬁrmly established himself as one of the top folk-bluegrass-country ﬂat picking and ﬁnger picking geniuses on the planet. In 1964, he recorded his ﬁrst solo album, Doc Watson & Family, and also started to perform with his son, Merle. Doc made the most of the folk revival years and managed to create an excitement in the industry that few could match. There was a deﬁnite intensity, a ﬁre that burned deep within him that exploded when he played the guitar or banjo on stage or in the studio. When the folk revival waned in the latter part of the decade, Watson continued to play folk-drenched material. He would not be deterred because the man knew that there would always be an audience for the music. With Merle, they recorded some interesting material including “Tennessee Stud,” the song found on the three-disc Will the Circle Be Unbroken. The spirit of old-time music, whose popularity ﬂuctuated like all other styles, found itself a champion in Doc. He would ride good and bad times, but never be out of work. In 1974, the pair added T. Michael Coleman, a bass player, to the mix. The three of them toured the planet performing in as many venues as would have them. Watson was determined to bring that Appalachian folk sound to ears that had never heard such magical music. That same year, he recorded Then and Now, which won the Grammy for Best Ethnic or Traditional Recording. In a repeat performance the following year, Two Days in November won the pair another Grammy. In 1979, they won yet another Grammy for Best Country Instrumental Performance for “Big Sandy/Leather Britches.” There was something special about the Doc and Merle musical team, a combination of experience, savvy, incomparable intuition and incredible skill. They produced a seamless, smooth sound which was pleasant to even those who didn’t like folk music tinged with bluegrass and old-time elements. In 1985, Merle was tragically killed in a tractor accident on the farm. It was a devastating blow, and Doc quit performing after the death of his son. However, guitarist Jack Lawrence and bassist T. Michael Coleman coaxed him into getting back on the road. Although it was difﬁcult, Watson returned to the music business knowing full well that Merle would have wanted him to do so. Despite a heavy heart, he marched on and won two more Grammy awards. The ﬁrst, in 1986, was for Riding the Midnight Train. The other came

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in 1990 for Best Traditional Folk Recording, On Praying Ground. Throughout the 1990s, Watson continued to tour and record with a steady pace despite being in his seventies. He produced the ﬁre and energy of a man half of his age on stage and much younger performers could rarely keep up with him. In recent years, Watson cut back on his tour schedule because of his advancing age. In 2007, he was joined onstage by his musical cohort for several years, David Holt, as well as Jack Lawrence. Another personality that the old instrumentalist included in the entourage was grandson, Richard, Merle’s boy. Now in his eighties, Doc continues to record and perform. Doc Watson is a folk revival specialist. Prior to the boom, he struggled as a musician despite the depth of talent displayed in a variety of group and solo settings. An ingenious musician, he set the standard for all others who came after him to follow, something very few were able to do. His mastery of the guitar and banjo are beyond precedent. Although adept at ﬁnger picking and ﬂat picking, it is the latter that his reputation is established on. He combined his talent with the musical mountain roots to create a style that has been studied but never completely or accurately copied. While there were others from the area who also possessed solid skills, none seemed to have Doc’s magical touch. Doc is a very agile picker with blinding speed and a dexterity that most instrumentalist can only dream of attaining. The dynamic combination of the quickness and precision often leaves the listener breathless. He pioneered a fast and ﬂashy bluegrass lead guitar style that was taken from ﬁddle tunes and a personal cross picking ability that left everyone — fans and fellow musicians — wanting more. Because of this prowess, Watson inﬂuenced a long line of pickers. A list includes Clarence White, Tony Rice, Merle Watson, Ricky Skaggs, Alison Krauss, Bela Fleck, Norman Blake, Dan Crary, Glenda Faye, David Holt, Leo Kottke, Tom Paxton, Mike Seeger, Michael Hedges, Eugene Chadbourne, Jerry Garcia, Jorma Kaukonen, Alice Stuart, John Fahey, Joe Carr, David Grisman, Tim Sparks and Townes Van Zandt. All revered the master and learned from the man whose speed and precision could leave a student dizzy. Like everyone else, Watson was inﬂuenced by others. A short list includes Chet Atkins, Charlie Poole, Uncle Dave Macon, Merle Travis, The Louvin Brothers, The Stanley Brothers, the Rev. Gary Davis, The Blue Sky Boys, The Carter Family, Mississippi John Hurt, Leadbelly, Lester Flatt, Earl Scruggs, Jimmie Rodgers and The Delmore Brothers. Interestingly, he in turn had an effect on some of those that inspired him, including Atkins, Scruggs, Flatt, Hurt, The Stanley Brothers and Travis. Like so many other guitar masters, Doc played a variety of them. He started out on the Martin D-18 model. In 1968, the relationship with Gallagher Guitars meant that he would be well armed with their product and

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switched to a G-50 model. That ﬁrst Gallagher guitar, affectionately nicknamed “Old Hoss,” would ﬁnd a place in the Country Music Hall of Fame in Nashville. Interestingly, no matter the guitar utilized, Watson had a manner of making it sing and talk like few other instrumentalists. In 1974, the Gallagher company created a speciﬁc G-50 guitar customized to Doc’s exact speciﬁcations. Eventually the entire line would bear his name. In 1991, they created yet another personal guitar for Watson that he christened “Donald” in honor of the new company CEO, Donald Gallagher. The instruments produced a unique sound, and professional, semi-professional and amateur artists desired one. Because of his vast talents and major contributions to folk and country music, it is understandable that many awards would be bestowed upon him. In 1986, he was given the North Carolina Award. In 1994, Watson collected the North Carolina Folk Heritage Award. In 1997, he accepted the National Medal of Arts. In 2000, the ﬂat picker was inducted into the International Bluegrass Music Hall of Honor. In 2004, Doc was awarded the National Heritage Fellowship by the National Endowment for the Arts. That year, the gifted musician was given the Lifetime Achievement Award by the National Academy of Recording Arts & Sciences. Although there have been many triumphs and setbacks during Doc’s career, the loss of his son and playing partner, Merle, was deﬁnitely the most disheartening. In an effort to remember his boy, he initiated the MerleFest music event held every April at Wilkes Community College in Wilkesboro, North Carolina. The lineup has featured a number of acoustic style acts in folk, bluegrass, blues and old-time genres. Doc Watson was a towering ﬁgure in the folk revival and used it as a springboard to establish a career that is still going strong. Although he has also been classiﬁed as a country artist, it has been the mastery of the folk idiom that assured him of a premier position in entertainment circles. There was an authenticity and genuine love of music that shined through with each note, chord and lyric emoted. As the Deep Gap folkie, he is one of the most unique individuals in the pages of revival history.

DISCOGRAPHY: Docabilly, Sugar Hill 3836. Remembering Merle, Sugar Hill 3800. My Dear Old Southern Home, Sugar Hill 3795. On Praying Ground, Sugar Hill 3779. Songs for Little Pickers, Alacazam! 1005. Doc Watson and Family, Vanguard 77001. The Doc Watson Family, Smithsonian/Folkways 40012. Portrait, Sugar Hill 3759. Riding the Midnight Train, Sugar Hill 3752.

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Pickin’ the Blues, Flying Fish 252. Down South, Sugar Hill 3742. Doc Watson Favorites, Liberty 10201. Doc & Merle Watson’s Guitar Album, Flying Fish 301. Red Rocking Chair, Flying Fish 252. Reﬂections (w/ Chet Atkins), RCA l1-3701. Live and Pickin’, United Artists 943. Old Timey Concert, Vanguard 107/108. Look Away!, United Artists 887. Lonesome Road, United Artists 725. The Essential Doc Watson, Vanguard 45/46. Doc and the Boys, United Artists 601. Memories, United Artists 423. Two Days in November, Poppy 210. Then and Now, Poppy 022. Strictly Instrumental (w/Flatt and Scruggs), Columbia 2643. Will the Circle Be Unbroken (w/Nitty Gritty Dirt Band), United Artists 9801. Bottle of Wine, United Artists 00000. Old Time Music at Clarence Ashley’s, Vol. 1. Folkways 2359. Old Time Music at Clarence Ashley’s, Vol. 2, Folkways 2355. Elementary Doctor Watson, Poppy 5703. Jean & Doc at Folk City (w/Jean Ritchie), Folkways 9026. The Watson Family, Folkways 2366. The Doc Watson Family, Folkways 31021. Doc Watson on Stage, Vanguard 9/10. Ballads from Deep Gap, Vanguard 6576. Good Deal, Vanguard 79276. Home Again, Vanguard 79239. Southbound, Vanguard 79213. Doc Watson & Son, Vanguard 79170. Doc Watson, Vanguard 79152. Live at the 2009 New Orleans Jazz and Heritage, Much Mix 74652. Places in the Heat, Varese Sarabande 81229. Tellulive, Flying Fish FF-224. The Friends of Old Time Music, Smithsonian Folkways 2390.

Harry Belafonte (1927– ) Caribbean Folk Each country has its own traditional folk sound. In the Caribbean, the island nations have practiced a traditional style for centuries which slaves from Africa and European settlement greatly inﬂuenced. Mostly, the West Indies strain has been regionally contained with a few exceptions, including

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the one singer who became an international star and gave the world his Caribbean folk. His name is Harry Belafonte. Harold George Belafonte was born on March 1, 1927, in Harlem in New York. He was the son of Caribbean-born immigrants, but returned to his native Jamaica as a child only to relocate to the United States some ﬁve years later. Between the two extreme places, he developed a love of music that ranged from the Calypso beat of Jamaica, where the style was king, and the jazz, blues and African American rhythms of Harlem. His personal voice existed somewhere between these distinct musical worlds. He dropped out of school and enlisted in the U.S. Navy serving for some time before being discharged. At this point, Belafonte decided to become an actor and settled in New York City to pursue his ambitions. He paid his dues, performing with the American Negro Theatre while learning his craft at Erwin Piscator’s Dramatic Workshop along with future stars Marlon Brando, Bea Arthur, Walter Matthau, Sidney Poitier and Tony Curtis. In one of his acting roles, young Harry had to sing, which he did very well. It led to a series of gigs at cabarets where he performed straight pop tunes. In some of his ﬁrst appearances, the Charlie Parker band backed him, including the talented saxophonist, drummer Max Roach and trumpeter Miles Davis. In many ways, Belafonte was just another young singer trying to make it in a very tough industry. He would eventually leave the pop tunes behind and embark on a different path that reﬂected his roots. It would take time for his warm, dominant, silky unique voice to emerge with the new style. In 1949, Belafonte cut his ﬁrst few singles for the Jubilee label. The Calypso singer might have been performing mainstream music his entire career if he hadn’t discovered folk. Belafonte utilized the Library of Congress as a fund of authentic folk music, which he blended with the sounds of his West Indian roots. From this point on things began to happen very quickly. Within a year, he opened at the Village Vanguard, the legendary jazz club, appeared in his ﬁrst ﬁlm, Bright Road, and won a Tony Award for appearing in the Broadway revue John Murray Anderson’s Almanac. Belafonte became a star overnight with his role in the movie Carmen Jones. He simultaneously carried on a musical career and released the debut album Mark Twain and Other Folk Favorites, which reached the top ﬁve of the Billboard charts. His next effort, Belafonte, reached number one and suddenly the world was enchanted with Calypso music. Then came Calypso, which contained two huge hits: “Jamaica Farewell” and the “Banana Boat” (DayO) song. Of note, it was the ﬁrst million selling record in chart history. Calypso is best described as an Afro-Caribbean sound that originated in Trinidad and Tobago, but stretches back hundreds of years. Other theories claim it is the synthesis of indigenous folk tunes melded with that of the

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French, Spanish and United Kingdom. More importantly, the style had a good beat which people could dance to, and Belafonte was its acknowledged king. He continued to dominate the charts with the next release, An Evening with Belafonte, which contained the major hit “Mary’s Boy Child.” His star power allowed him to be very selective in choosing his next ﬁlm roles, and he decided to appear in Island in the Sun, in which the character has an affair with a white woman. In 1957, this attempt to break down race barriers was monumental. It was also at this point that he formed The Belafonte Folk Singers. The group was not a choir, but a collection of singers and musicians that included Milton Okun. Others that participated in the outﬁt were Earl Baker, Kenneth Bates, Harry Bessinger, Laurence Bogue, Ray Boguslav, Charles Coleman, Tim Conn, Joseph Crawford, Leslie Dorsey, James Eby, Jack Eddleman, Ken Emery, Cortez Franklin, Andrew Frierson, Scott Gibson, Joli Gonsalves, George Goodman, Milton Grayson, Bob Harter, Tom Head, Robert Henson, James Herald, Noah Hopkins, Garrett Morris, John Nielsen, Richard Pindle, Walter Raim, Earl Rogers, Glenn Rowen, Charles H. Scott Jr., Sherman Sneed, Arman Stephanian, Billy Stewart, Millard Thomas, Roy Thompson, Paul Westbrook, John Wheeler, Arthur Williams and Ned Wright. In 1959, another banner year, he starred in the movie, Odds Against Tomorrow, and released Belafonte at Carnegie Hall, a highly successful album which spent years in the charts. The concert itself was sold out and proved that an African American with Caribbean heritage could play the most prestigious hall in the land even in the pre–civil rights era. Although he had scored hits before the folk revival, Belafonte was considered an important ﬁgure because he presented a totally different aspect than the usual artist at the time. In 1960, Belafonte Returns to Carnegie Hall was released and featured the diverse, cultural talents of Odetta Holmes, Miriam Makeba and the Chad Mitchell Trio. At this point in his career, the Jamaican star was one of the most successful entertainers on the planet. He possessed a powerful movie and singing career and had catapulted the music of the Caribbean nations onto the international stage. In 1961, because of his dynamic, widespread popularity, Frank Sinatra recruited him to perform at John F. Kennedy’s inaugural ball. Inclusion in this event proved that the Calypso King possessed leverage. He utilized this fame to bring struggling artists to the attention of the mainstream audience, including South African Miriam Makeba and Greek singer Nana Mouskouri. Also his popularization of the Caribbean sound would open doors for Bob Marley and the entire reggae sound in the next decade. He broke new ground in television with his special, Tonight with Harry Belafonte, which won an Emmy and made him the ﬁrst black producer. He

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continued to deliver chart-topping albums like the lively Jump Up Calypso. In 1962, The Midnight Special was released and featured the harmonica of a then relatively unknown folk singer from Minnesota, Bob Dylan. Like every other entertainer, the British Invasion, particularly the rise of Beatlemania, cut into Belafonte’s popularity. The album Belafonte at the Greek Theatre became his last work to reach the Top 40. Later efforts, An Evening with Belafonte/Makeba and In My Quiet Room didn’t enjoy the success of his previous efforts. The ﬁrst record was signiﬁcant for other reasons because it shed light on the political plight of black South Africans under apartheid. It was at this point in his career when he assumed a stronger social-political conscience and shifted his attention to humanitarian causes. Throughout the decade, Belafonte remained in the public eye, appearing in the TV specials of Julie Andrews, Petula Clark, Lena Horne, Nana Mouskouri, and later The Muppets Show. Once a powerful actor, he had given up on the movie industry because of personal dissatisfaction with the way Hollywood conducted business. However, he returned eventually to the big screen with an appearance in The Angel Levine. Throughout the 1970s he continued to record with less frequency and appeared in a couple of notable ﬁlms, Buck and the Preacher and Uptown Saturday Night. However, his main focus remained humanitarian causes. They ranged from the plight of the African people to the many challenges facing his native Caribbean population. Belafonte was an outspoken critic of government practices when their policies hindered the common person. In the 1980s, he maintained his political-social stance. Belafonte was one of the leaders of the USA for Africa effort and lent his vocal talents to the single, “We Are the World.” In 1986, Belafonte became UNICEF’s Goodwill Ambassador which gave him more clout to pursue humanitarian causes. He returned to ﬁlm with roles in White Man’s Burden and Kansas City. Belafonte aged gracefully. He had not lost any of the charm which had won over a huge audience in the late 1950s and early 1960s. The Calypso singer had the privilege to record and act any time he so desired. In 1997, his musical career, which had remained dormant for years, was re-ignited with the release of An Evening with Harry Belafonte and Friends. In 2003, Belafonte performed his last ofﬁcial concert and later stated that he had retired from performing. He devoted all of his energy to humanitarian causes and continued to be an outspoken opponent of government policies, a path he had followed the past forty years. Despite a lack of product, many of his past releases continued to win him a new generation of fans. Harry Belafonte is the king of Caribbean folk music. He brought the style to the attention of the world, which enabled others to break into the North American and international markets. He was one of the few major black stars of the post-war era making his mark as a singer and an actor. The

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West Indies native was never afraid to speak his mind and was a leader for social justice and equality around the globe. He possesses a silky, smooth vocal delivery perfectly suited for the laidback Calypso style. There is a reassuring warmth to his voice, a friendliness, an invitation to the listener to take a ride on the banana boat and enjoy fun in the sun. It was this accessible element which catapulted him to national and international fame. His most famous song was the “Banana Boat Song,” with the signature lyric “Day-O.” It is a tune that is well-known throughout the world and has been forever associated with him. Other hits include “Turn the World Around,” “Don’t Ever Love Me,” “Jump the Line,” “Scarlet Ribbons,” “Abraham, Martin and John,” “Coconut Woman,” “Jamaica Farewell,” “Hallelujah, I Love Her So,” and “Mama Look at Boo Boo.” Belafonte performed the latter with the Muppets sporting African tribal masks. Later, when the creator of The Muppets, Jim Henson, died, Belafonte sang at the funeral. Always a controversial ﬁgure, his outspoken views on a variety of subjects kept him in the headlines when his musical and movie careers waned. Never one to back down from anyone or anything, he stirred controversy with an appearance on a Petula Clark special and with his performance on the Smothers Brothers Comedy Hour. Despite garnering some unfavorable press, Belafonte backed his words with action. He was a noted actor appearing in Bright Road, Carmen Jones, Island in the Sun, Odds Against Tomorrow, The World, the Flesh and the Devil, Buck and the Preacher, Uptown Saturday Night, White Man’s Burden, and Kansas City. Other work included a stint on the TV show The Muppets, as well as the drama Swing Vote and in Bobby, a movie about the assassination of Robert Kennedy. His credentials as a thespian are solid and an important part of his career. On a musical level, he patterned himself on the crooners; but when it came to his political and humanitarian activism, he drew inspiration from Paul Robeson. They both fought against racial discrimination, and in the 1950s, Belafonte quit performing in the South for a few years. Later, he would be named cultural advisor to the Peace Corps and was a supporter of the Civil Rights Movement, instrumental in organizing the march on Washington. He was also a conﬁdante of Martin Luther King. In the 1990s, some of his humanitarian efforts centered around African support. He traveled to Dakar, Rwanda, Kenya and South Africa to help the plight of the people. His criticism of foreign governments as well as the U.S. administrations became part of his identity. He was also involved in helping the hip-hop artists in Cuba under the Castro government. For his efforts he has received many awards, including the Kennedy Center Honors, the National Medal of Arts and a Grammy Lifetime Achievement

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Award. He was also awarded the Bishop John T. Walker Distinguished Humanitarian Service Award. In 2006, he was awarded the BET Humanitarian Award. Harry Belafonte will forever be known as the king of Calypso despite the fact that he has not recorded many albums in the past several years. Others will remember him for his acting, and for his outspoken opinion. However, the man who taught the world to sing the “Banana Boat Song” remains the greatest proponent of Caribbean folk.

DISCOGRAPHY: Mark Twain and Other Folk Favorites, RCA 1022. Three for Tonight, RCA 1150. Belafonte, RCA 1158. Calypso, RCA LPM1248. An Evening with Belafonte, RCA 1402. Belafonte Sings of the Caribbean, RCA 1505. To Wish You a Merry Christmas, RCA 1887. Belafonte Sings the Blues, RCA 1972. Presenting the Belafonte Singers, RCA 1760. Cheers: Drinking Songs Around the World, RCA 1992. Love Is a Gentle Thing, RCA 1927. Porg y and Bess, RCA 2019. Belafonte at Carnegie Hall, RCA 6006. My Lord What a Morning, RCA 2022. Belafonte Returns to Carnegie Hall, RCA O6007. Swing Dat Hammer, RCA 2194. Jump Up Calypso, RCA 2388. At Home and Abroad, RCA 2309. Midnight Special, RCA 2449. The Many Moods of Belafonte, RCA 2574. Streets I Have Walked, RCA 2695. Belafonte at the Greek Theatre, RCA O6009. Ballads, Blues and Boasters, RCA 2953. En Gränslös Kväll På Operan (Swedish), Philips BEL-1. An Evening with Belafonte/Makeba, RCA 3420. An Evening with Belafonte/Mouskouri, RCA 3415. In My Quiet Room, RCA 3571. Calypso in Brass, RCA 3658. Belafonte on Campus, RCA 1779. Belafonte Sings of Love, RCA 3938. Homeward Bound, RCA 4255. Belafonte by Request, RCA 4301. Harry & Lena, for the Love of Life, RCA PRS295. The Warm Touch, RCA 4481. Calypso Carnival, RCA 4521. Belafonte ... Live, RCA 6077.

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Play Me, RCA APL1-0094. Concert in Japan, RCA R4P5054. Turn the World Around, CBS 6045. Loving You Is Where I Belong, CBS 5254. Paradise in Gazankulu, EMI 746971-1. Belafonte ’89, EMI 134-2527252. The Tradition of Christmas, Hallmark 9708. An Evening with Harry Belafonte and Friends, Island Records 524384-2. At Carnegie Hall, Classic Compact Disc 6006/45. Live from Carnegie Hall, Eagle Rock 0000114. Planet Jazz: Jazz Budget Series, RCA 7432118666732. An Evening with Miriam Makeba, Sony 89671. Harry Belafonte, Laserlight 79556. Stationen, Laserlight 160792. The Many Sides of Harry Belafonte, RCA SP 33-92. Golden Records, RCA 9940. Harry Belafonte, RCA Camden 2599. Pure Gold, RCA 53860. All Time Greatest Hits, Vol. 1, RCA 6877. Legendary Performer, RCA 2469. The Harry Belafonte Collection, Deja Vu 2003. All-Time Greatest Hits, Vols. 1–3, MCA 9771. Banana Boat and Other Famous Folk Songs, RCA 005228. 24 x Harry Belafonte, RCA 920522. Day-O, RCA 52082. Island in the Sun, Pair 1295. A Man and His Music, RCA 046221. The Song Book, Pair 1060. This Is Harry Belafonte, RCA 919526. 36 Greatest All-Time Hits, RCA 1130152502. The Collection, RCA 056220. My Greatest Songs, RCA 07302. Golden Records, Vol. 1, RCA 39522. 2gether on 1, RCA 94542. Greatest Hits, RCA 67403. Harry Belafonte Christmas, RCA 68044. Very Best of Harry Belafonte, RCA 68097. Love Songs, RCA 66951. The Essential Harry Belafonte, RCA Legacy 6924.

Bob Gibson (1931–1996) 12-String Songs The characters in the early days of the folk boom represent a varied contingent of performers. They all came from different backgrounds, were caught

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up in the frenzy of the moment and wanted to make an important contribution. One enthusiast was a businessman before he received the musical calling and proceeded to enchant everyone with his 12-string songs. His name was Bob Gibson. Gibson was born on November 16, 1931, in New York City. He would call many communities outside the city limits home during his childhood including Tuckahoe, Yorktown Heights, Tompkins Corners, and Puhman County, New York, among others. Although there was a passing interest in music, it wasn’t until much later in his life that the bug would bite. He had intentions of becoming a businessman. However, he established folk musician credentials by dropping out of high school in senior year and hitchhiking across the country. While on the road, the traveler collected the various experiences that would someday form the foundation of his recorded material. Upon returning to New York, he found work in a ﬁrm that taught speed reading where his duties included sales and public relations. In 1953, he attended a Pete Seeger concert and met the revered singer. It was a life-changing event, because after this the aspiring musician on a limited budget bought a banjo and began to study folk music earnestly. Eventually, Gibson left the world of business to pursue a deepening interest in traditional songs. He not only improved his skills on the banjo, but added the 12-string guitar to his musical arsenal. The aspiring musician performed for a few months in New York before heading to Florida where he found more work in clubs. Eventually, he would stretch his concert radius away from Florida. He spread the boundaries from Cleveland to New York and into the Midwest. In Michigan City, Indiana, he found permanent residency at the Green Door. The famous club was not far away from Chicago and Gibson frequented the Windy City, adding another metropolitan area to the list of performance sites. More importantly, he hired on the services of manager Albert Grossman, who booked him into the Off beat Room, one of the top clubs in town. But Grossman, a clever and insightful manager, opened up a new club in Chicago called the Gate of Horn, and booked his client Gibson, whose residency lasted almost a year. At the end of the stay, the assertive musician, who had begun as an opening act, was now a star headliner. It was during this period that he was able to hone all of his musical ideas and experiences into professional folk material. The Gate of Horn featured a number of performers from the folk circuit including Josh White, Glenn Yarbrough, Odetta Holmes and Joan Baez, among others. Many came to the club relative unknowns, but their stay at the venue enabled to make a name for themselves and enjoy greater success during the revival. In 1959, Gibson introduced Baez at the Newport Folk

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Festival, launching the career of one of the most important folk singers of the revival. Gibson found his best partner in Hamilton Camp. In 1960, after the latter had debuted at the Newport Folk Festival, he concentrated all efforts on creating folk music rather than acting. The pair complemented each other and were the perfect duo. They released Gibson and Camp at the Gate of Horn, a seminal album that would inﬂuence Gordon Lightfoot and John Denver, as well as future rock legend John Lennon. One of the songs from their recording, “Well, Well, Well,” appeared on Simon and Garfunkel’s album, Wednesday Morning 3 A.M. Eventually, the duo of Gibson and Camp split up. Gibson formed a deep and lasting professional friendship with Shel Silverstein, who was at that point in his career a cartoonist. The pair became writing partners forging over two hundred songs together through the years while maintaining separate careers. Silverstein would also become renowned as a clever poet of children’s rhymes, as well as taking on the duties of musician, composer, actor and screenwriter. After many years of collaborating on several occasions, they worked together one last time before Silverstein’s death and cut “Whistlers and Jugglers and Writers of Song,” in honor of their long-standing musical partnership. During the height of the revival, Gibson was as clearly established as any folk artist, not just in Chicago, but across the country. However, things began to unravel. From his teenage years, the singer favored alcohol, a consumption that only increased as his fame grew. Later, the man discovered drugs — especially heroin — that spelled the end of his rise and began a quick demise. It would take years before Gibson was off the drugs and alcohol enabling him to perform once again. From 1978 to 1990, he attempted to capture the glory of his early musical power without success. The music world had changed drastically and had left the onetime commanding folkie behind. He recorded the albums The Perfect High, Uptown Saturday Night, Best of Friends, and A Child’s Happy Birthday Album, but none really found their niche with the record buying public. Although never able to regain previous fame, Gibson was still a fairly solid draw on the folk music scene, especially in Chicago. He was a ﬁxture and played festivals, coffee houses and bars, assuming the role as the granddaddy folkie because of a career that stretched back to the golden revival. Many of the young musicians looked up to the father ﬁgure and sought his advice. Sadly, at the end of the 1980s, he ﬁrst began to experience the effects of progressive supranuclear palsy, a disease that robbed him of his ability to perform. On September 20, 1996, he gave his friends and fans a ﬁnal concert. A week later, on September 28, Bob Gibson, the folk singer who had held so much promise, died in Portland, Oregon. Bob Gibson was a folk music inﬂuence. In the late 1950s and early 1960s

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his recordings and performances provided a beacon for younger artists. There was something very attractive about his clean-cut voice and easy musical abilities that were copied by a number of aspiring musicians. Arguably, for a brief period, he was the most dominant folk singer of the revival. Bob Gibson was never a great musician. But he kept a steady beat on the 12-string guitar, as well as the banjo. He enriched old standards with his generous ability to bring these songs to life that had laid dormant for years. His penchant to unearth lost gems provided a musical path for many individuals seeking their way. He also introduced the 12-string instrument back into vogue at a time when it had been discarded. His voice was not distinct, but his delivery was crisp and clean. In fact, most of his recordings sounded like ordinary folk without the grit of a Dave Van Ronk. Arguably, Gibson’s music was too bland to have survived the middle and later part of the turbulent decade as the Civil Rights Movement and Vietnam War fueled songwriting ideas. However, a strong voice allowed him to display the serious and funny side of the genre. But he was one of the ﬁrst artists to play basic folk songs on guitar to a white, afﬂuent college audience. It was this fact that truly established his credentials as an important inﬂuence during the folk boom. He is also best remembered for his days with Hamilton Camp. The two were an amazing duo in the clubs around Chicago, especially the Gate of Horn, turning that venue into a must stop place for all serious folkies who passed through. Gibson inﬂuenced a number of artists, including Joan Baez, Phil Ochs, Bob Dylan, John Lennon, Hamilton Camp, Harry Chapin, Gordon Lightfoot, Josh White, Glenn Yarbrough, Odetta, Judy Collins and Tom Paxton. Unfortunately, due to his limited time in the limelight and because of substance abuse problems, the man with the 12-string songs sphere of importance was brief. Although, the talented artist made a comeback later on and a younger generation were drawn to his music, the ﬂame had burned out. Gibson was an integral folk artist of the early days of the folk boom. He captured the imagination of his contemporaries and was essential in helping a number of unknown artists ﬁnd their way in the music business. Despite the fact that his staying power was not very long, the talented musician earned a place in the history of the genre with his 12-string songs.

DISCOGRAPHY: Off beat Folk Songs, Riverside, RLP12-802. I Come for to Sing, Riverside RLP 12-806. Carnegie Concert, Riverside RLP 12-816. Folksongs of Ohio, Stinson CA 76. There’s a Meetin’ Here Tonight, Riverside RLP 1111. Yes I See, Elektra EKL 197.

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Ski Songs, Elektra EKL-177. Bob Gibson and Bob Camp at the Gate of Horn, Elektra EKL-207. Hootenanny at Carnegie, Riverside RM 7542. Where I’m Bound, Elektra EKS7239. Bob Gibson, Capitol ST-742. Funky in the Country, Mountain Railroad MR52783. Gibson & Camp, Homemade Music, Mountain Railroad Records, MR52781. The Perfect High, Mountain Railroad Records MR 52794. Uptown Saturday Night, Hogeye Records BOG005. Folk Songs of Ohio, Stinson 76. The Living Legends Years, Bob Gibson Legacy 1001. Joy, Joy! The Young and Wonderful, Riverside Records 9909.

Ramblin’ Jack Elliott (1931– ) Hard Travelin’ The folk music pantheon is comprised of many interesting individuals, loners, travelers, and political activists from every culture, creed and religious makeup. Many of the heroes of the folk music idiom were roamers, drifting from one end of the country to the other seeking inspirations for their repertoires. One artist, because of his hard travelin’ ways, earned the reputation as one of the great cowboy troubadours. His name is Jack Elliott. Jack Elliott was born Elliott Charles Adnopoz on August 1, 1931, in New York. The son of a doctor, his parents desperately wanted him to follow in the family footsteps; but young Jack was more interested in music, particularly that of the singing rodeo cowboy, than being a medical practitioner. Eventually, the differences between parental units and teenage son led the young rambler to run away from home at ﬁfteen. He joined a rodeo and was exposed to the life that he had read and dreamt of for so long. The adventure ended when his father and mother tracked him down and brought their stray teenager back home. Back in New York, the steely youth remained adamant about not pursuing a medical career. Instead, Elliott learned how to play guitar to become an itinerant musician. A couple of years later, he left home for good and landed in Chicago. But by the early 1950s he was back in New York around the Greenwich Village Washington Square Park area. It was here that the aspiring musician met his hero, Woody Guthrie. Prior to meeting Guthrie, the hard traveler had called himself Buck Elliott, but later changed his name to Ramblin’ Jack. His ﬁrst songs were placed on a compilation released by the Elektra label and provided him with much

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needed encouragement. But the real success came when he started to roam the Southwest with Guthrie, a journey that lasted for some time. In 1955, the great adventure stopped when Elliott went to England. In Great Britain, Elliott sang Guthrie songs that reﬂected the time spent rambling across the country with the folk legend. In the process, the young singer expanded his own reputation as well as that of his musical hero. During a six-year span in England, the hard traveler recorded an initial proper solo effort, Woody Guthrie’s Blues. He would record four more albums on the Topic label and performed with Derroll Adams, a banjo player, rekindling a friendship that had begun in California. The duo toured Europe to enthusiastic audiences and helped American folk take root all over the continent. Fame favors the prepared man. In 1961, Elliott returned to his native America in time to partake in the folk revival. With sorrow, he visited Guthrie who was dying of Huntington’s disease. It was while keeping Woody company that Elliott met a young unknown musician from Minnesota named Bob Dylan. Ramblin’ Jack and the young songster would become lifelong friends, and he would have a huge inﬂuence on Dylan. In the ﬁrst part of the 1960s, Elliott enjoyed tremendous success. As new folk enthusiasts were taking up the cause, they looked toward the established stars to help show them the path; Ramblin’ Jack ﬁlled that need perfectly. He had been a troubadour for two decades and had traveled with the legendary Guthrie, who despite his failing health was still regarded as a true inspiration of the modern movement, especially among the new crop of young, political folkies. During the decade, it seemed that Ramblin’ Jack was everywhere. He recorded and toured with Pete Seeger (who cited Elliott as a special inﬂuence) throughout England and Scotland. As well, the hard traveler befriended Jerry Garcia, the lead guitarist of the rock band The Grateful Dead. The folk troubadour often performed opening sets and also sat in with the band on occasion. This association helped him gain popularity in rock circles. In 1961, the self-titled album featured interpretations of traditional songs including “The Cuckoo,” “Rollin’ in My Sweet Baby’s Arms,” “East Virginia Blues,” and “Railroad Bill.” He also covered “Candyman” and “San Francisco Bay Blues.” In the studio, John Heard played second guitar and Ralph Rinzler provided mandolin support on a few numbers. There was also one original composition, “Sadie Brown.” Although not a deep, introspective collection, it was a fair representation of Elliott’s musical vision at the time. He balanced his consistent recording output with a busy tour schedule as one of the acknowledged major ﬁgures on the folk circuit playing in the dozens of coffee houses around the country. He shared the bill with Dylan, Arlo Guthrie, Pete Seeger, The Weavers, Dave Van Ronk, Joan Baez, and a

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host of others. The albums At the Point and Hootenanny with Jack Elliott appeared during this time and enhanced his solid reputation. After the folk boom rescinded, he continued to roam the country playing in venues (often the songs of Woody Guthrie) and recorded albums. In 1970, Bull Durham Sacks and Railroad Tracks was released. It combined monologues with studio material which included “Me and Bobby McGhee,” “Find a Reason to Believe,” and a number of Bob Dylan compositions, most notably “Lay Lady Lay” and “Girl from the North Country.” The record was a solid example of the more commercial part of his career. Sadly, Bull Durham Sacks and Railroad Tracks was the last album of new material he released for over two decades. Elliott continued to tour extensively, roaming the country and entertaining audiences with his ability to deliver stories and songs with relative ease. In the early 1980s, the hard traveler remained an exciting performer during the era of New Wave/pop ﬂavor of the month/MTV days, where his brand of music was essentially ignored. Folk had reached its lowest ebb. In 1990, Legends of Folk, a live recording of a concert that Elliott had performed with Bruce Phillips and “Spider” John Koerner at the World Theatre in Minnesota, was released. This encouragement enabled Ramblin’ Jack to record South Coast, his ﬁrst studio album of new material in over a decade. In 1995, the effort received a Grammy award as Best Traditional Folk Album. South Coast contained a number of Guthrie’s songs including “Pastures of Poetry,” “I Ain’t Got No Home” and “Talkin’ Dust Bowl.” There were other highlights including “Cocaine Blues,” “Mean Old Bed Bug Blues,” and the title song. While the material seemed a retread of past work, its popularity was in the freshness and the fact that the seventy-year-old was still performing while so many of his contemporaries had long ago faded from the scene. The execution of guitar and vocals were very crisp. Suddenly, he was one of the most sought after artists on the circuit. His career received a much needed boost, and he began performing on a more regular basis. His 1997 recording, Friends of Mine, included duets with Joe Ely, Tom Waits, Guy Clark, Jerry Jeff Walker, Nanci Grifﬁth, John Prine, and Bob Weir. The songs “Me and Billy the Kid,” “Rex’s Blues” (a Townes Van Zandt original), “Hard Travelin’,” “Walls of Red Wing,” “He Was a Friend of Mine” and the old Grateful Dead chestnut, “Friend of the Devil,” made the album a wanted addition to the collection of many of his longtime fans. Also that year, a seventy-minute session in Germany resurfaced entitled Ramblin’ Jack Elliott. It featured “Pretty Boy Floyd,” “Buffalo Skinners,” Bob Dylan’s “Don’t Think Twice, It’s All Right,” as well as “I Threw It Away,” and a couple of originals, “Cup of Coffee” and “912 Greens.” It was well received from longtime fans who had suffered during the lean years when there were no new recordings of Elliott available.

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In 1999, he released The Long Ride, which featured guest appearances from Dave Van Ronk, Dave Alvin, Tom Russell and Maria Muldaur. It contained a reworking of the Rolling Stones’ “Connection,” Woody Guthrie’s “Ranger’s Command,” Bob Dylan’s “With God on Our Side,” and some cowritten work including “Now He’s Just Dust in the Wind” and “True Blue Jeans.” Also that year, he received the National Medal of Arts at the White House in appreciation for the long road he had traveled as a folk singer. The recognition was special because few in the folk world had ever been awarded the honor and those who did boasted a much thicker catalog. Arguably, none were survivors in the same caliber as Elliott. In 2000, his daughter, Aiyana, ﬁlmed the documentary The Ballad of Ramblin’ Jack. In 2004, he released I Stand Alone. The ﬁnger picking folkie delivered an interesting array of tunes including “Mr. Garﬁeld,” “Leaving Cheyenne,” “Old Blues,” “Willy Moore,” “Careless Darlin’” and “Honk Kong Blues.” It also included the original “Woody’s Last Ride.” He continues to record and perform. Ramblin’ Jack Elliott is a folk troubadour. He is one of the most inﬂuential artists of the genre and continues to be an inspiration to this day. His connection to Woody Guthrie, Bob Dylan and so many others only enhanced his already stellar reputation. He was an integral part of the folk revival and continued to carry the torch long after the era faded into the pages of history. He is a distinct musician, perhaps not so much due to his guitar or singing abilities, but because of his personality. Ramblin’ Jack’s sound is instantly recognizable, a style that copied heavily from Woody Guthrie, but developed into something unique over the years. Elliott has always possessed the ability to take any song and give it a special touch to make it his own. Elliott is a careful songwriter who has ﬂexed a creative muscle on several recorded albums. His songwriting skills received a major boost in the years traveling with Woody Guthrie. The latter was the mentor to young Jack who listened to the teacher carefully. However, Ramblin’ Jack’s original catalog is decidedly thin. There has been some interesting fresh material, but more were cover versions of tunes he liked. Years later, it is Elliott who became a mentor for many singer-songwriters and some of the rock and roll artists. Bob Dylan was a disciple, as were The Rolling Stones, The Grateful Dead, Pete Seeger, Joni Mitchell, Joan Baez, Kate Wolf, Phil Ochs, Arlo Guthrie, John Prine, Tim Hardin, Tom Rush, Tracy Chapman and a host of others. There was an authentic and genuine quality in his music and an honesty about the man who had a deep impact on so many, cutting across two generations of performers. Although he started his folk music career long before the boom of the

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1960s, he was a very important ﬁgure during that era. He, along with Woody Guthrie, laid down the foundation for the folk era that followed. Elliott spent many afternoons in Greenwich Village Washington Square Park picking out songs of personal freedom and political views that would inﬂuence musicians at the time and continues to do so today. Ramblin’ Jack Elliott remains an important ﬁgure in music circles. He has delivered his unique brand of storytelling to enthusiastic audiences all over the world for over sixty years. Despite the numerous musical trends that occurred during his long career, the cautious entertainer never fell into that trap. In many ways, he is the man who understood the term hard travelin’ and built his career around that concept.

DISCOGRAPHY: Woody Guthrie’s Blues, Topic 12 T 93. The Rambling Boys, Topic 10 T 14. Jack Takes the Floor, Topic 10 T 15. Ramblin’ Jack Elliott in London, Monitor 71380. Rambling Jack Elliott Sings Songs by Woody Guthrie and Jimmie Rodgers, Columbia 33 SX 1291. Sings the Songs of Woody Guthrie, Prestige/Folklore 14011. Kid’s Stuff, Ramblin’ Jack Elliott Sings Children’s Songs by WoodyGuthrie, Columbia SEG 8046. Jack Elliott, Collector JEA 5. Blues ’n’ Country, Collector JEA 6. Jack Elliott at the Second Fret, Recorded Live, Prestige/International 13065. Country Style, Prestige/Folklore 14029. Talking Woody Guthrie, Topic 12 T 93. Muleskinner, Topic 10 T 15. Young Brigham, Reprise R/RS 6284. The Essential Ramblin’ Jack Elliott, VSD 89. Hard Travelin, Fantasy F-24720. Talking Dust Bowl, Big Beat WIK 86. Ramblin’ Jack Elliott Sings Woody Guthrie & Jimmie Rodgers Cowboy Songs, Monitor 71380. Me & Bobby McGee, Rounder 0368. South Coast, Red House RHR 59. Kerouac’s Last Dream, Appleseed 1021. Friends of Mine, Hightone 8089. Live in Japan, Vivid/Bellwood VSCD-706. The Long Ride, Hightone 8107. Country Style/Live, Fantasy 27454. Early Sessions, Rykodisc 1083. Ballad of Ramblin’ Jack, Vanguard 157079575-2. Best of the Vanguard Years, Vanguard VCD 79573-2. The Lost Topic Tapes, Hightone HCD8175. The Lost Topic Tapes, Vol. 2, Hightone HCD8176. I Stand Alone, Anti 86814.

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Eric Von Schmidt (1931–2007) Cambridge Folk There were many prime areas during the early days of the folk revival that were essential to its outward growth. Greenwich Village was the most famous, but the North Beach in San Francisco and the campuses around Denver and Chicago were also noteworthy. Another of these starting points was the area around Cambridge, Massachusetts, Harvard Square, which produced many important singer-songwriters including the man known for his Cambridge folk, Eric Von Schmidt. Eric Von Schmidt was born on May 28, 1931, in Westport, Connecticut, into a family of painters. His father was a famed illustrator who was best known for his serial, “Tugboat Annie.” Both parents accelerated the young boy’s musical career by providing him with the records of such diverse artists as jazz great Duke Ellington, classical guitar master Andres Segovia, and folk icon Burl Ives. Others he listened to included Johnny Noble & His Hawaiians, Fred Waring and His Pennsylvanians, and Hoagy Carmichael. Like so many other aspiring musicians, the music of the past inspired him. In Von Schmidt’s case, it was a radio broadcast of the legendary songster Huddie “Leadbelly” Ledbetter. One of the songs that the young boy heard on that magical night was “Goodnight Irene,” which made him want to learn to play guitar. He acquired one and honed his skills by listening to records and studying music books. Soon he discovered that there were many hopeful musicians his age and began to travel in a circle of artists to New York. In the Big Apple, which possessed a true folk heartbeat, the Cambridge artist and the others played their guitars and banjos anywhere were they were able to including parks, squares, taverns, and street corners. On these adventures, he met the prominent Ramblin’ Jack Elliott who enabled Von Schmidt to make his radio debut on an Oscar Brand hosted show where the youth played “Pretty Polly.” A stint in the Army didn’t hinder Von Schmidt’s musical development or education. In fact, since he was stationed in Washington, D.C., it meant that he was able to search for songs in the archives of the Folklore Department of the Library of Congress. This musical education that had begun a few years before was rounded out. He now possessed a solid grasp of the folk idiom, a necessary weapon needed on the musical adventure he was about to embark upon. After his discharge, he spent a couple of years studying art in Italy on a Fulbright scholarship, but music was in his heart. When Von Schmidt returned

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to the United States, the determined individual settled around the Harvard Square area in Cambridge. In the middle of the action, the serious folkie was able to play at Tulla’s Coffee Grinder, a coffee house that became one of the early hubs of the burgeoning folk movement. In 1958, the entire scene exploded, thanks to the emergence of The Kingston Trio and the tenacity of Woody Guthrie, Pete Seeger and The Weavers. Suddenly, coffee houses and clubs opened up in great numbers including Club 47 located in Harvard Square and the Unicorn in Boston. These two venues provided Von Schmidt with an excellent base, and he made the most of the opportunity, establishing a following in each respective venue. One of the early warriors of the folk revival, the blossoming artist often hosted all-night jam sessions in his apartment-studio. The cross-section of musicians learning and sharing songs created a tight-knit folk community. Von Schmidt divided his time between this activity and performing at the coffee houses that had sprouted in the area, playing some original material and that of others. His greatest inﬂuence remained Leadbelly. Like all other folk artists of the era, Von Schmidt was drawn into Bob Dylan’s universe. On his debut album, the folk icon mentioned Eric’s song, “Baby, Let Me Lay It on You,” as the source for “Baby, Let Me Follow You.” The friendship extended to a tour in England which also included Rolf Cohn. The three recorded an album with Dylan using the moniker “Blind Boy Grunt.” Later, one of Von Schmidt’s songs, “Joshua Gone Barbados,” found its way on the famed Basement Tapes, which the folk troubadour recorded with The Band. It was another boost to his career and eventually led him to a recording contract with Prestige. In 1962, Von Schmidt cut his initial effort, Folk Blues, which contained a couple of originals, “Gulf Coast Blues” and “Champagne Don’t Hurt Me, Baby.” Although it wasn’t a brilliant debut, it established the Cambridge artist as one of the leading lights of that particular folk community. Intestinally, Dylan thought enough of Folk Blues to put it on his album cover of Bringing It All Back Home. Throughout the 1960s, Von Schmidt continued to perform with less success. The emergence of folk-pop and then folk rock overshadowed efforts. In 1970, the frustrated folkie left for Florida after divorcing his ﬁrst wife. Sometime later, he remarried and established a new home in Henniker, New Hampshire. By this time, the revival was long over and artists such as himself had to take a different route in order to sustain their careers. In 1973, he released 2nd Right, 3rd Row on the Indie label, Tomato. “Turtle Beach,” “My Love Come Rolling Down,” “Salute to China” and “Fair and Tender Ladies” were highlights of the record. With his recording career stalled, he turned to painting and produced cover art for a number of artists and friends including Joan Baez, Cisco Houston, John Renbourn, the Rev.

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Gary Davis Jr., Jackie Washington, The Blue Velvet band and Maria Muldaur, among others. It would be another ﬁve years before his next release, Eric Von Schmidt & The Cruel Family, which saw him move away from folk and take up more of a rock feel. He wrote all of the songs on the album, producing a few gems including “Make It Last,” “Sudden Garden,” “Icarius,” “You Get Old, You Get Wise” and “It’s the Doing.” Although it was a strong, tight effort, it didn’t truly enhance his career much because the time of the traditional singersongwriter was waning. In 1979, the musician and painter turned co-author along with friend Jim Rooney, also a folk singer and a record producer. The book, Baby, Let Me Lay It on You, focused on the Boston-Cambridge folk years, capturing the era in all of its splendor. It was one of the more interesting studies and histories of one of the prime regions during the heralded revival from two people who had created and lived the scene. In the 1980s and 1990s, Von Schmidt concentrated more on painting than on his music and continued to draw the album covers for a wide range of artists and developed quite the reputation for this ability. He also exhibited his artistic talents in numerous galleries and museums all over the planet. Although the art world beneﬁted from his efforts, the music scene suffered, and many wondered if he would ever return to recording more folk tunes. In 1995, Von Schmidt met folk singer Linda Clifford and returned to performing. The enthusiasm was so strong that it led him to record a batch of new songs. Baby, Let Me Lay It on You, his ﬁrst musical effort in eighteen years, sparked with a vibrancy that proved he still possessed the magic and skill to deliver a professional collection of tunes. It included another version of the classic “Joshua Gone Barbados.” In 2002, Von Schmidt released his last recorded effort, Living on the Trail, containing mostly all original material. The title cut, “Envy the Thief,” and “Lightning, They Say” along with another version of “Joshua Gone Barbados” proved that he was a gifted musician who had been underrecorded his entire career. The possibility of lost tapes from previous sessions recorded during the early years never surfaced. In 2000, he had been diagnosed with throat cancer. He died on February 2, 2007, in Fairﬁeld, Connecticut. Eric Von Schmidt was an exuberant folk singer who did as much or more than any other artist to promote the traditional sound. He was forever teaching the younger musicians the roots music of Leadbelly, Blind Boy Fuller, Mississippi John Hurt, Mississippi Fred McDowell, Skip James, Blind Lemon Jefferson and Blind Willie McTell to all that were interested. He was one of the ﬁrst folk musicians to emerge from the coffee house circuit to be recorded and was a prime East Coast ﬁgure. Von Schmidt was a self-taught musician who played guitar and harmon-

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ica with equal ease. There was a ﬁre and a passion in his attack that spilled over into live performances and on records. He was a genuine folkie who remained true to the folk form without deviation. A songster in the tradition of his idol, Leadbelly, the dedication to the traditional sound was admirable, considering that many of his contemporaries delved into folk rock. Von Schmidt has often been associated with Dylan. He encourage the young folk troubadour to expand his musical boundaries. In their initial meeting, the elder statesman taught the young student a number of songs. Dylan, a musical sponge, absorbed all of the treasured tunes and utilized them in his early recorded material. The connection between the two was a friendship that endured until the death of the Cambridge folkie. One of the staples of Dylan’s live performances was “Baby, Let Me Follow You Down,” which was credited to Von Schmidt. However, in a later interview he declared the real source of the song to be Blind Boy Fuller. Like his sometimes cohort Dylan, Von Schmidt was always ready to acknowledge those who inspired him the most. They were both champions of every aspect of roots music including folk, blues, country, bluegrass and oldtime. Von Schmidt had a strong inﬂuence on Tom Rush. Together they arranged an old folk tune, “What a Mighty Storm,” which depicted the 1900 hurricane that had destroyed Galveston, Texas. This was a tremendous boost to Rush, another important East Coast folk ﬁgure who continues to this day to ply his trade with well-chosen appearances and sparkling new material release. The bond between the two artists was an example of the tight-knit community that existed in the Cambridge area during the revival. Perhaps Von Schmidt’s most famous song was “Joshua Gone Barbados,” which tells of Ebenezer Joshua, the head of a labor union in St. Vincent Island. The song tells in beautiful language the plight of the people of the island nation. It was an overtly political song and a true gem from a rather thin catalog. Although his diligent efforts to ensure that folk music remained a vital force weren’t always rewarded, he did receive the ASCAP Foundation Lifetime Achievement Award. In 1997, he won a Grammy Award for his work on the compilation Antholog y of American Folk, Vol. 1–3. Sadly, because Von Schmidt was so underrecorded, a lot of what he had to say was never put down in a studio setting. Eric Von Schmidt is fondly remembered as someone who had a strong spirit and a folk song in his heart. He was true folkie with a deep love of poetry, all-night jam sessions and wine, all inspired from the old classics that fueled his entire career, especially the songster Leadbelly. He made a strong impact on the Cambridge folk scene and on the genre itself.

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DISCOGRAPHY: The Folk Blues of Eric Von Schmidt, Prestige/Folklore 7717. Eric Sings Von Schmidt, Prestige Records PR 7384. Who Knocked the Brains Out of the Sky?, Smash Records SRS 67124. 2nd Right, 3rd Row, Poppy Records Poppy PYS-5705. Living on the Trail, Poppy PP-LA080-F. Eric Von Schmidt & the Cruel Family, Philo Records PH 1052. Baby Let Me Lay It on You, Gazell, GPCD2013. Come for to Sing, Pathways of Sound POS 1033. The Blues Project, Elektra EKS-7264. Folklore Jambone, Prestige Records FL 14023. The Newport Folk Festival, Vanguard Records VSD-79225. Take a Trip with Me: Psychedelic Hits, Prestige 7539. Bleecker & MacDougal: The Folk Scene of the 60s, Elektra 60381. Blues in a Bottle, Big Beat Records WIK 71. Troubadorus of the Folk Era, Vol. 1. Rhino Records R2 70262. Blues with a Feeling (Newport Folk Festival Classics), Vanguard 77005. The Prestige/Folklore Years, Vol. 1: All Kinds of Folks, Prestige Records PRCD 9901-2. The Prestige/Folklore Years, Vol. 2: The New City Blues, Prestige Records. The Acoustic Highway Collection: The Road to Country Rock, EMI 53302. Blues in the Sun, Vol. 7 (Blues Blue, Blues White) The Bluesville Years, Prestige Records 9915. Blues with a Feeling, Part Two, Vanguard Records 73134-2. Washington Square Memories: The Great Urban Folk Boom (1950 –1970), Rhino Records R2 74264.

Fred Neil (1936–2001) Cult Success Although the folk revival was one of the most exciting eras in American music history, its longevity was short lived. Unfortunately, the careers of some of its most important practitioners paralleled the revival’s romantic quickness. One individual who had a huge impact with his songwriting talents faded almost as quickly as he appeared, yet retained a cult success. His name was Fred Neil. Neil was born on March 16, 1936, in Cleveland, Ohio, but was raised in St. Petersburg, Florida. He developed his rich baritone voice and ability on the 12-string guitar, honing these skills until proﬁcient enough to perform in public. His musical tastes were eclectic and ranged from political folkie Woody Guthrie to delta bluesman, Robert Johnson, to early rocker, Chuck Berry and country icon, Hank Williams, Sr.

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Neil was a keen student of music and never limited himself to one single style. A good example was the penchant for the melodies in the work of the clever composer and songwriter Cole Porter. As well, he paid close attention to the rhythm specialty of the immensely gifted Ray Charles, who managed to combine gospel, blues, country, early rock and jazz into one complete, exciting package. He absorbed all of these musical sources to create something on his own terms, which was perhaps the single, most important trademark of the singer’s powerful but brief career. Eventually, like most folk singers of his era, he ventured to Greenwich Village where he met Dave Van Ronk and Ramblin’ Jack Elliott, two of the most unique and serious folkies on the circuit at the time. They would both make a strong impact on the young folkie’s songwriting progress. Despite a strange personality and being known as quite moody, Neil seemed very open and accessible in the bohemian community. However, although admired by many, few grew close enough to get to know him; it was his nature to keep to himself. Neil performed in and around the many clubs in Greenwich Village remaining there for a good part of his career. After a few years of performing, he ﬁnally appeared on record. Hootnennany Live at the Bitter End featured three of his songs; “Linin’ Track,” “The Sky Is Fallin’,” and “That’s the Bag I’m In.” Len Chandler, Jo Mapes and Bob Carey also contributed to the record. Later, the album would be reissued as World of Folk Music, which included an extra track, “Raindrops Falling,” a song Neil would re-record as “Yonder Comes the Blues.” No matter the title, one thing was clear — Neil outshone all the others on the disc. The compilation fueled further advancement. He graduated from the small clubs to share the stage with Lenny Bruce, Richie Havens, Tim Hardin and Vince Martin, earning a tremendous amount of respect from performers in all aspects of the folk community. Although, he had not yet been recorded, Neil wanted to cut his own songs and managed to gain the necessary attention through the reputation earned as a live artist. In the meantime, the savvy artist continued to write and hone material. In 1965, he released Bleecker & MacDougal, which established him as one of the more intriguing singer-songwriters on the circuit. It featured mostly original compositions and a backup band of John Sebastian on harmonica, Felix Pappalardi on base and Peter Childs on dobro and electric guitar. The studio musicians augmented the sound of Neil’s strong voice and simple acoustic guitar, a trend that many folk singers were adopting at the time. The record featured a wide range of material including the moody “Blues on the Ceiling,” the jug band feeling of “Sweet Mama” and the ballad of “Little Bit of Rain.” Tim Buckley would record the latter song a few years later.

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Mike Bloomﬁeld and Paul Butterﬁeld would cut their own version of “Country Boy.” In all, it was a very stirring, deeply personal, powerful collection of songs which ran together with frightening muscle. However, the momentum he had built up with the ﬁrst release was lost with the next effort entitled Sessions. Known as a strange, reclusive character, it seemed that Neil had lost his focus; many of the songs sounded unﬁnished as compared to the polished product of the previous release. There were some highlights including “Felicity” and “Please Send Me Somebody to Love,” the old Percy Mayﬁeld chestnut, but the overall opinion of the tracks was disappointment. Neil continued to operate at all the regular Greenwich Village venues, but had changed as a live performer. The fact that he had recorded two albums provided him with more material to select from when on stage. Although the talented singer performed less frequently, because of that ﬁrst record, concert appearances continued to be noted events on the folk circuit. The chameleonlike ability to perform a pure folk tune and follow it with something totally obscure and in a different style kept audiences off guard. A keen sense of humor as a performer was also a solid attraction. Like Bob Dylan and members of the Band, he had relocated to Woodstock in upper New York state. The colony of artists, musicians and painters quickly cultivated a hip status among the cultural community throughout the East Coast and drew many to the fold. In the rural part of the region, Neil was at ease and able to concentrate on writing material for the next album as he attempted to rebound from the disaster of the previous release. In 1969, Fred Neil was issued, which returned him to critical and commercial stature because of the sheer power of the tracks. It included “Everybody’s Talkin’,” a song Harry Nilson would turn to gold a few years later. Other standouts on the album were “The Dolphins” and “That’s the Bag I’m In.” The record also marked a change from straight folk to experimental electric folk rock. The power of this recording proved itself twenty years later when every single track appeared on the compilation The Very Best of Fred Neil. In 1970, he reissued all of the songs that had appeared on Bleecker & MacDougal and renamed it Little Bit of Rain. He reworked all of the material into a bluesy, strictly acoustic framework and spiced each tune with a very passable Johnny Cash country drawl. Neil had often proved that he wasn’t the regular folkie, and this album emphasized a moodiness, a varied artistic approach and a deﬁnite penchant for experimentation. In 1971, Neil released his last album, The Other Side of This Life, which was an interesting collection. One part of the album featured live, acoustic songs, while the other included tunes left over from different sessions. The in concert side featured excellent versions of “The Dolphins,” “Everybody’s

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Talkin’,” and “Other Side of This Life.” The studio material included reworked versions of “Badi-Da” and “Felicity,” as well as the curious take of the soul staple, “You Don’t Miss Your Water,” and a blues number, “Come Back Baby.” After the release of his last album, Neil relocated to Coconut Grove, Florida, and retreated to a state of reclusiveness more than ever before, performing only on rare occasions. In 1981, he made one of his last concert appearances when he joined Buzzy Linhart, the folk rocker, on stage. For the next twenty years, very little was heard of him until his death on July 7, 2001; he passed away from natural causes. Fred Neil was one of the brightest folk personalities of the revival. Despite a limited catalog and time in the spotlight, the cult hero made a deﬁnitive and lasting impact on a number of musicians. He had a deep, low, rich voice that was melodic, and he combined it with a keen instrumental insight. He was also a very talented songwriter with many artists covering his songs and turning them into international hits. There was a special timbre in his vocal appeal that touched a particular nerve impulse in his audience. The deep baritone singer had a unique approach to traditional folk and delivered his own compositions with a precise moody allure. The quality of the vocal delivery, the dark, moody element, was often compared to Johnny Cash’s country toughness. In a world of standout folk singers with a special voice, Neil shined as brightly as anyone else. An adequate 12-string guitar player, Neil’s instrumental magic existed in the ability to mesh his own skills with that of other musicians. In the studio, John Sebastian, member of The Lovin’ Spoonful, was the harmonica player, Felix Pappalardi, an original member of the hard rock group Mountain and producer of the blues-rock band Cream, was frequently the bass player. Guitarist Vince Martin, Neil’s one-time partner before the latter went solo, added touches to the rich acoustic sound. It is understandable that with his bountiful musical gifts he would have a strong inﬂuence on a number of other artists. The Jefferson Airplane included “Other Side of This Life” in their concerts. Later they recorded a couple of songs, “Ballad of You and Me and Pooneil” and “House at Pooneil Corner,” dedicated to Neil. Harry Nilsson took “Everybody’s Talkin’” into the Top Ten. Additionally the song was featured in the movie Midnight Cowboy. Steven Stills cited Neil as a guitar inﬂuence. Bob Dylan praised him for his patience and guidance as did Richie Havens. Tim Buckley was another disciple as was the aforementioned Nilsson. Forty years later, Neil continues to exude a special inﬂuence on his contemporaries as well as the new generation of folkies. A partial list includes Emmylou Harris, Jackson Browne,

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Graham Nash, Linda Ronstadt, Al Stewart, Roger McGuinn, Townes Van Zandt, The Moore Brothers and Dean Rutledge, to name a few. Neil gave the world a number of great songs. A substantial list includes “Everybody’s Talkin’,” “The Dolphins,” “Felicity,” “The Other Side of This Life,” “That’s the Bag I’m In,” “Bleecker & MacDougal,” “Little Bit of Rain,” “Country Boy,” “Candy Man,” “Look Over Yonder,” and “Sweet Cocaine.” The brilliance of his original compositions was something few could match. Although the catalog is not extensive, the quality far outweighs the quantity. There were many remarkable aspects to Neil. One of them was that he was his own man. While others were trying to save the world, improve it, and deliver politically charged messages in their songs, the cult hero was quietly plodding in his own garden. A perfectionist in the studio as well as on stage, the man didn’t play any material that wasn’t up to usual standards. As an established folk artist with a rich voice, reﬂective lyrics and more than adequate instrumental ability, the unique artist was quite capable of inspiring the younger, aspiring musicians. He cared about others and was instrumental in helping a young Bob Dylan integrate himself into the folk scene. He would also aid another aspiring musician, Richie Havens, who years later recalled Neil’s unselﬁshness. Joan Baez, Judy Collins, and Tim Hardin were just a few of the dozens of singer-songwriters that he made an impact on with his special generosity. Although known as a moody recluse in some circles, he was fondly remembered as a generous, devoted human being. Fred Neil provided an interesting chapter to the folk music revival with his very sophisticated compositions, compelling voice and instrumental touch. Although there were many who achieved greater fame, he remains one of a handful of singers who can claim genuine cult success that continues to spin its peculiar magic in current times.

DISCOGRAPHY: Hootenanny Live at the Bitter End, FM Records 309. Bleecker & MacDougal, Collectors Choice Music 02752. Sessions, Vivid Sound VSCD-567. Everybody’s Talkin’, Creation 66302. Little Bit of Rain, Elektra 74073. Other Side of This Life, Capitol Records 657. The Very Best of Fred Neil, See Fo Miles Records 77. The Many Sides of Fred Neil, Collectors’ Choice Music 70. The Sky Is Falling: The Complete Live Recordings 1965 –1971, Rev-Ola Records 78. Trav’lin Man: The Early Singles, Fallout 2091.

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Dave Van Ronk (1936–2002) The Mayor of MacDougal Street Like other styles of music, folk borrowed from the blues, jazz, country and rock — but mostly blues. The primitive, shining country blues of Mississippi Fred McDowell, Robert Johnson, Mississippi John Hurt and Huddie “Leadbelly” Ledbetter, among others, were very folkish and a great inﬂuence on the revivalists. During the revival, one musician utilized the roots music of his youth as the cornerstone of a sound that earned him the title, Mayor of MacDougal Street. His name was Dave Van Ronk. Dave Van Ronk was born on June 30, 1936, in Brooklyn, New York. His grandfather, a pianist with a fondness for ragtime master Scott Joplin and march king John Philip Sousa, introduced the young boy to the wonder of music and encouraged him to hone his talents. Van Ronk picked up the guitar and practiced hard, discovering the rich vein of American folk blues that included Furry Lewis, Josh White, Sleepy John Estes, Mississippi John Hurt, Skip James, Leadbelly, Blind Willie McTell, Jelly Roll Morton and Bukka White. He also was enchanted with the operatic songs of Bertolt Brecht and Kurt Weill. The youth left high school before obtaining his diploma and drifted to Greenwich Village, determined to become a folk blues singer. The ambitious musician participated in the Sunday gatherings at Washington Square, learning and teaching all those that were present. During these jam sessions, he made three important contacts: Tom Paley, the Rev. Gary Davis, and Barry Kornfeld. He also played in a number of groups, including jazz outﬁts, performing on the tenor banjo. Discouraged by any lack of musical progress, he worked as a merchant marine in order to support himself while further honing his guitar skills. Eventually Van Ronk returned to the Greenwich Village scene to try once again. In 1957, he performed with Odetta Holmes, the wonderful folk singer who would be identiﬁed with the Civil Rights Movement. During this difﬁcult period, she encouraged him to continue to pursue his musical vision. In the late 1950s, his musical preferences leaned toward country blues and jug band music. He would even record a jug band album with Sam Charters. Van Ronk performed at coffee houses and private parties. After paying some hard dues, his ﬁrst recording, Ballads, Blues and a Spiritual, was released on the Folkways label. It contained a mixture of blues; “Black Mountain Blues,” “Winin’ Boy Blues,” “Backwater Blues,” and “Gambler’s Blues,” as well as the traditional “John Henry.”

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Although he toured and performed throughout the country, Greenwich Village remained the home base. He became an institution there and was an integral part of the circle of emerging young folk singers that included Tom Paxton, Phil Ochs, Ramblin’ Jack Elliott and Joni Mitchell, among others. Van Ronk was also an early inﬂuence on an aspiring folkie from Minnesota. The Mayor of MacDougal Street and his wife allowed the young man to live in their house when he ﬁrst arrived to New York City. His name was Bob Dylan. Although he was an institution in the Village performing in coffee houses and clubs on a regular basis, it wasn’t until Van Ronk started to record for the Prestige label that the singer began to achieve national exposure. Stardom might have arrived sooner had he agreed to listen to Albert Grossman and Milt Okun, who attempted to recruit him in a trio with Peter Yarrow and Mary Travers. Since neither could play guitar that well and by this time Van Ronk had developed a unique ﬁnger picking style, his contributions were badly needed. However, he turned down the offer to do his own music and the vacant spot went to Noel Paul Stookey. Throughout the 1960s, he delivered a series of experimental albums including Dave Van Ronk & the Ragtime Jug Stompers, which saw him delve into jug music. On the effort In the Tradition, the folk singer was backed by the jazz-style combo of The Red Onions, creating a different take on the standard folk blues material. Van Ronk never fully gave up his eclectic approach to making studio records; and in the middle of the decade he formed a group, the Hudson Dusters, who were a combination electric jug band, folk orchestra and bubblegum outﬁt. Their album, Dave Van Ronk & the Hudson Dusters, demonstrated how far he was willing to stretch his talents. While the folk blues songs were always well received, the experimental songs were not. Nevertheless, he continued to release albums at a regular pace and performed throughout the United States as a solo artist, appearing at smaller venues as well as many of the major folk festivals including Newport. Van Ronk was a breath of fresh air with his ability to rearrange blues, jazz and folk material into tunes that captivated audiences. The delicate and expert ﬁnger picking was a complete, individual style. Although not considered part of the strong political folk movement, he often supported left-wing causes and was a member of the Libertarian League and the Trotskyist American Committee for the Fourth International. The latter would be renamed the Workers League and was a predecessor to the Socialist Equality Party. As an observer of social unrest in his own country, Van Ronk was present at the Stonewall Riots where he was arrested and brieﬂy jailed. As the folk revival waned, many of the individuals who had gained national attention faded from the scene. Van Ronk continued to record and

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perform with regularity. His repertoire consisted of mostly interpretations of old songs placed into a folk blues context with a handful of originals thrown in the mix. Although the records never sold well, the live performances were an exception. Part excellent musician, storyteller and humorist, no two concerts were alike, and it became his bread and butter as an artist. In 1974, he appeared at “An Evening for Salvador Allende,” which was an concert organized in protest of the overthrow of the democratic socialist government of Chile and to aid refugees from the U.S.-backed military junta led by Augusto Pinochet. Phil Ochs organized the event and Bob Dylan was also present. It was a reunion of sorts for the three folk musicians who had often performed together during the revival days. Sadly, two years later, he was present at the funeral of Phil Ochs who had committed suicide. He joined others in the Felt Forum at Madison Square Garden performing “He Was a Friend of Mine.” By this point in time, the folk movement and radical ideas of the previous decade had faded into the pages of history. However, Van Ronk continued to make music and evolve as an artist even though many of his contemporaries had faded away. After releasing a number of albums which didn’t create much excitement, he recorded Sunday Street. In 1976, the master ﬁnger picker was at his best and proved he could still transcribe blues, jazz and ragtime for guitar. The title track was an original composition. Other highlights included “Maple Leaf Rag,” the Scott Joplin ragtime staple, Joni Mitchell’s “That Song About the Midway,” and Jelly Roll Morton’s “The Pearls.” It was an impressive collection of eclectic songs. In an attempt to pay tribute to the Broadway musical songs that he had always held so dearly, Van Ronk transcribed a number of them for the guitar and released the collection on the Hummin’ to Myself. Highlights included “Sweet Georgia Brown,” “I’m Just a Lucky So and So,” “The Fresno Shufﬂe,” “Hong Kong Blues,” “It Ain’t Necessarily So,” and “Two Sleepy People.” The album was well received by those who enjoyed his musicianship and ability to experiment with different material. With the next effort, Going Back to Brooklyn, he won back a number of longtime fans that emphasized Van Ronk the songwriter; it was a volume of all original material. “Gaslight Rag” was a tribute to one of his favorite venues and the patrons who frequented the bar. “Losers” and “Another Time and Place” were songs that emphasized his vast talents as an observer of human life. Never enchanted with the singer-songwriter role, he demonstrated a capability of not only playing the part, but excelling at it. In later years, remembering the days when he was a struggling, hungry young artist, Van Ronk helped out the newer singer-songwriters such as Christine Lavin, one of his former guitar students. Like her teacher, the New York born and based folk artist was very different in the approach to music. The

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enterprising young woman experimented with different styles and possessed an incredible ability to tell stories of the normal aspects of life mixing in a good dose of humor. She continues to record and perform. Van Ronk taught guitar in Greenwich Village for years. As well, the actor performed in an off–Broadway production of the Bertolt Brecht-Kurt Weill opera Mahogany. Always a keen student of their music, he would later collaborate with English folk singer Frankie Armstrong on the work Let No One Deceive You: Songs of Bertolt Brecht. It was a satisfying project and proved that there were different dimensions to his talent. He continued to perform all over the country, usually at smaller venues like bars and pubs in front of an intimate audience, which was the best setting for him. In front of a cozy crowd, the raconteur could touch each member of the audience with that special brand of humor and reveal a genuine honesty. With an eclectic and wide repertoire, Van Ronk was able to reach back and play songs that dated back to material performed in the beginning of his career. The showmanship and superior musical skills never failed to satisfy the paying crowd. Sadly, on February 10, 2002, Van Ronk, who had been undergoing postoperative treatment for colon cancer, lost the battle. The folk and international music community was robbed of one of its most cherished and talented performers. Since his death there has been material released from previous concerts celebrating the brilliant musicianship of one of the great folk singers of the 20th century. Dave Van Ronk was a genuine folk master. He managed to deliver to the world a different blues-oriented slant on a number of folk classics with the ability to rearrange any song and make it sound fresh and new. A gifted storyteller, the somewhat limited musician made the most of his abilities to earn the accolades bestowed upon him. Long after his death, the Mayor of MacDougal Street remains an important folk artist. In many ways, Van Ronk was a folk singer who was very difﬁcult to categorize as strictly an interpreter of traditional material. Although a solid writer, his greatest talent existed in the ability to take any style of song, including blues, jazz, Broadway show tune, jug band number and traditional folk, and turn it into a modern recording. He did it with superior arrangement skills and ﬁnger picking talents. Always a student of music, in the early days at Washington Square Park, Van Ronk observed all the others in their manner of taking some very old song and bringing it to life. Over the years he acquired an encyclopedic knowledge of how to determine the feel, rhythm, and essence of a tune in order to bring it to life. He also frequented jazz and blues clubs learning from the masters, such as saxophone immortal, Coleman Hawkins, and the superb vocalist, Jimmy Rushing.

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He possessed a rough, angry voice that enabled him to emphasize lyrics without over killing them. It was not the soft, introspective vocal delivery that most folk singers utilized, but more like the style of blues shouter like Big Joe Turner or rough acoustic Delta bluesmen like Charlie Patton, Son House, Tommy Johnson and Robert Petway, among others. Among folk annals, it was a unique, beautiful voice. While Van Ronk’s vocals were special, his musical skills were extraordinary. The master ﬁnger picker used a three-ﬁnger style to play melody and his thumb to hammer out the bass lines. Simply put, Van Ronk was an astonishing guitarist. He possessed a remarkable syncopation that drew its source directly from the style of early blues artists such as Mississippi Fred Hurt and Mississippi Fred McDowell. The keen student also approached the guitar like a piano in the same manner as his greatest inﬂuence, the Rev. Gary Davis. Van Ronk’s complicated guitar playing was further augmented with his incomparable ability to improvise quickly and smoothly. This skill separated him from the average folkie strumming their guitar and boasting an accomplished set of only a few chords. Because of a love of old songs and the determination to bring them to the attention of a new generation, it was crucial that this technique of improvisation be ﬁrst-rate. There was also a harmonic element in Van Ronk’s music which was rarely found in the styles of other folk contemporaries. This was derived from studying the operas and plays of the German duo, Kurt Weill and Bertolt Brecht, the jazz of Louis Armstrong, and the complicated blues of the Mississippi Delta musicians. The ability to combine a gritty voice with a mastery of the guitar was the cornerstone of his legend. He reworked the songs of Blind Lemon Jefferson, Robert Johnson, Blind Blake, the Rev. Gary Davis, Woodie Guthrie, Pete Seeger, Josh White, Lonnie Johnson, Blind Boy Fuller, Ira and George Gershwin, Bertolt Brecht and Kurt Weill. The compositions of Scott Joplin and other ragtime artists were also found scattered throughout his catalog, including such numbers “St. Louis Tickle,” “The Entertainer,” “The Pearls” and “Maple Leaf Rag.” There was no material sacred enough that he wouldn’t tackle it. A partial list of Van Ronk’s material includes “Betty and Dupree,” “My Baby’s So Sweet,” “Spike Driver’s Moan,” “Willie the Weeper,” “Winin’ Boy,” “Duncan and Brady,” “Careless Love,” “In the Pines,” “Bed Bug Blues,” “Hesitation Blues,” “Yas, Yas, Yas,” and “Leave Her Johnny,” among others. An entire list would ﬁll volumes. However, no matter the source of the any song, he was always able to give it a personal stamp, making it something special. His presentation of old blues, jazz and folk standards inﬂuenced a great number of other artists. A partial list includes Bob Dylan, Christine Lavin, David Massengill, John Sebastian, Paul Siebel, The Lovin’ Spoonful, Tim Hardin, Simon and Garfunkel, Jack Hardy, The Incredible String Band, Richie

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Havens, Don McLean, David Blue, Terre Roche, Suzzy Roche, Danny Kalb and the Blues Project, Masato Tomobe, Geoff Thais and even the writer Elijah Wald. His contemporaries Joni Mitchell, Phil Ochs, Tom Paxton, Tom Rush, Judy Collins and Leonard Cohen, among others, drew inspiration from his interpretations. Dave Van Ronk has not been forgotten. In 2002 a CD of his last concert, October 2001 in Takoma Park, Maryland, was released by Smithsonian Folkways. To this day his style can be heard in the crop of new folk singers who try to emulate him. In 2004, a section of Sheridan Square, where Barrow Street meets Washington Place, was renamed Dave Van Ronk Street in his memory. He was presented with the Lifetime Achievement Award of ASCAP, the American Society of Composers, Authors and Publishers. Van Ronk was a rare personality. He hated to ﬂy and used trains, buses or had someone drive him to the next gig. A tall, hairy man, with a twinkle in his eye, he was also a recluse and rarely left the security of Greenwich Village except to do small tours at intimate clubs and pubs. Often a stoneware jug of Tullamore Dew was next to him on stage. The off beat personality was reﬂected in a musical approach that made him a very unique performer. His life was captured in the memoirs ﬁnished by collaborator Elijah Wald entitled The Mayor of MacDougal Street. Van Ronk was a folk music icon who provided the world with a number of reworked and original classics. He was a huge inﬂuence on contemporaries and future players by proving the fact that the past should never be forgotten and could be reworked into the present. Because of this and all of the musical gifts he gave the world, the man earned the title of the Mayor of MacDougal Street.

DISCOGRAPHY: Dave Van Ronk with the Red Onion Jazz Band, Prestige PR 45-288. Dave Van Ronk with the Red Onion Jazz Band, Prestige PR 45-297. Dave Van Ronk & the Hudson Dusters, Verve Forecast KF 5070. Dave Van Ronk with the Hudson Dusters, Verve Forecast KF 5080. Dave Van Ron, Polydor ML 008. The Orange Blossom Jug Five: Skifﬂe in Stereo, Lyrichord LLST 773. Dave Van Ronk Sings Ballads, Blues and a Spiritual, Smithsonian Folkways 40041. Van Ronk Sings. Vol. 2, Folkways FV 9006. Dave Van Ronk, Folksinger, Prestige 14012. Dave Van Ronk and the Red Onion Jazz Band: In the Tradition, P-Vine PCD 5-5306. Inside Dave Van Ronk, Stateside SL 10153. Just Dave Van Ronk, Mercury 60808. Dave Van Ronk and the Ragtime Jug Stompers, Mercury SR 60864. No Dirty Names, Verve/Forecast FTS 3009. Dave Van Ronk and the Hudson Dusters, Verve/Forecast 3041. Van Ronk, Polydor 24-4052.

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Van Ronk, Fantasy DLP 24710. Songs for Ageing Children, Chess/Cadet CA 50044. Sunday Street, Philo 1036. Somebody Else, Not Me, Philo PH 1065. Your Basic Dave Van Ronk, ATR 104. St. James Inﬁrmary, Paris Album DKB 3359. Dave Van Ronk in Rome, Folkstudio FK 5017. Going Back to Brooklyn, Reckless RK 1916. Hesitation Blues, Big Beat WIK 84. Frankie Armstrong & Dave Van Ronk: Let No One Deceive You, Flying Fish CD FF 70557. Peter & the Wolf, Alacazam ALAC-CD 1004. Hummin’ to Myself, Gazell GPCD 2004. The Folkways Years, 1959 —1961, Smithsonian Folkways 40041. A Chrestomathy, Gazell GPCD 2007/8. To All My Friends in Far-Flung Places, Gazell GPCD 2011/12. From ... Another Time & Place, Folkradio FK 5017. Dave Van Ronk Live at Sir George Williams University, Just A Memory 9132. Dave Van Ronk: Sweet & Lowdown, Justin Time Records 166-2. The Two Sides of Dave Van Ronk, Fantasy FCD-24772-2. Dave Van Ronk: ...And the Tin Pan Bended and the Story Ended..., Smithsonian Folkways SFW40156. Dave Van Ronk: The Mayor of MacDougal Street Rarities 1957–1969, Rootstock MCM4005.

John “Spider” Koerner (1938– ) Spider Web The roots revival was like a large web that pulled in curious young aspiring musicians. Many took up an instrument in order to become part of an exciting era. Some of the enthusiasts enjoyed brief careers, while others managed to continue to spin together songs, concert appearances and recorded material. The excitement stung one young individual so deeply that it lasted a lifetime. His name is John “Spider” Koerner. John Koerner was born on August 31, 1938, in Rochester, New York. Initially, it was aerodynamics and airplanes which occupied his interest, and he went as far as obtaining a student glider pilot license. At that point, a music career seemed as far away as the furthest point in the blue horizon he traveled as a pilot. Eventually, Koerner enrolled at the University of Minnesota to study aeronautical engineering. However, in 1958, someone introduced him to folk music and it changed his life forever. He took up the guitar and harmonica, practicing until proﬁ-

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cient on both instruments. He also became a serious student of the old blues masters, studying the styles of Mississippi John Hurt, Mississippi John McDowell, Skip James, Robert Johnson, the Rev. Gary Davis, Bukka White, Blind Lemon Jefferson and a host of others. Koerner absorbed their work with an intensity that quickly accelerated his thin education of roots music. The young man’s aspirations to become an aeronautical engineer faded as music consumed his entire passion. Eventually, he quit school and traveled the country gaining experiences that would forge the raw material that he would someday mold into songs that would become his stage repertoire. Along the way, Koerner continued to hone his guitar, harmonica and singing skills into an accessible, ﬁnely-tuned package. In 1959, after a brief stint in the Marine Corps, he returned to Minneapolis in the fall of that same year. During the period, coffee houses were all the rage, and Koerner found his niche in and around the bohemian circle surrounding the University of Minnesota. A hotbed of musical activity, it was about to launch one of the greatest folk singers who would be dubbed the modern messiah of the movement. One night, this unknown folk singer walked into a small cafe where Koerner was playing. Robert Zimmerman was ﬂoored by the intensity of Koerner’s delivery; the two itinerant musicians became fast friends. They jammed together and traded off their best blues licks. Both were harmonica players and guitarists sharing much the same spirit and love of poetry and old blues. Sometime later, Zimmerman would move to New York City, rename himself Bob Dylan, and become a legend. Koerner would continue to play solo until he hooked up with two similar-minded individuals, guitarist Dave Ray and harmonica player Tony Glover. James David Ray was born on August 17, 1943, in St. Paul, Minnesota, into a musical family. His mother, an organist, would play for years even at an advanced age, and his brothers, Tom and Max, would also become musicians and form a local outﬁt. Jim was introduced to music when he attended a Segovia concert. Soon after he picked up the guitar in order to emulate the classical guitar player, but eventually shed that style in order to concentrate on folk and blues. Tony Glover was born on October 7, 1939, in Minneapolis, Minnesota. His ﬁrst instrument was the guitar, and as a teenager he became proﬁcient enough to play in various local bands. However, he discovered the blues harp; Little Walter and Sonny Terry became his main inspirations. After numerous musical adventures playing in a number of groups, he joined forces with Koerner and Ray. In New York City, the trio exchanged musical ideas, and upon their return to Minnesota, formed the group, Koerner, Ray & Glover. They gave each other nicknames: Koerner was dubbed “Spider” because of his long arms

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and legs; Ray was named “Snake” and Glover was called “Little Sun.” The three musical nomads had different experiences they brought into the group and were able to mesh all of their separate ideas to form one cohesive unit. The trio recorded their ﬁrst album, Blues, Rags & Hollers, on the small, independent Audiophile, which was based in Milwaukee. The group caught a break when Elektra stepped in, purchased the album and signed them to a contract. In the heyday of the roots revival, the Jack Holzman Los Angelesbased company was one of the prime folk labels and boasted an impressive stable of stars. Later the organization would delve into rock and sign The Doors. In 1964, the trio released Lots More Blues, Rags & Hollers, which contained a number of original songs, as well as material from Leadbelly, Memphis Minnie and Muddy Waters. Highlights included “Honey Bee,” “Red Cross Store,” “Love Bug,” “My Little Woman” and “Southbound Train.” While the album certainly boosted their careers, it was an appearance at the Newport Folk Festival that truly sealed their presence in the folk circuit realm. The performance was recorded on the Vanguard release Newport Folk Festival 1964: Evening Concerts III. If the record and documentary presented a live image of the group, it also projected that they were very much capable as solo performers. In 1965, Koerner and Ray released singular efforts. Spider Blues never received favorable reviews but did contain some interesting songs including the title cut, “Corrina,” along with “Baby, Don’t Come Back,” “Good Luck Child” and “Need a Woman.” Koerner appeared at the Newport Folk Festival by himself and his set was captured on the album Newport Folk Festival 1965. Glover would double as an all-night underground disc-jockey on a Minnesota station and formed the band Nine Below Zero. He would also ﬁnd time to co-author, along with Ward Gaines and Scott Dirks, the awardwinning biography Blues with a Feeling: The Little Walter Story. Even before he had joined Koerner and Ray, Glover was quite the writer, producing a solid body of rock critic work for a number of magazines. He also wrote liner notes for the records of John Hammond, Jr., Sonny Terry, John Lee Hooker and The Bootleg Series, Vol. 4: Bob Dylan Live 1966: The “Royal Albert Hall” Concert. In 1967, Ray was in a serious motorcycle accident and had to relearn how to play the guitar. Two years later, he teamed up with Will Donicht to form Bamboo. They recorded one eclectic folk rock album on the Elektra label. Like other artists, Ray became dissatisﬁed with the cutthroat recording industry and set up his own studio entitled Sweet Jane Ltd., based in Cushing, Minnesota. Junior Wells and Bonnie Raitt recorded there as did Willie and the Bees. In 1965, the trio recorded another album, The Return of Koerner, Ray & Glover, which proved to be their last as a full-time act. In 1972, a retrospect

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collection, Live at St. Olaf Festival, surfaced a full six years after they had broken up. Although they had disbanded, there would be different reunions over the years, as well as two of the former bandmates teaming up for various projects. Koerner assumed the guise of full-time solo performer and worked some of the more prestigious clubs, including Ash Grove in Los Angeles and Club 47 in Cambridge, Massachusetts. He toured England, and once again delivered a solid set at the 1969 Newport Folk Festival. His second solo effort, Running, Jumping, Standing Still, was released that year and featured piano player Willie Murphy. More importantly, it included a solid number of his own compositions including “I Ain’t Blue” that Bonnie Raitt would cover on her debut album. In the early 1970s, after recording Music Is Just a Bunch of Notes, he retired brieﬂy to Copenhagen, Denmark. When he emerged out of the selfimposed exile, Koerner did it with style on Some American Folk Songs Like They Used To, which announced a shift to more traditional folk songs rather than the blues-drenched material of prior releases and what fans had come to expect from him. It ignited his career at a time when folk was in serious decline. By 1977, Ray had moved back to Minnesota where he worked only parttime as a musician and full-time as a life insurance salesman in his father’s ﬁrm. For the next decade, the aspiring musician led the double life of company man by day and blues artist at night and on the weekends. He performed at local bars and restaurants and managed to record a few live and studio albums including Kid-man. At some of the gigs, Glover accompanied him. Nearly a decade later, Glover began to record for Red House Records, which greatly improved his status. Nobody Knows the Trouble I’ve Been contained standards such as “Cotton-Eyed Joe,” “The Leather-Winged Bat,” “Froggy Went A-Courting” and “Shenandoah.” Despite a long layoff, there was very little original material, but the old folk master’s dedicated enthusiasm made the songs jump from his 12-string guitar. Six years later, Raised By Humans included more traditional songs; “The Young Man Who Wouldn’t Hoe Corn,” “The Water Is Side,” “Titanic,” “Boll Weevil,” “The Farmer’s Curst Wife,” and “Sandy Anna,” among others. It featured Koerner on 12-string guitar with a cast of different percussionists as support group. One of the more noted backup musicians was John “Mr. Bones” Burrell. Glover’s next effort, Stargeezer, was recorded in New Orleans and boasted the contributions of Reggie Houston, Amasa Miller and Johnny Vidacovich. The list included a heartfelt cover of Hoagy Carmichael’s “Stardust.” It also featured more of his original compositions including “Last Lonesome Blues,” “The Skipper & His Wife,” “Some People Say,” and “Taking My Time.” With

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the subsequent recordings, he proved that he had not lost any of his ﬁre and ability. In 1996, to everyone’s surprise, Koerner reunited with Ray and Glover to record an album. One Foot in the Groove was the trio’s ﬁrst batch of new songs together in some thirty years, but they proved that the musicianship, ﬁre and unity that had made them the best white folk blues outﬁt on the circuit still existed. While they covered mostly traditional songs, the group contributed a couple of originals. This resurgence in Koerner’s career enabled him to return to music on a full-time basis. In the last dozen years, many of his older efforts were re-released, including material as part of the Koerner, Ray & Glover trio. Occasionally, the three reunited and performed at speciﬁc venues. Every concert was acknowledged as a special effort, since the group beckoned from long ago during the golden age. The reunions stopped when Ray died on November 28, 2002, of lung cancer. Despite a major heart operation and subsequent expensive medical bills, Koerner continued as a solo act and sometimes collaborated with Glover. In 2009, the duo recorded Live @ the 400 Bar. John Koerner is a folk blues heavyweight. Perhaps, more than any other ﬁgure during the folk revival, he championed the bluesier side of traditional music. As a solo artist, and with partners Ray and Glover, the musician with the sharp talent, wild licks and mojo drive managed to quietly inﬂuence several generations of musicians. As a trio they helped spark a renewed interest in lost artists such as Skip James, Sam “Lightnin’” Hopkins, Mississippi John Hurt, Mississippi Fred McDowell and Lonnie Johnson, among others. In any discussion of Koerner, his abilities as an instrumentalist must be the starting point. A solid guitar player, his standard ﬁgures turned traditional folk tunes into etudes in blues. He had a knack for ﬁnding the heart and essence of a song and exploring different sides of it with his intense six-string skills. An original musician, “Spider” was able to weave a thick web of notes and chords that drew in listeners and educated them at the same time. He was also a formidable harmonica player, matching his ability against that of partner Glover. The two often traded licks, extending a song into regions that enthralled listeners and left them always wanting more. They set the standard for all aspiring harmonica players in folk to try and attain. As a double instrumental threat, Koerner created a universe of folk blues that few could match. Koerner’s accomplishments have not gone unnoticed. He appeared in Part 1 of the PBS Educational Series River of Song. The four episode documentary branched out into a seven part series on Public Radio International. It also included a companion book published by St. Martin’s Press, a 2 CD set from Smithsonian Folkways Recordings and a home video series from Acorn Media.

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He was an inﬂuence on a number of musicians including Bob Dylan, Tim Hardin, Tom Paxton, Nanci Grifﬁth, Dave Van Ronk, Ramblin’ Jack Elliott, Bonnie Raitt, Bob Smith, John Hammond, Jr., Keb’ Mo’, Kelly Joe Phelps, John Mooney, Paul Geremia, Lonnie Pitchford, Lonnie Shields, Rory Block, Alvin Youngblood Hart and Corey Harris, among others. He also made an impact on his two partners, Ray and Glover, and in return they helped shape his musical vision. John “Spider” Koerner was a folk blues inspiration as a solo artist or with partners Ray and Glover. He reintroduced the importance of the melding of the two styles during the revival in a way others had not thought possible. A double threat instrumentalist, he urged Bob Dylan and many others to take up the cause of American roots music capturing everyone in his specially spun spider’s web.

DISCOGRAPHY: • Solo Spider Blues, Elektra 7290. Running, Jumping, Standing Still, Red House Records 63. Nobody Knows the Trouble I’ve Been, Red House Records 12. Raised by Humans, Red House Records 44. Stargeezer, Red House Records 84. One Foot in the Groove, Tiny/Kerr 83-137. Live @ the 400 Bar, CC Entertainment 9092. Music Is Just a Bunch of Notes, Sweetjane 5872. Songs Like They Used to, Sweetjane 1074. March 1963, Nero’s Neptune 6. • With Ray & Glover Blues, Rags and Hollers, Audiophile AP-78. Blues, Rags and Hollers, Elektra EKL-240. The Blues Project, Elektra EKL-264/EKS-7264. Lots More Blues, Rags and Hollers, Elektra EKL-267/EKS-7267. The Folk Box, Elektra EKL 9001. Newport Folk Festival 1964, Vanguard VRS 9186/VSD 79186. The Return of Koerner, Ray & Glover, Elektra EKL-305/EKS-7305. Folksong 1965, Elektra S8. Good Old Koerner, Ray & Glover, Mill City MCR 172. Bleecker & MacDougal, Elektra 60381-1-V. Crossroads —White Blues in the Nineteen Sixties, Elektra 60383-1-U. Troubadours of the Folk Era, Rhino R270264. Blues, Rags and Hollers, Red House RHR 76. One Foot in the Groove, Tim Kerr Records TK96CD137. Lots More Blues, Rags & Hollers, Red House RHR 130. The Return of Koerner, Ray & Glover, Red House RHR 131.

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Judy Collins (1939– ) A Golden Voice Each individual performer of the folk revival is identiﬁed for at least one particular musical trademark. Bob Dylan was recognized for the quality of his lyrics, the Chad Mitchell Trio for their wonderful harmonies, Doc Watson for his dexterity and speed on several instruments and Joan Baez for her crystal clear soprano delivery. There was another female singer who sang songs in a high-pitched golden voice. Her name was Judy Collins. Judy Collins was born May 1, 1939, in Seattle, Washington. As a child prodigy on the piano, she provided early indications of following a musical career. In her early teens, the determined artist made her public debut performing a Mozart piece, Concerto for Two Pianos. However, as an adolescent, the young songster discovered folk music and devoted full attention to that style, teaching herself how to play guitar. After high school graduation, she relocated to Greenwich Village in New York and became a street performer before graduating to small clubs. In a relatively short time, Collins made a strong enough name for herself on the local scene to garner a contract with Elektra Records. Like other labels, the company was eager to cash in on the burgeoning folk boom. The young folkie sang mostly traditional material but with a voice that was sharp and drew a lot of attention. It was evident from her very ﬁrst recording, Maid of a Constant Sorrow, that Collins was a unique talent. The gifted artist joined the growing number of performers who thrived during the revival. Although a well established instrumentalist, her beautiful soprano vocals dominated the inspired material. With a high-pitched delivery that reached the highest octaves, it was in many ways a voice better suited to opera than folk. Her ﬁrst album, as well as the second effort, The Golden Apples of the Sun, featured mostly reworked traditional material sung in that inimitable style. She also utilized the bare essentials in the studio — her golden voice accompanied on acoustic guitar. While deﬁnitely unique among the myriad of folk singers, there was a similar, essential element that could be found in her music as well as in that of certain contemporaries. Collins promoted folk music as much as any artist on the scene at the time, plying her trade on the coffee house, club and major festivals circuit. A polished stage veteran, she was a popular concert performer who always managed to leave the audience wanting more. While not the most important ﬁgure during the revival, she was a deﬁnite soldier in the army and quickly built a solid career.

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Her third album was much different in concept and content. First, various musicians were brought in to augment the sessions, including Roger McGuinn, later of The Byrds. Collins also recorded a different type of outside material such as “The Bells of Rhymney” and “Turn, Turn, Turn.” The change in approach made it clearly evident that she was a viable entertainer not limited to expressing her thoughts and feelings in a single dominant slant. The talented singer was willing to experiment and grow as an artist. Collins continued to evolve, expanding her folk base to incorporate different styles. A good example was the album In My Life, which featured the music of Jacques Brel and Kurt Weill, as well as the Beatles. There was also an essential element in the fourth effort that provided a glimpse of the type of character she possessed. By including the writing of the then unknown Leonard Cohen, one more popular artist was helping out a struggling one. Later, she would record the songs of Randy Newman and Richard Fariña. In 1967, she released Wildﬂowers, which featured one of her own compositions, “Since You’ve Asked,” and also contained a classic version of “Both Sides Now.” The latter became a massive hit and won a Grammy. It also exposed her to a much wider audience, which enabled the strong singer to sell more records and concert tickets. Once again, on the album Collins showcased a little known artist, Joni Mitchell, who was trying to establish herself on the circuit. The next effort, Who Knows Where the Time Goes, had more of a laidback country sound than traditional folk. Highlights of the set included Ian Tyson’s “Someday Soon,” Sandy Denny’s “Who Knows Where the Time Goes,” the self-penned “My Father,” and Leonard Cohen’s “Bird on a Wire.” Stephen Stills played guitar on a number of cuts. As a member of Crosby, Stills, Nash & Young, they recorded “Suite: Judy Blue Eyes,” dedicated to Collins, and sang it at Woodstock, one of the group’s ﬁrst appearances. As well, while a member of Buffalo Springﬁeld, Stills had written “Bluebird,” another song that Collins had inspired. In the 1970s, like so many other folk singers during the decade, Collins was forced to make adjustments to her career in order to maintain it. This meant recording different types of material that included “Amazing Grace,” “Send In the Clowns,” a Broadway ballad, a cover of the Joan Baez classic “A Song for David,” as well as an original composition, “Born to the Breed.” The variety in her repertoire demonstrated that she was a multidimensional artist. Collins became known as much for her own material as an interpreter of the songs of others. A good example was the album Living, which included versions of Ian Tyson’s “Four Strong Winds,” Leonard Cohen’s “Famous Blue Raincoat,” and Joni Mitchell’s “Chelsea Morning.” The rest of the record contained some original material, “Song for Judith (Open the Door)” and “All

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Things Are Quite Silent.” Each successive release portrayed a different side of her musical personality. In the 1970s, interest in folk music waned, but it didn’t mean that political issues were to be ignored. A good example was her True Stories and Other Dreams effort, which contained one of the strongest political statements the chanteuse ever recorded with the song “Che,” saluting revolutionary Che Guevara. Although Collins possessed a social conscience, she had never been lumped with the political folkies Bob Dylan, Phil Ochs and Joan Baez. By the mid to late 1970s, Collins had become a singer instead of just a folk artist. The range of the material covered, plus the fact that the entertainer performed at halls instead of coffee houses, was another reason for the new classiﬁcation. This adjustment allowed her to continue a career when most contemporaries had faded into obscurity or were completely out of the music business altogether. In 1979, she created a minor sensation posing nude on the album cover of Hard Times for Lovers. Collins continued to record and tour in the United States, Canada, Europe, Australia and New Zealand. In the 1980s, although she released a number of albums, none were considered a signiﬁcant, critical or commercial success. In 1984, Home Again was released, which included a duet with country singer T.G. Sheppard on the title cut. When the album didn’t chart, she parted ways with Elektra after more than two decades with the label. After cutting an album for the British Telstar label of inspirational songs, including a reworking of “Amazing Grace,” which had hit the UK charts, she signed to Gold Castle. The effort, Trust Your Heart, coincided with the publication of the autobiography of the same title. Many of the songs found on the Amazing Grace collection were included on The Life You Dream set with a few additions, including “Moonfall” from the Broadway musical The Mystery of Edwin Drood, as well as “The Rose” and “Morning Has Broken.” After the live Sanity and Grace, she signed to Columbia and released Fires of Eden. Songs like “The Blizzard,” “The Air That I Breathe,” “Home Before Dark,” “Fortune of Soldiers,” and the title cut proved that she had not lost any of her musical abilities. It brought her back into the limelight and received strong critical reviews. It seemed that Collins had returned. In 1992, her artistic outlook was changed permanently when her son, Clark, committed suicide. Like many entertainers, she dealt with the tragedy through her work and appeared with a series of books that included Singing Lessons: A Memoir of Love, Loss, Hope and Healing and Sanity and Grace: A Journal of Suicide, Survival and Strength. Collins continues to tour and lecture about the subject throughout North America and other parts of the world. In 1993, Collins performed at President Bill Clinton’s inauguration, singing “Amazing Grace” and “Chelsea Morning.” She continued her activism

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in political and social causes as a member of UNICEF and Suicide Prevention. Later, the singer moved to the Geffen label and released Judy Sings Dylan … Just Like a Woman. In 1994, Shameless, the book, appeared with a recording of the same name on Atlantic. In 1999, the ambitious artist established her own record label, Wildﬂower Records, which would issue many of her later albums including All on a Wintry Night and Judy Collins Live at Wolf Trap. Some of her older records, Maids and Golden Apples and Judy Collins 3 & 4, were repackaged. She continued to cut new material. In 2006, Portrait of an American Girl appeared and two years later Judy Collins Sings Lennon & McCartney. Paradise is her latest release. The entertainer also continued to perform on stage, including as a cabaret artist in the prestigious Cafe Carlyle in New York which has become an annual event. Collins continues to add to a remarkable career. Judy Collins is one of the most unique singers in the modern era. Although a solid instrumentalist, it is the high-pitched vocal delivery that established her name in folk circles. It is a very different voice, one that is instantly recognizable from the ﬁrst note. Although criticized for being somewhat inaccessible, her ability to mold any material into something special has silenced many critics. An artist who began to sing traditional folk tunes leaning on the material of the social poets Tom Paxton, Phil Ochs and Bob Dylan, she branched out to include the work of The Beatles, Leonard Cohen, Jacques Brel, Kurt Weill, Joni Mitchell, Randy Newman and Richard Fariña. The last three were scarcely known to the public, but her renditions of their songs enabled them to gain a wider acceptance. Over the years, she grew as an artist, experimenting with different styles without ever totally leaving the folk idiom behind. As well, she wrote a lot more of her own material. Because of her vocal prowess in rage and richness, she was able to delve into different styles. She sang Broadway songs such as “Pirate Jenny,” derived from the Threepenny Opera; European tunes like Jacques Brel’s “La Colombe”; and the country rock “Poor Immigrant,” to list a small selection. Other diversions included making the Top 40 with the hymn “Amazing Grace.” A short list of other songs Collins brought to the world include “Albatross,” “The Bells of Rhymney,” “Bird on the Wire,” “Both Sides Now,” “Golden Apples of the Sun,” “Early Mornin’ Rain,” “Dress Rehearsal Rag,” “Daddy, You’ve Been on My Mind,” “I Think It’s Going to Rain Today,” “It Isn’t Nice,” “In the Hills of Shiloh,” “Maid of Constant Sorrow,” “Priests,” “My Ramblin’ Boy,” “Mr. Tambourine Man,” “Story of Isaac,” “So Early in the Spring,” “Sisters of Mercy,” “Turn, Turn, Turn,” “Who Knows Where the Time Goes” and “Winter Sky.” Collins has always been drawn to social activism. The singer cut the song “Che” in honor of political rebel icon Che Guevara. As the 1960s unrav-

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eled into turbulence, violence and protest, she sympathized with the Yippie movement headed by Abbie Hoffman and Jerry Rubin. In 1969, during their trial, witness Judy was dismissed when she sang openly in court. Later, as a representative of UNICEF, the activist campaigned against land mines. The latest cause has been suicide prevention. She has been recognized for her contributions. In 1968, she won a Grammy Award for Best Folk Performance for the song “Both Sides Now.” In 1975, she won Song of the Year at the Grammy Awards with “Send in the Clowns,” the Stephen Sondheim ballad featured in the Broadway musical A Little Night Music. In 2009, she received an honorary Doctor of Fine Arts Degree from Pratt Institute. Collins has also been acknowledged for her writing. She published Trust Your Heart; Amazing Grace; Shameless; Singing Lessons; Sanity and Grace: A Journey of Suicide, Survival and Strength and The Seven T’s: Finding Hope and Healing in the Wake of Tragedy. The last two were in response to the death of her son and the aftermath in dealing with the tragedy. The diversity of the material penned indicates a wide ranging talent. During the folk revival she presented listeners with a much different choice then the poetic laments of Bob Dylan, the angry words of Phil Ochs, or the instrumental gifts of a Doc Watson. As a female artist, she did not gain the same attention of a Joan Baez or Joni Mitchell. But the universe Collins created was a rich, entertaining one that induced listeners who enjoyed a singer with a golden voice. She promoted the traditional sound as much as anyone of her contemporaries. Although best known for her singing career, Collins has also appeared in a number of movies. A short list includes Baby’s Bedtime, Baby’s Morningtime, Junior (where she played opposite Arnold Schwarzenegger), Christmas at the Biltmore Estate, and A Town Has Turned to Dust. An assortment of DVDs including one of the Wildﬂower Festival in 2003, has been made available. It included the folk lights Eric Andersen, Arlo Guthrie and Tom Paxton. Judy Collins has enriched the entertainment world with her various artistic talents. A performer who has been on the circuit working the craft for over ﬁfty years, she always had something interesting to say. Although the entertaining lady never reached the same level of fame as others during or after the folk revival, she managed to carve out a personal niche with that golden voice.

DISCOGRAPHY: Maid of Constant Sorrow, Elektra 7209. The Golden Apples of the Sun, Elektra 7222. Judy Collins #3, Elektra EKS-7243. The Judy Collins Concert, Elektra EKS-7280. Judy Collins’ Fifth Album, Elektra 7300.

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In My Life, Electra 74027. Wildﬂowers, Elektra 74012. Who Knows Where the Time Goes, Elektra 74033. Recollections, Elektra 74055. Whales and Nightingales, Elektra 75010. Living, Elektra 75014. Colors of the Day: The Best of Judy Collins, Elektra 75030. True Stories and Other Dreams, Elektra 75-53. Judith, Elektra 111. Bread and Roses, Elektra 2-1076. So Early in the Spring, The First 15 Years, Elektra 6002. Hard Times for Lovers, Elektra 171. Running for My Life, Elektra 6E-253. Times of Our Lives, Elektra 60001. Home Again, Asylum/Elektra 60304. False True Lovers, Folkways 3564. Trust Your Heart, Gold Castle 171002. A Little House Sampler, Caedmon CPN-2125. Fires of Eden, Columbia 46102. Baby’s Bedtime, Lightyear 5103. Baby’s Morningtime, Lightyear 5104. Judy Sings Dylan ... Just Like a Woman, Geffen 24612. Come Rejoice! A Judy Collins Christmas, Rhino 79085. Shameless, Atlantic 92584. Christmas at the Biltmore Estate, Elektra 62120. All on a Wintry Night, Wildﬂower 1297. Portrait of an American Girl, Wildﬂower 1305. Paradise, Wildﬂower Records WFL1329. Classic Broadway, Madacy 3528. Save the Children, Woman Records 1. Sanity and Grace, Laserlight 12701.

Richie Havens (1941– ) Mixed Bag Although there were many areas which promoted folk music during the revival, the acknowledged center was Greenwich Village in New York City. The bohemian-artistic community would spawn many an artist’s career over a span of less than ten years. One of these ﬁgures would infuse his traditional style with a heavy dose of blues, pop and rock to create a musical mixed bag. His name was Richie Havens. Richie Havens was born on January 21, 1941, in Brooklyn and raised in the Bedford-Sturyvesant ghetto, the eldest of nine children. His father was a

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piano player, who sparked a musical interest in the young lad. At an early age, Richie was organizing his friends to perform in various doo-wop groups, at the time one of the dominant African American styles that would be a huge inﬂuence on rock and roll and soul. When he was unable to convince his mates to sing, he would perform solo on street corners for spare change. At sixteen, he joined The McCrea Gospel Singers in Brooklyn. The outﬁt was a more organized group than the few friends he had convinced to sing doo-wop on street corners. This professional experience enabled Havens to understand and gain valuable performance experience. He was able to hone his singing talents and expand on a rich, simple delivery which would be a cornerstone of his career. In 1961, he left Brooklyn, and after drifting around for some time, eventually made his way to Greenwich Village. He had visited the area earlier in his teens reciting poetry and ﬁt in perfectly with the beatniks. Apart from singing and experimenting on the piano, Havens was also a writer, expressing the thoughts and anguish of growing up poor and African American in the United States during the 1950s. He thrived in the Village because of the artistic atmosphere. He was also a sketch artist and drew portraits for a couple of years before returning to music full-time. At this point, the aspiring entertainer picked up the guitar and taught himself the rudiments of the instrument, developing an interesting and unique strumming motion that many would try to copy but never fully duplicate. Also, after much experimentation, Havens began to play in open E tuning, which would become one of his musical trademarks. He would do some recording, including Electric Havens and The Richie Havens Record, which were comprised of material from solo demos. Many of the songs found on these discs were the same ones played at various club dates. “Oxford Town,” “C. C. Rider,” Dylan’s “Boots & Spanish Leather” and “900 Miles from Home” were all staples of the live act. Despite the promise of these cuts, the struggling artist was still a few years away from securing a recording contract with a major label. He continued to serve an apprenticeship by frequenting the folk clubs and listening to performers all night long. Because of this lifestyle, he managed to cross paths with Phil Ochs, Bob Dylan, Judy Collins, Sonny Terry and Brownie McGhee, John Lee Hooker, Ram Jam Holder, Mississippi John Hurt, Mississippi Fred McDowell, Joan Baez and a host of other folk blues artists who played the clubs and coffee houses. Many were impressed with Havens’ expressive and unique ability. Because he was such a dynamic performer, his appeal spread beyond the Village folk circles and eventually landed a record deal with the Verve label. In 1967, at the tail end of the folk revival, Mixed Bag was released. It continued the spirit but carried it in a different direction. There was some impres-

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sive original material like “Adam,” “Follow,” “Three Day Eternity,” some blues including Blind Boy Fuller’s “San Francisco Blues,” as well as the signature tune, “Handsome Johnny.” The latter carried strong political clout, especially with protests over the Vietnam War raging like wildﬁre. While the debut album created a certain level of excitement, it was the live performances that truly made him popular. Havens was able to hook into the outdoor festival circuit and played in front of large crowds. The engaging singer appeared at the Newport Folk Festival, the Monterey Jazz Festival, The Miami Pop Festival, the Isle of Wright and the granddaddy of them all, the immortal Woodstock, where he opened strumming his axe in front of nearly half a million. Havens, the urban folk singer, resembled a tribal medicine man, even a soothsayer, dressed in splendid African tunic as he took the stage. He strummed the battered guitar hard and powerful like some special spirit possessed his soul. He emerged from the wings and enthralled the throng with the good vibes driving the music to unimaginable heights while playing some of his best known songs including “Handsome Johnny” and “Freedom.” Originally scheduled ﬁfth on the billing, because of the confusion with band set-ups, equipment foul-ups and many performers stuck in trafﬁc, the promoters pleaded with Havens to go on ﬁrst. The performance was saved for posterity on the three albums Woodstock released later that year. Before his appearance at Woodstock, Havens was known as a solid Greenwich Village ﬁgure, but critics believed his talent was contained. Because many artists had been delayed getting to the stage, he was forced to play for three hours, stretching the limit of his repertoire. It would take some time, but that solo appearance at Woodstock would make him an international star as a live performer. The intense artist proved that he was more than the restricted artist that he had been pegged to be by pundits. Despite opening up at the most famous outdoor festival that has since passed into music folklore, Havens was never able to parlay the Woodstock appearance into an explosive recording career. His only charted single was the Beatles remake of “Here Comes the Sun.” Although he covered the material of Lennon-McCartney, Van Morrison, Bob Dylan and James Taylor with a deﬁnite spirit and enthusiasm, eventually the lack of continuous original compositions hurt his career. Also, each new Beatles cover sounded much like the previous one. However, in 1969, he managed to appear at the Isle of Wright festival and returned the following year. Throughout the 1970s, he remained a popular and reliable touring card and expanded his circuit to include dates in the Middle East and Europe. Also during the same decade, he turned to acting and landed roles in Catch My Soul as Othello, Greased Lightning (alongside Richard Pryor), and the original stage presentation of The Who’s Tommy. Havens

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performed on The Ed Sullivan Show and The Tonight Show, drawing enthusiastic audience responses. Like so many other folk artists of the revival, when the style faded the soulful singer was forced to seek other outlets to earn a living. As an actor, Havens was more than adequate and displayed a fair amount of talent. However, his ﬁrst love was music. Soon after the appearance at Woodstock, Havens created his own record label, Stormy Forest, and released Stonehenge on it. The sets Portfolio and Mixed Bag II also appeared on the company name, but did nothing to expand his career. The albums Alarm Clock, The Great Blind Degree, Richie Havens on Stage and Catch My Soul all contained original material with a few covers thrown in. Another passion was the environment. In the 1960s, it was an important issue and gave way to the current deep wave of interest in saving the planet. Havens did his share by devoting much energy to educating young people on ecological issues. In the mid–1970s, he cofounded the Northwind Undersea Institute, an oceanographic children’s museum on City Island in the Bronx. It would become the springboard for The Natural Guard, an organization that enabled kids to have a better understanding of the environment and play a leading role in their own community. The urban folkie continued to record a steady stream of albums, but it seemed that his best music was behind him. He also continued to perform live all over the world, displaying the power and musicianship that kept his name fresh on the circuit. Like many other folk artists of the Greenwich Village days, the heyday was over and Havens was forced to patch together a career when the music he played was not very popular. In order to sustain his career, he composed and performed the promo slogan for the big three TV networks, CBS, NBC and ABC. As well, he recorded commercials for various products and in support of the cotton industry. But, he always returned to music. In 1987, after a long absence from the recording studio, he released a rash of material including Simple Things, an album of Dylan and Beatles covers, and a compilation of his mixed bag material. Albums such as Cut to the Chase continued to feature covers of the music of others including Sting, Kris Kristofferson, Bob Lind and Marty Balin. In 1990, he appeared in the movie Street Hunter in a small role. Later, the musician performed at the inauguration of President Bill Clinton singing the “Cotton” song, the tune he wrote to support the cotton industry. In 1999, Havens strummed his guitar like the days of old in support of the Tibetan Freedom Concert in front of over a hundred thousand enthusiastic fans. In 2000, he combined his talents with electronic music duo Groove Animals to record “Hands of Time” in a retro style that dated back thirty years. The song was featured on the soundtrack for the ﬁlm Collateral. Later the tune would be utilized in the ﬁlms Domino and Tell No One. During the

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decade he collaborated with Dayna Kurtz, Anton Fig, Steve Hackett and Peter Gabriel of Genesis and Bill Perry. Havens was a restless soul and had the ability to delve into many different media situations. He co-authored his autobiography, They Can’t Hide Us Anymore, with Steve Davidowitz. A thoughtful work, it was a stream of conscious tale and reﬂected the way that Havens had always lived his life. He made other ﬁlm appearances, most notably in I’m Not There, where he portrayed an old man jamming on Dylan’s “Tombstone Blues.” In 2008, he performed at the Cannes Film Festival’s opening ceremony where he played “Freedom.” Later that summer, he delighted crowds at the Windsor International Blues Festival. In 2009, he was one of many to be invited to perform at Pete Seeger’s 90th birthday party. Later, he would appear at the Mountain Jam Festival and the other such venues. With these specialized appearances, Havens kept his name fresh in music circles. There is also the fact that as time has passed by and the Woodstock concert has gained almost mythical proportions, a young generation was interested in witnessing the man who opened up at the counterculture event. Havens continues to record and perform. Richie Havens is a folk music warrior. He was never the ﬂashiest performer or the most popular on the tour, but came to play every night. While many African Americans artists explored soul, jazz, blues, rock and even disco, he remained devoted to the folk music scene. There was something earthy about the style, as the music always spoke of freedom of the spirit and soul. There was always something catchy about the syncopated guitar rhythms. Almost exclusively a solo performer, he was able to make the guitar hum taking on a voice of its own. With a vigorous strumming motion, the musician battered the instrument, simultaneously coaxing anger and beauty from it. Often, the entertainer let the music take over soaring with each chord and note he ripped out. As well, the exclusive use of the open E tuning set him apart from others. Havens possesses a smoky voice that is heavy, but also resonant. A master at combining the slightly gruff vocal delivery with the hammer down guitar style, he often imitated the blues hollers of the old days. One can hear many roots performers in his special timber that spans the history of folk, blues, jazz and soul spectrum. There was also a common man feel to the vocal delivery, like a friend talking to each member of the audience on an individual basis. Havens could turn any song — rock, blues, jazz, classical — into a folk tune, usually covering the material of others; but he was also able to write some interesting pieces. A partial list of his pieces includes “Handsome Johnny,” “Freedom,” “Adam,” “Three Day Eternity,” “No Opportunity Necessary, No Experience Needed,” “Inside of Him,” “Don’t Listen to Me,” “For Haven’s Sake,” “What More Can I Say John?,” “Tiny Little Blues,” “Patient

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Lady, “Missing Train,” “Shadows of the Past,” “Young Boy,” “The Well,” “Slow Down,” “Alone Together” and “Nobody Left to Crown.” Although not overly political, the song “Handsome Johnny” (co-written with Lou Gossett Jr.), was recorded at the right time and in the right place. It appeared during the height of the Vietnam and never truly gained the respect it was due. Havens was very much antiwar and supported equality for everyone including his own African American race. While there wasn’t always a consistently strong social and political statement in his music, the vibes were often present, especially on stage. During the folk revival, there were few original African Americans. Aside from Odetta Holmes, Harry Belafonte and Miriam Makeba, the pantheon of performers were mostly Caucasian. Many of the blues artists who were rediscovered during that period had been on the circuit for years. Havens proved that a black man could play inspired folk music, most notably his appearance at Woodstock. The urban folkie brought a much different dimension to the roots boom. Richie Havens is best remembered for being the opening act at Woodstock. But his career comprised of more than just that one concert; the entertainer has been a consistent ﬁgure on the folk circuit for forty years. With a mixed bag of song material, he was been able to please audiences with the music that often took over his spirit and soared into the hearts of listeners.

DISCOGRAPHY: Electric Havens, Douglas SD-780. Mixed Bag, Verve Forecast FTS-3006. Something Else Again, Verve Forecast FTS-3034. Richard Havens’ Record, Douglas SD-779. Richard P. Havens, Douglas SD-779. Stonehenge, Stormy Forest SFS-6001. Alarm Clock, Stormy Forest SFS-6005. The Great Blind Degree, Stormy Forest SFS-6010. Richie Havens on Stage, Stormy Forest 2-SFS-6012. Portfolio, Stormy Forest SFS-6013. Mixed Bag II, Stormy Forest/Polydor SFS-6201. The End of the Beginning, A&M SP-4598. Mirage, A&M SP-4641. Connections, Elektra/Asylum 6E-242. Common Ground, EMI Music Distribution 1651551. Simple Things, RBI RBIR-400. Sings Beatles and Dylan, Rykodisc RCD 20035. Collection, Rykodisc RCD 20036. Live at the Cellar Door, Five-Star #1001. Now, Solar/Epic ZK 75325. Resume, Rhino R2 71187.

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Cuts to the Chase, Forward/Rhino R2 71735. The Classics, Rebound 314520291-2. Time, Silver Lining DJA1114. The Millennium Collection, Polydor/Universal 314 547 900-2. Wishing Well, Stormy Forest SFS-2021. High Flyin’ Bird: The Verve Forecast Years, Hip-O Select 000256902. Dreams as One: The A&M Years, Fontana/Hip-O Select 000249502. Grace of the Sun, Stormy Forest SF2022. Nobody Left to Crown, Verve Forecast 600753093146.

Tom Rush (1941– ) The Circle Game In the early 1960s, there were hundreds of aspiring folk artists who emerged on the scene with a solid guitar beat and a protest song in their heart. Some became innovators while others would fade from the scene by the end of the decade in bitter disillusionment. There were others who remained a recognized name, like the man who understood that the music business was a circle game. His name is Tom Rush. Tom Rush was born on February 8, 1941, in Portsmouth, New Hampshire. In his teens, he picked up the guitar and developed a love for folk, blues and early rock and roll. Before beginning a post-secondary education, a music career seemed a distant thought. However, just before he entered Harvard, the folk revival exploded and he was swept up in the current of excitement. It was while a student at Harvard that he began his musical career. At the turn of the 1960s, he performed in Boston-area venues, especially The Club 47, which was at the time the premier coffee house. He managed to work his way into a weekly spot and learned from many who passed through, including Joan Baez, Eric Von Schmidt, Phil Ochs, Tom Paxton, and Fred Neil, among others. Before he graduated, Rush had greatly honed his singing, storytelling and musical skills, as well as recorded and released two albums. The album Tom Rush at the Unicorn displayed a young artist in a live setting who was still working out all of the rough edges of a very distinct style. The 12-song set included traditional material, “The Old 97” and “Ramblin’ on My Mind,” as well as Woody Guthrie’s “Pretty Boy Floyd” and “Talking Dust Bowl Blues.” Although it possessed certain shortcomings, the basic rudiments of Rush’s style were already in place. He would release one more album, Got a Mind to Ramble, before signing to a major label. The acoustic session featured standard fare with a few surprises, including Merle Travis’s “Nine Pound Hammer” and “Mole’s Moan,”

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which Maria Muldaur had written. More importantly, the set included one of his own compositions, the interesting “Duncan and Brady.” Although the record didn’t catapult him to stardom, it demonstrated that Rush was ready to make a signiﬁcant career advancement. In 1965, he signed to Elektra Records, then strictly a folk label, and released his self-titled record. An eclectic mix, it included “Long John,” “If Your Man Gets Busted,” Woody Guthrie’s “Do-Re-Mi” and Kokomo Arnold’s “Milkcow Blues.” He continued to perform at coffee houses around the Boston area, as well as stretching out to different areas on the East Coast. Rush was building momentum both as a studio and live artist, but was yet to become a national ﬁgure. His next effort consisted of one side that was full-out rock and roll and included the classic Bo Diddley tunes “Who Do You Love?” and “Can’t Judge a Book by the Cover.” The second side contained country folk blues such as “Galveston Flood” and “Statesboro Blues.” He played twelve-string acoustic and slide guitar on the record with equal comfort. Although it was a solid album, fans demanded acoustic folk songs. By 1968, he was at the forefront of the folk movement and performed songs from relatively unknowns such as Joni Mitchell, James Taylor and Jackson Browne, giving their career a solid boost. His full maturity as a songwritersinger-poet emerged with the effort The Circle Game. The title song, a Mitchell tune, as well as her “Tin Angel” and “Urge for Going,” provided a balance and depth to the album. His own “Rockport Sunday” and “No Regrets” only added to the strength of the work. During a period when the revival had faded and the singer-songwriter was coming into vogue, Rush provided an inspiration to many aspiring musicians. In 1970, Rush signed to the Columbia label and for the next ﬁve years gave numerous interviews, made many television appearances, toured and recorded heavily. During this span, his career blossomed by adopting a folk rock sound that fans wanted and he was able to execute with his multiple abilities. After the release of Ladies Love Outlaws, the drained folkie decided to retreat to a New Hampshire farm to rest and write a new batch songs. In 1981, Rush returned with much fanfare selling out Boston’s prestigious Symphony Hall. The time off had rekindled the energy, and he was ready to resume his career. The concept to create a forum like the Club 47 where he played earlier in his career was initiated at the Symphony Hall. The idea was to put on shows that combined well-known artists like Bonnie Raitt, Bob Dylan, Emmylou Harris with others just starting out like the unknown Alison Krauss or Mark O’Connor. The plan worked, and it was something he took on the road and still does to the present day. From this point on, the studio output would slow down considerably. In 1982, New Year, a previously recorded concert, was released, celebrating

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his 20th anniversary in the music business. A second live effort, Late Night Radio, marked what would be the last product in more than a decade before any new material would be released. However, Rush continued to appear in concert at smaller clubs, open air festivals and other venues. In 1999, Columbia/Legacy released a Tom Rush retrospective album that covered the span of time from 1962 to that year, selecting material from his Columbia, Elektra, Prestige and independent recording years. The work entitled The Very Best of Tom Rush: No Regrets included a new tune, “River Song,” which featured vocal contributions from Shawn Colvin and Marc Cohn. The effort returned him to the attention of the record buying public. In 2003, Trolling for Owls, a live CD was released and appeared on his own Nightlight Recordings label. It provided a complete performance and included the spoken stories that had been such a large part of the live shows and had made him such an audience favorite over the past forty years. In 2005, the DVD How I Play (Some of ) My Favorite Songs appeared showcasing the artist at his creative zenith. He established Maple Hill Productions and continued to tour on a regular basis. In 2009, he released What I Know, and despite the long layoff, Rush sounded fresh and eager to continue his recording career. The work included the traditional “Casey Jones,” as well as a folksy and inspired “Drift Away,” the 1970 soul classic that Dobie Gray had taken to the top of the charts. There were impressive guest vocal appearances from Bonnie Raitt, Emmylou Harris and Bonnie Bramlett. It was a long overdue project that thrilled fans and critics alike, waiting for too many years for fresh product. He continues to record and perform. Tom Rush is a folk music survivor. His roots date back to almost the beginning of the folk revival and stretch to the present day. Despite an uneven recording career, he has continued to thrill audiences with his charming raconteur abilities, as well as an integrity and familiarity that resonates throughout the entire catalog. Unfortunately, like many other folk artists, he was severely under recorded. In any assessment of Rush, one must consider his vocal talents ﬁrst and foremost. The good-natured, friendly and intimate timbre has been a trademark from the very beginning and harkens back to the college student days. He has always been a low-key, grounded individual with a tenor voice that radiates sincerity. There has always been something magical about the easily accessible delivery and the ability to transport the lyrics to songs into the hearts and minds of listeners. A Tom Rush concert is a special treat. The ﬁrst-class storyteller with interesting, humorous, spoken stories are an integral part of his fame. He was always able to write and sing about the things people cared about. More importantly, the man was able to deliver them in such a way that the audience

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became wrapped around every word. The blend of comedy and sweet ballads with a tinge of melancholy and the gritty energy of the blues has always made for an enjoyable evening. Because of the lack of studio production in the past thirty years, it was the live performances that sustained his career. The Club 47 concept was ingenious and enabled him to remain in the forefront of contemporary folk scene. It also afforded him the luxury to create a magical musical universe by inserting a perfect balance of older, established artists and younger unknowns trying to break through. A variety of artists from across the musical landscape have performed at the Club 47 shows. There have been folk stalwarts like Bob Dylan, Doc Watson, Eric Von Schmidt, Joan Baez, Janice Ian, John Hartford, Judy Collins, Laura Nyro, Mary Travers, Mimi Fariña, Richie Havens, Tom Paxton and “Spider” John Koerner. There have been others like Bonnie Raitt, Alison Krauss, Emmylou Harris, David Bromberg, John Hammond, Jr., John Sebastian, Nanci Grifﬁth, The Cambridge Harmonica Orchestra and The Charles River Valley Boys. It has been a wonderful platform for all involved. Rush made a strong impact in not just folk, but the entire American musical landscape. He was one of the architects of the revival and an inspiration for the renaissance in the 1980s and 1990s. A variety of artists beneﬁted from listening to his music, including James Taylor, Garth Brooks, Nanci Grifﬁth and Shawn Colvin. Like he had done in the past helping unknown artists such as Joni Mitchell, Jackson Browne and Emmylou Harris gain wider acceptance by recording their songs, the gentle singer aided the new crop of folkies. More than ﬁfty years after hitting the folk circuit, Rush has survived and continues as strong as ever. His music and skills have matured and sound as fresh as they did in the heady days of the folk revival. Voted as one of Boston’s Twenty-ﬁve Greatest Pop Music Acts Ever, the possessor of that warm, rich voice continues to thrill all with a folkish sound. He has proven that he knows how to succeed in the circle game music business.

DISCOGRAPHY: At the Unicorn, Night Light 58011. Got a Mind to Ramble, Prestige/Folklore 14003. Tom Rush {1965}, Collectors Choice Music 231. Take a Little Walk with Me, Collectors Choice Music 230. The Circle Game, Elektra 74018. Tom Rush {1970}, Columbia/Legacy CK-9972. Wrong End of the Rainbow, Sony Music Distribution 1549. Merrimack Country, Sony Music Distribution 1550. Ladies Love Outlaws, Columbia 33054. Late Night Radio, Night Light 48011.

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Live at Symphony Hall, Boston, Barese 066222. What I Know, Appleseed Records 1115. Blues, Songs, and Ballads, Fantasy 24709. Classic Rush, Wounded Bird Records 4062. The Best of Tom Rush, CBS Records PCT-33907. The Very Best of Tom Rush: No Regrets, Columbia/Legacy 65860.

Tim Hardin (1941–1980) Bird on a Wire The folk revival produced a large crop of talented singers and musicians, but many weren’t accomplished songwriters, often covering material from various sources. That all changed when Bob Dylan came along and began to write his introspective, Dylan Thomas–inﬂuenced music poetry. Many tried to emulate Dylan, including the folkie who, like a bird on a wire, balanced his music between personal vision and traditional material. His name was Tim Hardin. Tim Hardin was born on December 23, 1941, in Eugene, Oregon. The youngster picked up the guitar at an early age and developed an ear for blues and jazz long before he became enchanted with folk music. In 1959, the rebel quit school, joined the Marines for a couple of years, and then returned to ﬁnish his education at the American Academy of Dramatic Art in New York. This second stab at an education lasted precisely one week, as a love of music drew the curious individual to the folk clubs around Harvard where he began to perform on a regular basis. During the folk boom, when new coffee houses and clubs opened up seemingly overnight to accommodate the demand for the music, it opened opportunities for unknown musicians like Hardin. He made the most of this chance polishing his skills and material in the many venues up and down the East Coast. The burgeoning songwriter was able to work original material into the traditional set, slowly and properly. By 1962, the talented singer-songwriter had made enough of a name that he was able to make his ﬁrst recordings; however, they weren’t released until much later. It would be another four years before product was available to the record buying public. In 1964, the discouraged artist moved to Greenwich Village and a year later relocated to Los Angeles where he continued to forge ahead with his promising career. In 1966, his self-titled debut was released and featured a mature songwriter who had composed two gems, “Don’t Make Promises” and “Reason to

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Believe.” While half of the album featured a string orchestra (which Hardin later dismissed), the other boasted polished demo versions, the deep, heartfelt poetic pieces of blues, rock and folk. Other highlights included “Green Rocky Road” and “Smugglin’ Man.” Of note, he had written all of the songs on the record with many of the tunes dating back a few years. The strong album enabled Hardin to parlay it into more concert dates, including an appearance at the Newport Folk Festival where he received praise from Bob Dylan. In 1967, Tim Hardin II was released and contained the massive hit “If I Were a Carpenter,” a song that sealed his fame as a noted singersongwriter. A cross-section of artists would cover the tune including Joan Baez, Harry Belafonte, Ramblin’ Jack Elliott, Burl Ives, the English ﬁnger picker Bert Jansch, country outlaw hero Willie Nelson and Detroit rocker Bob Seger. Even Dolly Parton, the country music superstar, cut a version. In 1968, he was back in New York and continued to release material. This Is Tim Hardin boasted covers of “House of the Rising Son,” “Blues on the Ceilin’,” and the blues standard, “Hoochie Coochie Man.” The songs dated back to the early days in Greenwich Village when the struggling artist still didn’t have a record deal. However, his next effort, Tim Hardin 3 Live in Concert, was a collection of concert recordings and remakes of previous demo songs. It was an interesting assemblage of tunes that shed a different light on a very strange musical personality. In the late 1960s he was a familiar ﬁgure on the folk circuit in the United States and Europe. He played Woodstock, dazzling the crowd with his repertoire of introspective pieces. At the time, many weren’t that familiar with his music; but after appearing at one of the most famous festivals ever held, Hardin acquired a higher degree of respect. In 1969, the folkie had settled in the rural, upstate New York community of artists and musicians that included Bob Dylan and The Band, among others. In the early 1970s, Hardin, always a restless spirit, relocated to Los Angeles and begun his downward spiral. While in the Marine Corps serving in Vietnam, he had acquired a heroin habit that would lead to an early demise and the ruination of a promising musical career. From this point on, there would be moments of brilliance balanced with times of despondency as Hardin struggled against the drug addiction. In 1969, a greatest hits package appeared a little premature since his career was not quite over. That same year Suite for Susan Moore and Damion: We Are One, One, All in One was an adequate collection but didn’t feature any of the deeply emotional, beautiful lyrics of the earlier, past efforts. Despite a promising showing at Woodstock, the heroin addiction and stage fright were making the live appearances frustrating affairs for promoters and fans alike. In 1971, he released Bird on a Wire, which was a solid effort and his last

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album to make any of the charts. However, it contained a number of cover songs in comparison to the all original material releases when the heroin had not been such a prominent force in his life. The work shed light on an artist that was teetering on the brink of self-collapse. The title song was a Leonard Cohen composition. Interesting, he included a John Lee Hooker song “Hoboin’” and the classic “Georgia on My Mind” into the mix. He attempted to maintain his career. In 1973, Hardin appeared with Harry Chapin in concert and performed like his old self. That same year, he released his ﬁnal studio work, Nine. A comparison between the material found on this record and the ﬁrst releases reveals a shadow of the singer who had emerged to capture critical and public favor. In 1974, the singer moved to England where he performed semi-regularly in English clubs, delivering solid sets when the heroin was not consuming all of his energy and attention. Eventually, he returned to Los Angeles and attempted to jump-start his career several times, but never regained the lost status as one of the prime singer-songwriters on the scene. On December 29, 1980, he died of a heroin overdose, ending the career of one of the most promising and talented folk singers to emerge during the revival. Tim Hardin was a folk enthusiast. He had much to contribute but arguably never tapped into his full potential. More than just an average singer, the musician included elements of blues and jazz into his very unique sound to create a special universe. That he was blessed with a songwriting prowess was clearly evident with the many hits he penned that others eagerly covered. A gentle, soulful singer, Hardin poured a bluesman’s emotion into his songs. There was a lyrical timbre to a voice that caught the audience by surprise for its conviction. There was a deﬁnite subtle element in the best material he recorded, reﬂecting a calm individual who managed to push a message across without having to force the words or music. The subtle nature of the delivery of all the tunes on record or live was the cornerstone of his style. Because of the clever, sophisticated compositions he wrote, many other artists were excited to record his songs. The chanteuse Nico, a member of The Velvet Underground, cut a version of the touching tribute, “Eulogy to Lenny Bruce.” Scott Walker impressed with a cover of “Lady Came from Baltimore” and Fred Neil made “Green Rocky Road” his own. However, it was “If I Were a Carpenter” that was the most famous and covered song from Hardin’s repertoire with at least a hundred artists having provided a personal interpretation of the stone classic. Hardin was much different than other folk artists because he was never a pure folk musician. He incorporated dashes of blues and jazz into his style that allowed him to cover a much broader range of material. For example, the album Bird on a Wire was recorded with support from folk fusion band Oregon and the members of Weather Report, the popular jazz fusion group.

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Hardin’s inﬂuence on performers of folk music and other styles includes David Bromberg, Nico, Rod Stewart, George Usher, Hobotalk, Jackson Browne, Randy Newman, Marc Benno, Jim Morrison, Jim Croce, Ramblin’ Jack Elliott, Harry Chapin, Mary Chapin Carpenter, Nanci Grifﬁth, Matt Costa and Misty Roses. However, many of his contemporary folk singers of the time also were touched by the Hardin magic, including Joan Baez, Bob Dylan, Jesse Winchester, Tom Rush, Françoise Hardy, Tim Rose, Rick Nelson, Sandy Denny, Gordon Lightfoot, Fred Neil, Buffy Sainte-Marie and Phil Ochs. Tim Hardin was an important folk singer and one of the most illustrious to emerge at the tail end of the revival. The songwriting skills were unique and his talent was undeniable. But from the onset there was always something tenacious about his career; he was always the bird on a wire performing a delicate balancing act that was eventually lost to self-destruction.

DISCOGRAPHY: Tim Hardin, Verve Forecast FT/FTS 3004. Tim Hardin 2, Verve Forecast FT/FTS 3022. This Is Tim Hardin, Atco 33-210. Tim Hardin 3 Live in Concert, Verve Forecast FTS 3049. Tim Hardin 4, Verve Forecast FTS 3064. Suite for Susan Moore and Damion —We Are — One. One, All in One, Columbia CS 9787. Bird on a Wire, Columbia CK-30551. Painted Head, Columbia CK-31764. Nine, Antilles AN-7023. Unforgiven, SAN FRANCISCO SOUND SFS 10810. The Homecoming Concert, Line LICD 9.00040. The Best of Tim Hardin, Verve Forecast FTS3078. The Tim Hardin Memorial Album (Polygram PD-1-6333). The Shock of Grace Reas (CBS Columbia PC37164).

Eric Andersen (1943– ) Blue River The folk revival produced dozens of artists seemingly overnight as everyone was swept up in the fever. Numerous aspiring musicians picked up a guitar and attempted to emulate The Weavers, Pete Seeger, Woody Guthrie and The Kingston Trio. For many the dream of stardom faded rather quickly, while others persevered and became vibrant performers. One of the folk personalities that has weathered the test of time is the man with the blue river style. His name is Eric Andersen.

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Eric Andersen was born on February 14, 1943, in Pittsburgh, Pennsylvania. At age eight, he picked up the guitar and honed his skills by listening to folk and blues records and playing along to the radio. Later, the young man rode the rails West to gain experience to provide the foundation for a cycle of songs and to secure a recording deal. Although he did gather some of the raw material through these experiences, a contract was not forthcoming and he returned East. He began to play the folk clubs and coffee house circuit up and down the East Coast performing traditional songs, as well as some original material. It was during this period that he crossed paths with Pete Seeger, Ramblin’ Jack Elliott, The Weavers, The Kingston Trio and Joan Baez, among others, learning much from them. Andersen also shared the stage with a number of singers from the Boston folk club scene, like Eric Von Schmidt. In 1963, Andersen still resided in Cambridge, but wanted more. In 1964, he moved to Greenwich Village in order to achieve that goal. Unlike some of the other new artists on the scene, the East Coast performer possessed a wealth of experience and was able to quickly ﬁnd work in the local clubs like Gerde’s Folk City and the Gaslight Cafe. In a short time, the artist enjoyed enthusiastic reviews. It was through the live performances that he gained the much sought after recording contract with Vanguard. In 1965, his ﬁrst album was released, Today Is the Highway, and boasted nearly a complete self-written collection (the only exception was a reworking of “Baby, Please Don’t Go”) in a style that was quickly becoming yesterday’s method. Although his simple approach of acoustic guitar and vocals sounded dated compared to what others were doing, at the Newport and Cambridge folk festivals, he shared top billing with the bigger names. Although none of Andersen’s singles ever reached the top of the charts, the albums were solid efforts and received deserved critical attention. The second album, ’Bout Changes & Things, contained a decided maturity in the songwriter and well-known songs. It included “Violets of Dawn,” “Thirsty Boots,” and “I Shall Go Unbounded.” Once again, it was mostly self-written except for “That’s All Right Mama,” and “Champion at Keeping Them Rolling.” In an effort to sound more contemporary, the album ’Bout Changes & Things, Take 2 was released, which featured nearly the same songs as the previous disc. However, this version contained fuller folk rock arrangements of each tune and brought a whole new audience to Andersen that had never heard of him before, which boosted record sales. The folkie made the most of the opportunity. He continued to perform at many folk clubs and coffee houses, as well as open air festivals. At this point in his career, Andersen was attempting to

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strike a balance between being a live performer and studio musician. On the next release, More Hits from Tin Can Alley, the trend toward folk rock continued as a number of session men including Al Kooper, Bobby Gregg, Herb Lovelle, Paul Harris, and Paul Grifﬁn appeared. The entire record was selfwritten, and once again proved his maturity as a composer. In the 1970s, the singer-songwriter was in vogue; and although Andersen was one of the best, he was unable to break into the top echelon despite the quality of the material. With the album Avalanche, he continued to write and record songs of the folk rock ilk, utilizing session players including Chuck Rainey, Bruce Langhorne, JayDee Maness, Eric Gale, and Lee Crabtree. There was a sensitivity to the music and a genuine talent that was blatantly apparent. In 1972, Blue River was released and critics and contemporaries considered it to be his masterpiece. Recorded in Nashville, it was the perfect setting for Andersen’s softer, poetic folk-drenched songs. Joni Mitchell appeared on the title track providing more than adequate support. Yet, despite the quality of the material that ranged from “Pearl’s Goodtime Blues” to “Is It Really Love at All,” “Sheila,” and “Round the Bend,” none of the individual tracks made it to the top of the charts. However, the album was well received in the folk rock, soft country circles. He continued to record, but to a lesser extent. Each subsequent album contained a couple of gems. For example, Be True to You featured the title track and “Time Runs Like a Freight Train,” which were both outstanding songs. Although Sweet Surprise would be the last studio work for nearly a decade, Andersen kept performing at different types of venues because many of the coffee houses and clubs of the earlier decade had been shut down. He picked up the lost momentum with Stages: The Lost Album. It featured reworked versions of songs that had been previously released. On “Woman, She Was Gentle,” Joan Baez, with her clear, soprano voice, provided excellent backing vocals. The classic “Moonchild River Song” in its full length was also included on the disc. There were three new songs: “Make It Last (Angel in the Wind),” “Like with Me,” and “Soul of My Song.” He remained active in music, delivering a pair of albums with The Band’s Rick Danko and Norwegian guitarist Jonas Fjeld. The talented singer also contributed to Jack Kerouac and Phil Ochs tribute anthologies, and performed on a regular basis at a variety of venues. Andersen was determined to ride the romantic folk style even if it was yesterday’s sound. In 1998, Memory of the Future, the ﬁrst release of all new material in nine years, proved that he had not lost any of his abilities. There were very strong lyrics in songs such as “Chinatown,” “Rain Falls Down in Amsterdam” and “When I’m Gone,” a tribute to his lost pal and contemporary, Phil Ochs. From this point on, Andersen would be more proliﬁc, releasing You Can’t Relive the

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Past, Today Is Highway Plus and the tour de force Beat Avenue in a very short amount of time. He continued to record. In 2004, The Street Was Always There was released, providing a retrospect of the Greenwich Village crowd that included Buffy Sainte-Marie, Bob Dylan, Tim Hardin, Fred Neil, Phil Ochs, Peter La Forge and Paul Siebel’s music. The nostalgic tone to this work that harkened to the exciting days of the revival received more attention in the installment in the series. The album Waves, an eclectic mix with featured songs from Tom Paxton, Fred Neil, Bob Dylan, Otis Rush, and Andersen, had its merits. In 2007, Blue Rain appeared and illustrated a singer-songwriter who had grown stronger over time. The CD included Neil’s “The Other Side of This Life,” and mostly originals. He continues to record and perform. Eric Andersen is a folk music survivor. As one of the prime participants of the 1960s folk boom, years later, while many contemporaries faded from the scene, the engaging singer moved forward despite the fact that he never scored a top hit. There was always something appealing to the East Coast ﬁgure’s music that enabled him to sustain a career for the past forty years. At the beginning of Andersen’s career, the tenor had a warm, gentle timbre that was the opposite of someone like Dave Van Ronk’s brutish, gritty blues delivery. Later, the tenor would slip into baritone territory, but always remained a good selling point. The soothing voice was perfectly suited for the romantic and poetic style rather than the protest march like other practitioners in the style. Andersen was an interesting guitarist. An adept ﬁnger picker who melded a unique style to strong vocals, he was clever enough to project all talents as a precise package instead of featuring the instrumental skills as a prominent element. He was not the most original axe man, but with the exception of a few, none of the folk revival artists were known for their virtuoso. With such diverse talent as Rick Nelson, Judy Collins, Peter, Paul and Mary, Johnny Cash, Joan Baez, the Grateful Dead, Fairport Convention and Linda Ronstadt recording his material, Andersen proved that he was more than an adequate songwriter. He had a subtle, yet interesting inﬂuence on Ronstadt, Judy Collins, Mary Chapin Carpenter, Suzy Bogguss and Kathy Mattea, among others. A tribute to his strength as an artist was that he persevered despite never securing a top hit. Eric Andersen was a folk mainstay during the golden era of the genre and remained a strong performer over a long, somewhat spotty career. There was always a staying power in the music that the folkie delivered to the world. That he continues to record on regular intervals and perform in various scenes with his varied and enjoyable brand of blue river music is a test of character and patience.

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DISCOGRAPHY: Today Is the Highway, Vanguard VMD-29157. ’Bout Changes & Things, Vanguard VMD-79206. ’Bout Changes & Things, Take 2, Vanguard 00013299. More Hits from Tin Can Alley, Vanguard 76271. A Country Dream, Vanguard 00013514. Avalanche, DEK Works 535. Eric Andersen, DEK Works 536. Blue River, Columbia CK-31062. Ghosts Upon the Road, Gold Castle D2-71327. Stages: The Lost Album, Columbia/Legacy CT-47120. Memory of the Future, Appleseed Records 1028. You Can’t Relive the Past, Appleseed Records 1032. Today Is Highway Plus, King Japan 2521. Beat Avenue, Appleseed Records 1068. The Street Was Always There, Appleseed Records 1082. Waves, Appleseed Records 1092. Blue Rain, Appleseed Records 1101. The Best of Eric Andersen, Vanguard 7/8. The Best Songs, Arista 4128. The Collection, Archive 80017. Violets of Dawn, Vanguard 79539. So Much on My Mind: The Eric Andersen Antholog y 1969 –1980, Raven 247. Vanguard Visionaries, Vanguard 73149.

PART THREE

The Political Folk In the 1930s, the Great Depression brought on a change of material in folk music. The traditional songs that had been performed for centuries by each succeeding generation was slowly replaced with more political content. The plight of millions struggling to survive the tough economic times spurned on a bevy of artists including Woody Guthrie, Cisco Houston and Charles and Ruth Seeger. It was from these trendsetters that the political folk of the revival took their cue. At the beginning of the golden period, there were few overtly social or critical tunes, but when the Civil Rights Movement became a major issue and the debate over involvement in the Vietnam War began to escalate, the singer-songwriters started to assert themselves. Many of the folk singers during this period were clear activists. The environment, the real threat of nuclear war, nuclear energy, injustice around the world, the right to smoke marijuana and the ﬁght for individual rights all became popular themes and song fodder. Although the acoustic accompaniment didn’t change at the beginning, there was a drastic shift in lyrical content. The words were usually from a left-wing point of view taking a deﬁnite stance on an issue. The hard hitting, biting, satirical words became tools of change. The acoustic guitar reigned during the ﬁrst part of the folk revival as the musical tool of choice. Later, the average folk recording artist began to bring different instruments into the studio, including electric guitars, bass and drums. Purists scoffed at the intrusion, but since many folk-based performers had augmented their sound, it was necessary for others to follow suit. The organizers of political and social rallies utilized folk music to draw in crowds. At the civil rights March on Washington, artists sang traditional material to push across the message of social justice. Often a single performer or a group of singers would begin and end the procession. Later, loud, ampliﬁed rock music was the ﬁrst choice since it drew larger numbers of young people into protests. The decade of the 1960s was the heyday of the protest song, but in the 107

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past decades folk has been utilized to bring to attention a number of controversial issues. The image of a lone performer bent over an acoustic guitar has never grown old and became the voice of the meek versus something greater in size and power, such as the government. The ideology that all problems, no matter the nature, can be and will be overcome through music is one that has never died. The following ﬁgures were prominent in elevating the traditional folk song to a position of cultural change. When artists began to write their own material, they often did it with one of the past protesters in mind, especially Woody Guthrie. The fervent material of the political folk still reigns to this day as a new generation takes their cue from those who were at the forefront during the revival. Odetta Holmes has often been called the Voice of the Civil Rights Movement, but she was more than that. She was one of the ﬁrst African American females to assert her independence. Utah Phillips was dubbed the Golden Voice of the Southwest, but made his mark as a folk artist on the East Coast. Peggy Seeger, the longtime wife of Britain’s Ewan MacColl, boasted strong pedigree and devoted her energies to feminist causes. Tom Paxton was a humorist, satirical folkie whose lyrics were funny, yet as reﬂective and thoughtful as the harshest songs created by others. Phil Ochs was a brilliant songwriter who penned angry, violent songs to make his point. Joan Baez was the ﬁrst superstar of the folk revival and brought a young female presence to the genre that was long overdue. Bob Dylan arrived from Minnesota totally unknown and quickly assumed star status in Greenwich Village. Country Joe McDonald was a folkie at heart, despite exploring different styles including psychedelic rock. Arlo Guthrie attempted to stay away from his father’s imposing shadow by creating his own folk universe.

Odetta Holmes (1930–2008) Voice of the Civil Rights Movement Part of the ﬁre which ignited the folk boom was the many social issues attached to the music. In the early 1960s, before the Vietnam War mushroomed and divided the country, the Civil Rights Movement dominated the folk songwriter’s imagination. One individual who had been at the cusp of

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the revival and became a strong voice during the ﬁght for equality was simply known as Odetta. Odetta Holmes was born on December 31, 1930, in Birmingham, Alabama, but grew up in Los Angeles, California. Her musical career began with operatic lessons while a teen, since it was believed that she might follow in the footsteps of famous opera singer Marian Anderson. However, Odetta chose the musical theater path instead, but didn’t limit herself. She listened to a variety of music including blues, jazz and spiritual. In 1944, she became an ensemble member of the Hollywood Turnabout Puppet Theatre. For the next ﬁve years, Odetta honed her acting skills and developed her deep talent while performing in a variety of productions. In 1949, she joined the touring company of Finian’s Rainbow. During this period she discovered folk music, in particular, the ballad. The teenager was exposed to the folk blues harmonica of Sonny Terry. From this point on, the entertainer dedicated her career to concentrating on singing traditional material. In 1950, Holmes returned to summer theater stock in California, this time in a production of Guys and Dolls located in San Francisco. On days off, the curious singer ventured to North Beach, an area that was beginning to develop the reputation as a strong local folk scene, a place the beatniks called home. Upon her return to Los Angeles, she found work as a domestic. While not cleaning house, she shared a bill with the famous Paul Robeson. For a relatively unknown singer, her career developed rapidly. Despite the fact that America was still segregated, Holmes managed to work in a number of venues that were considered “white” establishments. She appeared in top clubs like the Blue Angel in New York City, as well as The Hungry and Tin Angel in San Francisco. Odetta established a solid reputation throughout the entire country with a voice that was equally at home performing folk, blues, spirituals, operatic pieces and jazz. In 1954, she made her ﬁrst recording in partnership with Larry Mohr; the duo cut Odetta and Larry. However, Odetta had greater ambitions and wanted to record on her own, seizing the opportunity when it presented itself. The singer cut Odetta Sings Ballads and Blues two years later before the revival had taken hold. The debut featured a simple formula: Holmes’s plaintive voice and basic acoustic guitar. There were well-known songs like “Mule Skinner Blues,” “Jack O’ Diamonds,” “Alabama Bound,” “Joshua,” and a Leadbelly tune “Easy Rider.” In 1957, her sophomore record, The Gate of Horn, was released. It was a live album and featured back-up musicians as well as slew of traditional classics; “Greensleeves,” “Devilish Mary,” “Lowlands,” “The Fox,” and “The Gallows Pole.” A much stronger effort than the ﬁrst disc, it showcased her voice as well as Odetta the musician stretching out on guitar. Undoubtedly, one of

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the authentic folk singers at the time, she dazzled people with a voice that ranged from coloratura soprano to baritone. She continued to perform and record. The fact that Holmes was an African American in a time when segregation was still rampant, plus one of the few females on the circuit, worked both in her favor as well as against the singer. However, one thing was evident: with each new release she was becoming bolder, evolving as an artist and recording material that irked the purists. It was clear that Odetta was never going to be pigeonholed in one style. My Eyes Have Seen featured some traditional material, but also daring numbers such as “Bald Headed Woman,” “Motherless Children” and “Ox-Driver Song.” With My Eyes Have Seen and Christmas Spirituals, the latter a collection of songs that emerged from the sufferings of slavery, she was gradually becoming a voice for the African American people. Another powerful album added to the collection was Ballad for American and Other American Ballads, which featured the Earl Robinson classic “Ballad for Americans,” as well as Woody Guthrie’s “This Land” and “Pastures of Plenty,” “Great Historical Bum,” “Dark as a Dungeon” and “Hush Little Baby.” Her live performances were also becoming more edgy and inspired because she was instilling the controversial material into the sets. Before, Odetta had been a traditional folkie on stage, strumming acoustic guitar and working through static material in a slow, high-pitched voice. The singer with the new image appeared stronger and bolder, creating a much different musical universe that some found offensive. Despite the negative press, she carried on. Her next effort, Odetta at Carnegie Hall, captured the singer live and at her creative heights. Bill Lee, the unsung hero on string bass, backed her once again. The albums At Town Hall and Odetta and the Blues followed. The latter was a respect and tribute honoring the classic female blues singers from a bygone era such as Bessie Smith, Ida Cox, and Ma Rainey and Mamie Smith. In 1963, by the time Odetta Sings Folk Songs was released, her role in the folk revival had already been determined two years earlier. In 1961, famed civil rights leader, Martin Luther King Jr., dubbed Odetta “the queen of American folk music.” It was an incredible distinction and placed her squarely in the public eye and at the forefront of the movement. Her reputation increased tremendously when she cut “There’s a Hole in My Bucket,” with the very popular Harry Belafonte. The ﬁght for equality had been a long, tough battle, and the fact that she championed the cause only increased her status. The famous singer continued to increase her status as a political and social folk singer before Bob Dylan, Joan Baez and Phil Ochs were recognized as that type of performer. With each recording and live show, Odetta

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pushed the envelope and the level of fame rose in accordance. In 1963, it crystallized with arguably her greatest moment when she stunned audiences with the rendition of “O Freedom” at the civil rights March on Washington. While there were many singers in attendance that day, including Bob Dylan and Joan Baez, Odetta delivered the most powerful set. In 1967, with the end of the revival over, Odetta attempted to adjust to ﬁnding a place in the entertainment world. Like other folkies, she recorded an album, Odetta {1967}, with full electric accompaniment. It featured a confusing number of styles including The Beatles’ “Strawberry Fields Forever,” some gospel, “Child of God” and “African Prayer,” a show tune, “Little Girl Blue,” and a children’s song, “Little Red Caboose.” Also that year, she performed at Woody Guthrie’s memorial concert. She expanded her talents to the big screen and appeared in Cinerama Holiday and Sanctuary (the latter based on a William Faulkner novel). In the 1970s, she joined an all-star cast to appear in the ﬁlm Autobiography of Miss Jane Pitman. In 1975, she was featured on the television program Say Brother, and sang “Give Me Your Hand,” to the delight of the audience. Later, during an interview Odetta talked about her inﬂuences, spirituality and involvement in the struggles for racial equality. During the bicentennial year, she performed in the opera Be Glad Then America, appearing as The Muse For America. An interesting work, the Penn State University Choir and the Pittsburgh Symphony backed her. At this point in time, she had almost given up the recording side of her career, releasing only two albums between 1977–1997. In 1987, Movin’ It On was released and a year later, Christmas Spirituals. But, in 1998, she changed career paths and dedicated more energy to recording and touring. The To Ella CD (dedicated to old friend Ella Fitzgerald upon her death two years earlier) was a success. It featured Odetta back doing what she became famous for: playing acoustic guitar, singing folk material mixed with African American spirituals and rural blues. The album included nearly a thirty minute recording entitled “Suite: Ancestors/900 Miles/Red Clay Country/Another Man Done Gone/No More Cane on the Brazos/Pretty Horses/Poor Wayfarin’ Stranger/Shenandoah/Can’t Keep from Cryin’/Trouble.” In 2000, Blues Everywhere I Go, was released and nominated for a Grammy. The blues jazz CD was a tribute to those who sang about the African American situation including Leadbelly, Victoria Spivey and Big Bill Broonzy. There were other recording highlights during the last part of career, including Looking for a Home, which was nominated for a 2002 W. C. Handy Award (which was a tribute to Leadbelly), and the live gospel and spiritual album Gonna Let It Shine. To augment the new material, she toured extensively throughout the world.

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Odetta also made many guest appearances on the albums of countless other artists and saw many older recordings re-released on CD so a younger generation could discover her musical charm. One of the more interesting projects at this time was the involvement in the 2005 documentary, No Direction Home. It included a forty-year clip of her performing “Waterboy”; but more importantly, it highlighted the direct and vital inﬂuence on Bob Dylan, the subject of the effort. In 2006, the well-traveled folk blues singer continued to ply her trade, opening shows for jazz vocalist Madeleine Peyroux. Later, Odetta went on her own tour covering Canada, the United States and Europe. She remained the political activist with an appearance during the tour as the keynote speaker at a human rights conference in Latvia. There was also a concert in Riga at the prestigious and historic Maza Guild Hall. In 2007, Holmes toured throughout North America to support the release of Gonna Let It Shine, which was nominated for a Grammy. The singer also took part in the Fall Concert Tour in the “Songs of Spirit” show that included artists from around the world. She continued to combine concert dates with social activism. A perfect example was her speech in San Diego on Martin Luther King Jr. day, followed by concerts in a number of California centers. Later, in the spring, Odetta delivered a part documentary concert in Oberlin, Ohio. Despite the activity, it was apparent that Odetta was slowing down and facing tough physical challenges. Her 2008 summer tour was performed from a wheelchair and included old standards such as “House of the Rising Sun.” Although her mobility was limited, the strong spirit remained and the feisty individual was determined to continue her career and make selected appearances. An example was the effort made to attend the Liam Clancy tribute concert in Greenwich Village. After a few last concerts, most notably at San Francisco’s Golden Gate Park to a large audience and another in Toronto, she entered a New York hospital. On December 2, 2008, Odetta Holmes, the revered, enthusiastic folk blues singer and political activist passed away, succumbing to heart disease. Odetta Holmes was a folk blues treasure. For ﬁve decades, she dedicated her life to spreading the gospel of equal rights, justice and the beauty of music to audiences all over the world. This effort made the singer famous, but the activist was always more interested in change rather than notoriety. In a career that included many more highlights than low points, she persevered and left an undeniable impact on the folk genre. Odetta possessed a voice built to belt out blues-speckled folk music that included anthems of protest, chants of freedom and tunes of justice. There was an unmistakable element in her voice which touched a nerve impulse in people. The rich alto-mezzo-soprano-baritone enriched every song covered,

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no matter what style it was recorded in. In later years when health problems cropped up, the devoted entertainer never lost the power and enthusiasm that had been trademarks since the folk revival. With such a versatile vocal delivery, Odetta was able to cover a wide range of material from old blues to spirituals to folk to pop and show tunes. Her catalog is scattered with an assortment of songs she wrote and interpreted. The artist approached material with a time-tested style which sounded years away from the modern singers she so heavily inﬂuenced. A short list of treasures she gave the world includes “This Little Light of Mine (I’m Gonna Let It Shine),” Leadbelly’s “The Bourgeois Blues,” “Something Inside So Strong,” “Sometimes I Feel Like a Motherless Child,” “House of the Rising Sun,” “Mule Skinner,” “Waterboy,” “Jack O’ Diamonds,” “(I’ve Been) ’Buked and (I’ve Been) Scorned,” “If I Had a Ribbon Bow,” “Another Man Done Gone” and “Shame and Scandal.” A true catalog would ﬁll several volumes. She was an inﬂuence on a number of artists including Joan Baez, Janis Joplin, Bob Dylan, Maya Angelou, Pete Seeger, Harry Belafonte, Geoffrey Holder, Steve Earle, Sweet Honey in the Rock, Peter Yarrow, Tom Chapin, Josh White Jr., Judy Collins, Whitney Houston, Dionne Warwick, and Diana Ross, to name a few. The power of her voice, the conviction in what she was doing and the determination overcoming many health, racist, and political obstacles was an inspiration to many. She received many tributes long before she passed away. In September 1999, then President Bill Clinton presented her the National Endowment for the Arts National Medal of Arts. A few years later she was honored at the Kennedy Center with the Visionary Award. Tracy Chapman, another vocalist who owes a debt to Odetta, performed that evening in tribute to the guest of honor. In 2005, the Library of Congress honored her with its “Living Legend Award.” In 2006, the Winnipeg Folk Festival awarded Odetta the Lifetime Achievement Award. A year later, the International Folk Alliance presented her with Traditional Folk Artists of the Year. In 2007, a concert held at the Rachel Schlesinger Theatre by the World Folk Music Association was a tribute to Odetta. Performers included Pete Seeger, Madeleine Peyroux, Harry Belafonte, Janis Ian, Sweet Honey in the Rock, Josh White Jr., Peter, Paul and Mary, Oscar Brand, Tom Rush, Jesse Winchester, Eric Andersen, Wavy Gravy, David Amram, Roger McGuinn, Robert Sims, Carolyn Hester, Donald Leace, Marie Knight, Side by Side, and Laura McGhee, a Scottish singer. In 2008, she was honored at a historic tribute night. Wavy Gravy, the one time leader of the Hog Farm Commune, hosted the event and fellow musicians David Amram, Guy Davis, Vincent Cross, and Christine Lavin performed. In February 2009, her memorial service was held and included Maya Angelou, Pete Seeger, Harry Belafonte, Geoffrey Holder, Steve Earle, Sweet

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Honey in the Rock, Peter Yarrow, Tom Chapin, Josh White Jr. (son of Josh White), Emory Joseph, Rattlesnake Annie, the Brooklyn Technical High School Chamber Chorus, and videotaped tributes from Tavis Smiley and Joan Baez. Odetta was an architect of the folk revival with her interpretation of traditional folk, blues-drenched material and spirituals. She was one of the few who had established a career before the boom came and made the most of the new opportunities that were available. With a keen, strong voice, Holmes threw her support behind one of two main causes during the decade, the Civil Rights Movement, as the classic singer utilized that crystal voice to gain equality and social justice. Odetta made enormous contributions to the folk blues ﬁeld and to humanitarian causes. She was a revered singer whose inﬂuence continues to make an impact to this day. Her power as an artist stretched from before the folk revival to long after the era was over. Although dubbed the Voice of Civil Rights Movement, she was truly a voice of the entire world.

DISCOGRAPHY: Odetta Sings Ballads and Blues, Rykodisk TLP1010. Odetta at the Gate of Horn, Empire TLP1025. My Eyes Have Seen, Vanguard VSD2046. Ballad for Americans, Vanguard VSD2057. Odetta at Carnegie Hall, Vanguard VSD2072. Christmas Spirituals, Vanguard VSD2079. Odetta at Town Hall, Vanguard VSD2109. One Grain of Sand, Vanguard VSD2153. Odetta and Larry, Fantasy FS3252. Odetta and the Blues, Legacy RLP9417. Sometimes I Feel Like Cryin’, RCA Victor LSP2573. Odetta Sings Folk Songs, RCA Victor LSP2643. It’s a Mighty World, RCA Victor LSP2792. Odetta Sings of Many Things, RCA Victor LSP2923. Odetta Sings Dylan, BMG LSP3324. Odetta in Japan, RCA Victor LSP3457. Odetta, Legacy RFTS3014. Odetta at the Best of Harlem, FLC5007. Movin’ It On, Rose Quartz RQ101. Christmas Spirituals, ALC104. To Ella, Silverwolf Records SWCD1012. Blues Everywhere I Go, M.C. Records MC0038. The Best of Odetta, Collectables TLP1052. The Essential Odetta, Vanguard VCD43/44.

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Utah Phillips (1935–2008) The Golden Voice of the Great Southwest The link between folk music and the labor movement was established at the turn of the nineteenth century through the efforts of troubadour Joe Hill. From that point on, there were many others who followed the path that the initiator blazed. In the 1960s, there were several causes tied to the union issues, and one of the principal forces behind the continued support was the man known as the golden voice of the great Southwest, Utah Phillips. Bruce “Utah” Phillips was born on May 15, 1935, in Cleveland, Ohio. His ﬁrst instrument was the baritone ukulele, and he managed to become proﬁcient enough on it in order to play in front of an audience. However, he chose a different path. As a worker on a road crew at Yellowstone Park, when the day’s labor was ﬁnished, the men pulled out their guitars, harmonicas, and baritone ukuleles and hummed Jimmie Rodgers and Gene Autry tunes. It was one of the best tutorials for Phillips, an aspiring musician. His parents, who were union organizers during the Great Depression, instilled in him a keen understanding and appreciation for the struggles of labor, as well as a love for the theater. He acted in a number of plays honing his talents as a thespian. Later, when the young boy’s parents divorced and his mother and her second husband moved the family to Utah, the interest was rekindled when his stepfather founded a chain of theatres. However, Phillips grew tired of life in Utah and ran away from home, developing a lifelong love of trains and train hopping. He worked odd jobs, roaming throughout the country and absorbing the stories, history and music from the cross-section of people he met. At the time he was a country music aﬁcionado citing Hank Snow, Roy Acuff and T. Texas Tyler as personal favorites. It was from the latter that he devised his new moniker U. Utah Phillips. With a different name, he continued the voyage of self-discovery and taught himself the guitar and wrote his initial songs. The young man worked as a dishwasher, stock clerk and printer to support the nomadic lifestyle. His enthusiasm and adventures as a train hopper fueled his songwriting imagination, which parlayed into later albums such as Good Though!. It contained the songs “Daddy, What’s a Train?,” “Queen of the Rails” and “Moose Turd Pie.” Another example was Starlight on the Rails released in 2002. But at this point, he was many years away from recording his own material and remained broke and depressed, so he joined the Army. Some time later, Phillips became a soldier ﬁghting in the Korean conﬂict where he continued to develop his musical skills. He formed a band called the

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Rice Paddy Ramblers who played to the enlisted men, receiving an enthusiastic response. At the same time, the devastation of post-war Korea shaped his blossoming political and social conscience making him realize that there were many problems in the world that could be solved with music. Upon his return home, he tramped around riding the rails before returning to Utah. It was there that Phillips met Ammon Hennacy, a paciﬁst and social worker from the Catholic Worker Movement. Together they joined forces to establish a mission house of hospitality named after the activist Joe Hill, both acknowledging their deep respect for the many sacriﬁces he made in order to advance the labor movement. For the next eight years, the exsoldier balanced a singing career while working at the Joe Hill House, which had a profound inﬂuence on him. Although he had been performing for some time, Phillips had never written any serious material. The hobo tales from the rail hopping days were nothing but brief character sketches. The young musician began to incorporate some of the thoughts and beliefs learned from his new friend and life experiences into serious songwriting efforts. Finally, the ﬁrst professional piece, entitled “Enola Gay,” was ﬁnished. A political tune, it proved to be strong encouragement and he began to pen more. Like the devotion to learning how to play an instrument and singing, the writing development was nurtured along slowly. He continued to struggle as a musician and often worked taverns playing for what little money was thrown in the guitar case. In the 1950s, he met folk singer Rosalie Sorrels and the two established a lifelong friendship. She was the ﬁrst performer to sing Phillips’ material, spreading about his name in areas where he was totally unknown. The two remained in contact and collaborated on occasion sharing a passion for music, as well as different political causes. Despite the encouragement from Sorrels, Phillips’ career seemed stalled and needed some kind of spark. He had very little understanding of commercial appeal in order to broaden a ﬂedging career. All of this changed when Kenneth S. Goldstein heard Utah play and decided that he was worth recording. In quick succession, the aspiring entertainer recorded a ﬁrst album, No One Knows Me. In the early 1960s, he was living in Utah where he juggled a connected balance between a musical career and a political perspective. Phillips championed different causes including the Cuban missile crisis and housing opportunities for the poor in the state. Years earlier he had founded the Poor Peoples’ Party which would later merge with the Peace and Freedom Party. It was on this ticket that he ran for a Senate seat; but the aspiring politician riding on the Peace and Freedom platform failed in the bid. A long-standing member of the Industrial Workers of the World, he was

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considered more of a Christian anarchist. Phillips donated much of his time to performing for free in order to reach people with the message of the importance of labor unions and their struggles against management. In these free concerts, he played such working person classics as “Hallelujah, I’m a Bum,” “The Preacher and the Slave” and “Bread and Roses.” Phillips was very active during the revival but never gained the exposure of Bob Dylan, Joan Baez, Phil Ochs, or some of the other political folkies. His efforts leaned more toward the labor unions instead of the causes others pursued. However, despite the lack of attention, the burly individual was well-known in a different light than someone like an Odetta Holmes or Country Joe McDonald. In 1969, because of his radical views, he found it impossible to ﬁnd work in Utah and relocated to the East Coast. Originally, Phillips had planned to ﬁnd work to ﬁnance his next campaign; but instead he arrived at Saratoga Springs, New York, and discovered old friend Rosalie Sorrells had recorded and introduced some of his songs to the Northeast audience. She encouraged him to perform at the Caffe Lena club, which the gruff old songster did and became a professional singer. That same year he cut another album, El Capitan, on the Philo label. It contained a number of Phillips originals, including “The Telling Takes Me Home,” “The Goodnight Loving Trail,” “Scoﬁeld Mine Disaster,” “Enola Gay,” and “She’ll Never Be Mine,” mixed with traditional songs “Johnny Thurman” “John D. Lee,” and “Jesse’s Corrido.” While others would amass a larger, more spectacular catalog, the great voice of the Southwest was never that proliﬁc. However, there was a quality to the scant material that was recorded. Phillips began to tour many of the coffee houses in Greenwich Village. The enterprising folkie incorporated the strong political causes that he had fought for into his stage presentation. The half-serious politician ran for the presidency every single election, more as an anarchist then a serious contender. When he wasn’t pursuing ofﬁce, the poet-storyteller-troubadour was holding court at the Caffe Lena as the house singer. Many who had heard of the Southwest legend came to greet the man in person. In the 1980s, the old protester began to slow down due to medical ailments in both hands. Mark Ross, a guitarist and a big Woody Guthrie fan, often played behind Phillips in a support role. Utah managed to release one studio album We Have Fed You All for a Thousand Years. It contained some traditional material that he had played live for years, including “Hallelujah, I’m a Bum,” “The Preacher and the Slave,” and the “Popular Wobbly.” It even included a version of the union-activist anthem “Joe Hill.” In 1991, Phillips teamed up with Ramblin’ Jack Elliott and “Spider” John Koerner, two longtime folk artists and friends in order to tour together. It

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was a positive experience. One of the concerts was taped and later released as Legends of Folk. Phillips contributed two songs, “Here with You,” and “Touch Me,” to the project. They also reworked some traditional material including “Railroading on the Great Divide,” “Hallelujah, I’m a Bum” and “Danville Girl.” The political folk singer proved that he was on par with some of the style’s most highly noted performers during this emotional collaboration between old cohorts. He also found time to record an album, the masterful concept work I’ve Got to Know. It was cut during the ﬁrst Gulf War, and through songs and words it banished the entire idea of war and killing. There were angry tunes like “Killing Ground” and “Stupid’s Pledge.” The thirty-three songs on the disc emphasized Phillips the humanist, activist and anarchist. It was considered one of his best efforts, if not the strongest ever released. In 1996, Phillips retired from active performing, but it was never his full intention to completely leave the stage. He appeared on average once a month at various venues. He juggled this with a weekly, one-hour radio show, Loafer’s Glory: The Hobo Jungle of the Mind, broadcast on KPSA in Berkeley, California. The aging folk singer also teamed with the younger Ani DiFranco to record Past Didn’t Go Anywhere. The modern folk album contained the highlights “Bridges,” “Nevada City,” “California,” “Anarchy,” and “Mess with People.” In 1999, Phillips proved that he could still make a valued solo recording and emerged with Loafer’s Glory, which captured him in his essence — telling stories, singing topical songs and reciting poems with a warm, genuine enthusiasm. The effort contained many gems including “Budgie Lore,” “Blackie and the Duck,” “Amtrack,” “Suspenders” and “Jesse James’ Farewell Blues.” The poet’s ability as a raconteur with a sharpness and ease was one of his essential calling cards. The gnarly, boisterous folk singer with the assertive voice and politically and socially charged material was a larger than life ﬁgure. Phillips continued to perform until his death on May 23, 2008, in Nevada City, California, from complications of heart disease. He was seventy-three years old. Sadly, the folk world lost one of its most genuine performers. Utah Phillips was a rambling folk artist. He was a roamer, an enthralling story teller, a political activist and a man of principle. His patchy career was one that never quit evolving and continued to reach different levels up until his death. There was a genuine honesty to the man and the songs that enabled him to carve out an interesting career. He was a person who had something important to say and did it through song. The gruff singer had a tough voice. There was an edge to it but at the same time a charming element that could hold audiences spellbound. The storytelling ability was his strongest suit and Phillips knew how to play it to

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the fullest potential. He was dubbed the golden voice of the Southwest for good reason. An intelligent singer, he never wasted words and his economical delivery sparked many to follow suit. Although he was a good guitarist, Phillips was never a ﬂashy instrumentalist; but he could hold his own until later on when health problems hampered his ability to play. There was a starkness in his approach that was part talent and part lack of skill. He always managed to push the music across despite not having a total command of the fret board. However, the musical accompaniment was never foremost in his attack; the words and the style were of greater emphasis. Once he was no longer able to play as much as he wanted to, the great ranter relied more on his skill as a raconteur and monologist in order to entertain the crowd. It was this ﬂexibility which enabled him to string together a career that spanned almost ﬁfty years. He did it more on guts and savvy than pure talent. Phillips was also an engaging harmonica player, a skill picked up during the early days when he jammed with the men after the work was done in the lumber camps. Although, not a great musician, the old artist was able to combine all of the instrumental and singing talents into one cohesive package. His ability on the mouth organ was equal to that on the guitar. Phillips’ inﬂuence spilled into many different areas. He was a protégé to Kate Wolf, the prominent performer who employed acoustic instrumentation and was more of a contemporary singer-songwriter than a folk based interpreter of traditional songs. Like her mentor, the young woman’s music was not about ﬂash, but about substance and entertainment. She was able to pick up a lot of instruction from the great voice of the Southwest. He was a special friend to Rosalie Sorrels, the singer-songwriter, teacher, storyteller, collector, performer and activist who would record some twenty albums. They met at a time when neither was a big star, but they connected and continued a musical friendship and mutual admiration society for each other that endured throughout their respective careers. Sorrels, based in Boise, Idaho, was a strong regional folk singer who gave Phillips’ career a huge boost. The old rambler also made a strong impact on others, including protégé, Ani DiFranco, one of the bright, young folk artists on the contemporary scene. Together they recorded The Past Didn’t Go Anywhere and Fellow Workers, which was nominated for a Grammy Award. Emmylou Harris took his song “Green Rolling Hills” and turned it into a country tune. Many artists, including Ian Tyson and Tom Waits, among others, recorded “The Goodnight-Loving Trail.” More than a just a plain folk singer, Phillips was a spokesman for the causes he truly believed in. His political activism included being a member of the great Traveling Nation, the community of hobos and railroad bums

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that populated the Midwest United States. The enthusiastic rail hopper protected their way of life and culture because he had been one of them. One of the few folk artists to actually run for political ofﬁce, his ideology was to change the world and make it a better place for everyone. As an elder statesman of the folk music community, the burly singer preserved the stories and songs from becoming lost and forgotten. Many, including Wolf and DiFranco, looked up to him because of a larger than life personality. Utah Phillips was a man of many different dimensions. The guise of performer was just one of many he donned during his long, colorful life. Although not the most talented individual in the history of the genre, he was appreciated in many different circles for a variety of reasons. The man who forged a career through hard work managed to earn the moniker, “The Golden Voice of the Southwest.”

DISCOGRAPHY: El Capitan, Philo C-PH-1016. Good Though, Philo 1004. All Used Up: A Scrapbook, Philo 1050. We Have Fed You All for a Thousand Years, Philo 1976. I’ve Got to Know, Alcazar 114. Past Didn’t Go Anywhere, Righteous Babe Records 9. Legends of Folk, Red House Records 31. Loafer’s Glory, Red House Records 103. The Telling Takes Me Home, Philo 1210.

Peggy Seeger (1935– ) Manchester Angel In every genre of music there is one family that is associated with that particular style. While the Guthries and Lomaxes made enormous contributions to the ﬁeld, one familial unit has surpassed the aforementioned to earn the title as the ﬁrst family of folk. Parents, Charles and Ruth, and sons, Pete and Mike, all made an impact on the music. There was also daughter/sister/half-sister, Peggy, the Manchester angel. Peggy Margaret Seeger was on June 17, 1935, in New York, New York. With an impeccable pedigree — mother, Ruth Crawford Seeger, was an inﬂuential composer and folklorist and father, Charles Louis Seeger, was a pioneering ethnomusicologist — it was only natural that she would follow in the family’s rich folk footsteps. Older half-brother, Pete, was a huge inﬂuence,

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as was brother Mike. Also, as a child, the revered Libby Cotten was the nursemaid and taught her many time-honored tunes. At age seven, she began to learn the piano and would add a plethora of instruments in quick succession including the guitar, ﬁve-string banjo, autoharp, Appalachian dulcimer, and English concertina to become a multiinstrumentalist. Seeger also learned to transcribe music, as the love of folk was enriched with a sense of pride and responsibility. Her parents were serious collectors and protectors of the traditional musical legacy. It was this very important lesson that would shape and deﬁne Peggy’s career. As a teenager, the ﬁne young singer teamed up with her brother Mike at local venues. Once college age, Peggy entered Radcliffe and majored in music. But she did more than just study; she began to perform in public as a solo artist. Although it was just a couple of years before the folk boom, the aspiring musician was able to ﬁnd a spot to play in Cambridge, Massachusetts, and received enthusiastic reviews. In 1955, Seeger relocated to the Netherlands to continue musical studies. Although a champion of folk, she had not chosen a clear path in music at the time. The wanderlust took the traveler throughout much of Europe where she absorbed the various ethnic strains of sound. Later, the world tour included a trip to Africa. Each mile traveled was a valuable lesson that shaped a political and social outlook and would have a serious impact on the material written throughout her career. In 1956, she cut her ﬁrst set of songs, Folksongs of Courting and Complaint. In 1957, Animal Folksongs for Children was released, and Seeger continued to travel venturing into Communist China against the wishes of the American government. Later, the talented folk singer was blacklisted throughout much of Europe, but did not return to the United States. Instead, she settled in Great Britain in order to begin a musical career. In 1959, Seeger’s life took a permanent turn when she met the British musician, playwright and social anarchist, Ewan MacColl. Although married at the time, he left his wife to be with Peggy. Eventually they would wed, but not before the pair made all of the gossip pages. It seemed that everyone was overlooking the fact that the duo demonstrated a potent musical united force. The couple would create The Critics Group, a class that guided young singers in performing traditional songs and helped them to compose new ones with a dedication to a connection between the roots and socio-political topics. The sessions would evolve into a performance ensemble featuring a mixture of song, comedy and satire. There was an annual production entitled “The Festival of Fools.” It was Seeger’s way of continuing the work of her parents. Although an American, she quickly became a champion of the British folk revival and dedicated much of her career to talking, singing and emphasizing the values of that movement. She remembered the values taught by her

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parents, and the ﬁght for justice was always fodder for songs. While MacColl’s subject matter concerned itself with war, prejudice, freedom and social injustice, Seeger’s material took on more of a feminist slant. The determined singer became an ardent vocalist for the suffragette cause at a time before the sexual revolution had begun. In this way, she was a pioneer. Her song “Gonna Be an Engineer” was a rallying call for females around the globe. “Nine-Months Blues” dealt with contraception and abortion rights; “Different Tunes” was a comment on mother-daughter relations; “Winnie and Sam” warned against domestic violence; and “Reclaim the Night” tackled rape. She also wrote songs about other political matters, including unionism, “Union Woman II”; apartheid, “I Support the Boycott”; the rights of the disabled, “Woman on Wheels”; and nuclear disarmament, “Carry Greenham Home.” MacColl and Seeger were proliﬁc recording artists. In 1960, they cut New Briton Gazette, Vol. 1, The Unfortunate Rake, Songs of the Two Rebellions, Popular Scottish Songs, and Bothy Ballads of Scotland. They also recorded as soloists. In 1961, she released Two Way Trip. In between it and her next solo effort, Pegg y Alone, she and MacColl would release New Briton Gazette, Vol. 2 and Traditional Songs and Ballads. Each successive effort only enhanced their already strong reputation. When they weren’t recording new material, the couple toured extensively throughout the United Kingdom and other parts of Europe. The duo often appeared at the Singers Club, which they operated for a stretch of time. Many of the passing folk artists found their way to the venue and accompanied Seeger and MacColl on stage. The couple brought many different dimensions of the folk song to the audience, including material that she had learned as a child from her nanny, Libby Cotten. By the 1970s, the McColl-Seeger duo were as well established as any other icon of the British folk music revival and continued to write political, social and feminist product. She would record At the Present Moment, Penelope Isn’t Waiting Anymore, and Different Therefore Equal to end the decade. With MacColl, the talented singer cut Folkways Record of Contemporary Songs, Cold Snap, Hot Blast, and Saturday Night at the Bull and Mouth. After the British folk revival was over, they continued to record and perform but with greater selection. In 1977, the couple married and concentrated on raising their three children. In 1979, when Peggy’s father, Charles, passed away, it was the end of an era and meant that the generation of Pete, Mike and their sister now had to carry on the family tradition with pride and distinction. In the 1980s, the couple began to slow down considerably, performing at selected venues and recording less frequently. In 1989, MacColl died. After his death, the Manchester angel traveled to Australia and the United States.

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She eventually began to collaborate with Irish singer Irene Scott; the two dubbed themselves No Spring Chickens. They released Almost Commercially Viable, a solid work that enabled Seeger to carry on her long-standing career. In 1994, Seeger returned to the United States and settled in North Carolina. She continued to record and released An Odd Collection, which included “On This Very Day.” It was a tribute to MacColl, telling the story of the ﬁrst day they met and the large inﬂuence that he had on her life. It was during this time she began to compile material for a number of songbooks including The Pegg y Seeger Songbook, Warts and All and The Essential Ewan MacColl Songbook. Seeger returned to England in order to be with her three children. This move also allowed the folk artist to collaborate with her two sons, Callum and Neill. Together they released Heading for Home. Two more albums would follow, Love Call Me Home and Bring Me Home. In 2007, a live album entitled Three Score and Ten was released in honor of her 70th birthday. She continues to record and perform in Great Britain, the United States and all over the world. Peggy Seeger was a generational continuum. She managed to extend the work of her parents, half-brother and brother, keeping the family tradition alive. A folk song institution, her solo material and that which she recorded with husband MacColl remains fresh and vibrant to this day. There was a spirit, an energy in her writing that made the feminist singer an important ﬁgure of the revival. Peggy Seeger has a voice that soars free and clear. There is a directness in her vocal delivery whether she is singing one of her own compositions, a cover from someone else’s catalog or dusting off some long lost traditional tune. There is a soothing element that is purely traditional, boasting a homespun, folksy appeal that has always enabled the engaging singer to capture the listener’s attention and retain it. The MacColl-Seeger union saw them operate the Singers Club in England, a venue where they performed frequently. Because of her previous ventures into China, she was afraid to go home to the United States. MacColl was barred from the country and was only able to return much later on. The couple would also eventually establish their own label, Blackthorne, which enabled them to record songs that would otherwise never see the light of the day. Because of their wide social and political viewpoints, no subject was considered taboo. There was a ﬁerce determination in their attempt to bring controversial issues to light, such as domestic abuse, rape, equal rights, apartheid and many more. They were also responsible for developing the radio ballad. It was a groundbreaking musical concept that combined four elements of sound: songs, instrumental music, sound effects, and, most importantly, the recorded voices

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of those who were the subjects of the document. The latter part was revolutionary because prior radio documentaries had utilized either professional voice actors or prepared scripts. In 1958, the ﬁrst such creative work, The Ballad of John Axon, was aired. To this day, it remains an interesting and utilized format. Although they were pioneers, the couple were also very traditional in different ways. For example, the duo never used electronic instruments in any of their recordings, preferring the simple accompaniment of an acoustic guitar, harmonica, piano or other string instrument. This method didn’t change even during the era when most folk artists decided to augment their sound in a variety of different settings. Although a multi-instrumentalist, Seeger never became known as a great virtuoso. She utilized the skills to advantage in the studio and on stage, but was never considered a truly gifted musician. With a musical understanding and a strong intuition, she was able to add the speciﬁc instrumental touch at the proper place to create something special. Her instincts were always very sharp. Peggy Seeger was an important ﬁgure in the British revival along with husband MacColl. The pair produced a solid body of music that was very social and political. They contributed in different ways, like starting their own label to give new performers a chance, operating a club in order for artists to have somewhere to play and give concerts for the beneﬁt of a variety of charities. The tireless efforts earned her the title, “Manchester Angel.”

DISCOGRAPHY: Two-Way Trip, Smithsonian Folkways 8755. At the Present Moment, Rounder C-4003. Penelope Isn’t Waiting Any More, Rounder 4011. Saturday Night at the Bull & Mouth, Smithsonian Folkways Recordings 8731. Pegg y Seeger, Rounder 4003. Familiar Faces, Redwood RR 8905. Period Pieces: Women’s Song for Men & Women, Tradition 1078. Love Will Linger On, Appleseed Records 1039. Almost Commercially Viable, Fellside Recordings 130. Heading for Home, Appleseed Records 1076. Love Call Me Home, Appleseed Records 1087. Three Score and Ten, Appleseed Records 1100. Bring Me Home, Appleseed Records 1106. Folkways Years, 1955 –1992: Songs of Love and Politics, Smithsonian Folkways 40048. American Folksongs for Children, Rounder 8001. Classic Pegg y Seeger, Fellside Recordings 105. Odd Collection, Rounder 4031. Who’s Going to Shoe Your Little Foot, Vivid Sound 262.

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Tom Paxton (1937– ) Ramblin’ Boy One of the greatest elements of the folk revival was the individuality of each performer. While they all sang traditional material (often the same songs) and cited similar inﬂuences, each expounded on the basic style in a personal manner. Later, when many began writing more political and social pieces, every artist still maintained a unique voice. One of the most specialized ﬁgures accomplished this achievement and earned the reputation as the ramblin’ boy. His name was Tom Paxton. Tom Paxton was born on October 31, 1937, in Chicago, Illinois. Although he settled in the Windy City quite nicely and was ready to absorb the rich musical tradition, at age ten the family moved to Bristow, Oklahoma. Soon after the relocation, a crisis occurred when the young boy’s father passed away. He found solace in music, having already started to play the trumpet, adding the ukulele and ﬁnally the guitar while a teenager. He enrolled at the University of Oklahoma as a drama major. It was there that he developed an initial interest in folk music and began to write his ﬁrst songs. In 1959, Paxton graduated and found temporary work in summer theater. The aspiring musician had began to hone vocal skills in an effort to round out his musical abilities. He was determined to make it in the music business instead of becoming an actor. In 1960, he joined the army reserve and was stationed in Fort Dix, New Jersey, which was a huge step forward into establishing a musical career. Because of the proximity to New York City, Paxton was able to slip into the metropolitan area and thrive in the rich folk movement that vibrated with such intensity, especially in Greenwich Village. During this period, he put the ﬁnishing touches on a musical education that had begun as a teen. In a two-prong attack, he started to create interest in his music as a singer, appearing at the famous Gaslight and the Bitter End. As well, the ambitious young man was writing songs at a furious pace and publishing them in the Broadside and Sing Out! magazines. However, the rhythm of his career seemed too slow, so in an effort to accelerate this slow drag, he auditioned to replace Mike Pugh in the Chad Mitchell Trio. Although Joe Frazier won the spot, Paxton made an impression with his material, which led to a key association with the publishing company Cherry Lane. That work helped pay the bills. Action was happening at different ends. The Chad Mitchell Trio included Paxton’s composition “Come Along Home (Tom’s Song)” on their live album

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recorded at the Bitter End. It was later released for all of the world to hear and admire. After much struggle and initiative, Paxton ﬁnally recorded his ﬁrst album, I’m the Man Who Built the Bridges, a live set captured at the Gaslight. The debut record included “Every Time,” “The Marvelous Toy,” and “Goin’ to the Zoo,” showcasing his wide and deep talent as a songwriter. Others utilized his songs live in concert. Pete Seeger, at a Weavers reunion at Carnegie Hall, included “Ramblin’ Boy, which appeared on the Reunion at Carnegie Hall 1963 album, released on Vanguard Records. More importantly, as a solo act at the prestigious hall, Seeger performed “A Little New Baby” and “What Did You Learn in School Today?” The latter established a reputation as a political-satirical writer with humorous overtones. Although Paxton was caught up in the left-wing political action of the times, he mixed his message with a healthy dose of humor, wit and satire. Seeger’s solo show was recorded, and an ensuing album was released under the title We Shall Overcome. Years later, it would be issued as a double CD entitled We Shall Overcome: The Complete Carnegie Hall Concert. The ability to deliver a political statement with a humorous tone was a rare gift and in sharp contrast with the material of Phil Ochs. It seemed that Paxton would enjoy more success as a result of others performing his songs than he would playing them himself. When the Chad Mitchell Trio released their next album, Blowin’ in the Wind, it contained two of Paxton’s compositions; “Willie Seton” and “The Marvelous Toy.” When the latter was unleashed as a single, it reached the Top Fifty of the charts. Paxton continued to plug away. In 1963, he appeared at the Newport Folk Festival, an event recorded by Vanguard. A later compilation from the label entitled Newport Broadside included the performer’s “The Willing Conscript.” Once again, the song displayed a very humorous side that lightened the inﬂammatory political message. However, despite the power of the number, it did very little to advance his career. In 1964, he returned to the Newport Folk Festival with the event once again recorded by sound people from the Vanguard label. However, the material wouldn’t see the light of day for nearly forty years, doing nothing for the progress of Paxton’s career. The revival had created a serious rivalry between labels to scoop up the young talent. Elektra walked in and signed Paxton right under Vanguard’s nose. His debut album for the Elektra label, Ramblin’ Boy, contained the title cut and two superior gems, “The Last Thing on My Mind” and “I Can’t Help But Wonder Where I’m Bound.” Both tunes helped deﬁne the Tom Paxton sound and placed him ﬁrmly amongst the leading folk lights of the day, including the ever popular Bob Dylan. Once again, the ramblin’ boy had managed to deliver a strong political message tinged with humor. The two aforementioned songs illustrated the artist at his creative zenith.

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“I Can’t Help But Wonder Where I’m Bound” was the type of song that many other artists immediately latched onto. The Chad Mitchell Trio cut their own version and included it on their Singin’ Our Mind album. The Au Go-Go Singers, which featured the talents of Stephen Stills and Richie Furay, waxed a version on their record They Call Us Au Go-Go Singers. The Kingston Trio would include the tune on their Atay Awhile record, as well as another Paxton composition, “Bottle of Wine.” Although he had recorded some very successful material, “The Last Thing on My Mind” was probably his most recognized song and deﬁnitely the most covered. The Chad Mitchell Trio; Peter, Paul and Mary; and Marianne Faithfull all quickly released interpretations of the song. It spread to the country artists including Charley Pride and Hank Locklin, as well as Porter Wagoner and Dolly Parton, who hit the Top Ten with it on the country charts. Even rock acts like The Move, featuring Keith Emerson, later of Emerson, Lake and Palmer fame, tried their hand at capturing the magical essence of the tune. Neil Diamond’s attempt made it to the Top 100 on the pop charts. Later, Bill Anderson, Chet Atkins, Joan Baez, Harry Belafonte, Glen Campbell, Judy Collins, Sandy Denny, José Feliciano, Flatt & Scruggs, Anne Murray, Willie Nelson, The Seekers and Hank Snow all boasted a cover version. Despite his acknowledged strength as a songwriter and performer, by the fall of 1964 in the wake of the Beatles and the British Invasion, the folk revival was waning. Nevertheless, Paxton marched on and cut Ain’t That News, the second album for Elektra. In 1965, the opposition against the Vietnam War was beginning to take hold, but it had not reached the feverish pitch it would later on in the decade. However, Paxton addressed the issue with the song “Lyndon Johnson Told the Nation.” Although Paxton’s records didn’t sell so well, the cover versions of his songs continued to pour forth, providing him with much needed royalties. In 1966, the third Elektra album, Outward Bound, continued a dedication to folk bypassing the current folk rock fusion that The Byrds and Simon and Garfunkel had initiated. The record featured the social statement “Don’t Let Nobody Turn You ’Round,” the subtle antiwar message “My Son, John,” love song “One Time and One Time Only,” and tunes about wandering “Leaving London,” “Outward Bound,” and “I Followed Her into the West.” In the era of the changing face of popular music, pop psychedelia was in vogue when Paxton recorded his fourth effort, Morning Again, which contained a different style. It seemed to work, as the song “The Things I Notice Now” rose through the charts. As well, Tom Paxton 6 gained some attention from different sources. Two numbers, “Forest Lawn” and “Whose Garden Was This?,” were drawn from the last record. The usual assortment of artists covered the songs including rising star, John Denver, who also recorded versions of “The Ballad of Spiro Agnew,” “Bet in the Blues,” and “Jimmy Newman.”

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In 1971, Paxton moved to England with his family where the singer enjoyed a loyal cult following. Here Comes the Sun was released on the Warner Bros. label. It didn’t reach the top of the charts and neither did the next effort, Peace Will Come, but both were solid records. Before he returned to the United States and settled in Long Island, he recorded the live New Songs for Old Friends at the Marquee Club. One of the songs was “Wasn’t That a Party?,” a tune the Rovers would take to the Top 40 years later and create a cult status around with the good-time number. In the following decade he would record for a number of smaller companies. The Tom Paxton Children’s Song Book was issued on the Bradley label. For MAM, he made Something in My Life and Saturday Night. He would return to Vanguard and released New Songs from the Briarpatch, which included “Did You Hear John Hurt?,” a tribute to the fame blues singer Mississippi John Hurt who had rejuvenated his career during the revival and made a strong impact on Paxton. The second record for Vanguard would include two very touching songs. The ﬁrst, “The Death of Stephen Biko,” told the tale of the murder of the South African civil rights leader. The second was “Phil,” in honor of fellow folkie Phil Ochs who had committed suicide. Paxton proved with both songs that he had not lost any of the special songwriting touch displayed a decade earlier. However, both lacked the satirical touch of some of the past work. Paxton continued to record and perform. His Up & Up, featured a collaboration from longtime folk artist friend Bob Gibson. It included “My Favorite Spring,” a song dedicated to baseball, one of his favorite passions. The clever songwriter demonstrated that he never lost his sense of humor and wit in the song “I Am Changing My Name to Chrysler,” in response to the government’s bailout of the ﬁnancially troubled car company. While not received well in certain quarters, others added it to his catalog of witty socialpolitical numbers. In 1982, another cover version of “Every Time,” which the Fureys released, managed to place on the British charts. In 1983, Paxton released Bulletin on Hogeye Record, which once again contained material that made people take notice. “A Little Bitty Gun” needled then ﬁrst lady Nancy Reagan after her comments on handgun legislation following the assassination of John Lennon. As well, “There’s Something Wrong with the Rain” was an environmental effort that explored the acid rain issue, irking government ofﬁcials. A tour with friend Bob Gibson and Anne Hills entitled Best of Friends proved to be a solid, enjoyable experience. Although they never recorded any of their material, the shows were broadcasted over the radio. Later, Appleseed Records released one of the performances to enthusiastic reviews. The comparison between the three very distinct artists was a pleasure to hear

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because it proved that Paxton was still head and shoulders above many of his contemporaries. In 1985, his second record for the Flying Fish label, One Million Lawyers and Other Disasters, featured the title song and a parody of “Riders in the Sky” entitled “Yuppies in the Sky.” Despite the fact that the musical mood of the country had drastically changed since he had emerged as a major folk force, Paxton continued to pen tunes with fresh content that were humorous but also contained a message. The clever songwriter had lost none of his creative powers. After years of recording for a variety of recording establishments, both large and small, he formed a company entitled Pax Records. The proliﬁc artist released a rash of albums including A Folk Song Festival, A Paxton Primer, Balloon-alloon-alloon and A Child’s Christmas on his own outﬁt. The Flying Fish issued And Loving You, the live Politics, The Very Best of Tom Paxton and It Ain’t Easy.That Paxton steamrolled material out on a regular basis was in sharp comparison to Tom Rush and Ramblin’ Jack Elliott who were suffering through a dearth in their recording careers. He spent the ﬁrst part of the 1990s working on a series of children’s albums including A Car Full of Songs, Peanut Butter Pie, and Suzy Is a Rocker. In 1994, he signed to the Sugar Hill label and issued Wearing the Time and Live: For the Record. The song “Johnny Got a Gun,” which appeared on the Wearing the Time effort, dealt with youth and gun violence, proving that his rich songwriting remained intact over the long period of time. The next few years proved to be an interesting time via the records released under his own name and the retrospective collections. For Rounder, he delivered Goin’ to the Zoo and I’ve Got a Yo-Yo. Rhino records issue of Can’t Help But Wonder Where I’m Bound joined Vanguard’s Best of the Vanguard Years. A series of Mountain Stage radio series from 1994 to 2000 appeared on Blue Plate’s Live from Mountain Stage. Paxton continued to build momentum long after many of his contemporaries had faded from the scene. In 2001, he began to record for the Appleseed label, which released Anne Hills’ Under American Skies. With the Red House Records company, he cut Your Shoes, My Shoes. The next effort, Looking for the Moon, was nominated for a Grammy. Unlike others, Paxton enjoyed performing, and one of those concerts was captured on Live at McCabe’s Guitar Shop. He continues to record and perform. Tom Paxton is one of the most durable of the singer-songwriters to emerge from the Greenwich Village folk scene of the late 1950s and early 1960s. While many have faded into the pages of history, he has maintained a career until the present time. He has succeeded with his musical abilities, personal attitude and, especially, songwriting abilities which enabled him to combine humor with political and social comment that placed the clever artist in a special universe.

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Paxton possesses a common man’s voice. There is nothing superior or inferior about it. It is easily accessible and suitable to the wide variety of material he has covered during his long, distinguished career. An entertainer who has released nearly as many children’s albums as adult records, he was able to use his vocal skills as the sharpest tool to appeal to all ages. Although a decent musician, like so many other folk artists, he was never a great virtuoso. Similar to his voice, the guitar skills were adequate and enabled him to produce the work he wanted to in an easy format that was accessible. There was never anything exciting about his instrumental ability, but the common sound it presented enabled him to cover a wide range of material. Arguably, Paxton’s greatest strength as a folk artist has been songwriting. There was always an emotional balance in the lyrical content. He could be light-hearted and comical in songs such as “What Did You Learn in School Today?,” while delivering a criticism of how children are taught. At the other end of the spectrum, he wrote material like “Train for Auschwitz,” which dealt with the holocaust. The number “Jimmy Newman,” about a dying veteran, was a universal tune that portrayed the human cost of conﬂict across the planet. There were other war songs including “My Son John,” the tale of a soldier and his inability to adjust to civilian life. “A Thousand Years” riveted attention to the neo–Nazi uprising and served as book end to “Train for Auschwitz.” “On the Road to Srebrenica” tells the story of the Muslims killed in the Bosnia and Herzegovina massacres. He dealt with other issues. “Bravest” depicts the courage of the ﬁreﬁghters who lost their lives in the 9/11 terrorist attack. The war songs and portraits of fallen heroes was always balanced with material such as “Florida,” which attacked the 2000 election scandal. “Bobbitt” covered the John and Lorena Bobbitt soap opera. The political material, “Little Bitty Gun,” “The Ballad of Spiro Agnew,” and “Lyndon Johnson Told the Nation” updated to “George W. Told the Nation,” represents some of his best material and indemand songs during live performances. Because of a deep talent as a songwriter, many others covered his material. Judy Collins and The Fireballs, a band which featured Felix Pappalardi on bass and Barry Kornfeld on guitar and banjo, are just a few who covered “Bottle of Wine,” a Paxton staple. Sandy Denny, of Fairport Convention fame, waxed a version of “Hold On to Me Baby. Other standards, such as “The Last Thing on My Mind,” “Whose Garden Was This?,” “The Marvelous Toy,” and “Ramblin’ Boy,” featured interpretations from a who’s who of folk artists — Pete Seeger, The Weavers, Joan Baez, Dave Van Ronk, Eric Andersen, José Feliciano, Bob Gibson, Arlo Guthrie, Carolyn Hester, Nancy Grifﬁth, Hoyt Axton, Gram Parsons, Doc Watson, Harry Belafonte, Peter, Paul and Mary, The Kingston Trio, the Chad Mitchell Trio and John Denver. Also, country

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superstars Dolly Parton, Porter Wagoner, Willie Nelson, Johhny Cash, the Carter Family and Flatt & Scruggs have sung and played his material. Paxton has always boasted a variety of talented musicians with him at various studio sessions and concerts. A partial list includes David Grisman on mandocello, Paul Harris on keyboards, Herb Brown on bass, David Bromberg on multiple instruments, Richard Davis on bass and Hubert Lews on ﬂute, among others. He was never one to augment his simple musical skills with a full band, but always searched for a balance in sound. Because of a devotion to his craft, it is not surprising that he has received a plethora of honors. In 2002, the ASCAP honored him with the Lifetime Achievement Award in Folk Music. Three Wammies, a Washington, D.C., area Music Award, were given to him as Best Male Vocalist in the traditional folk and children’s music categories and for Best Traditional Folk Recording of the Year for Under American Skies. In 2004, the Martin Guitar Company introduced the HD-40LSH Tom Paxton Signature Edition acoustic guitar. In 2005, the BBC Radio Folk Awards gave him a Lifetime Achievement Award. A year later, the North American Folk Music and Dance Alliance also honored him with a Lifetime Achievement Award. In 2008, the World Folk Music Association presented Paxton with a special lifetime tribute. A concert was held at the Rachel Schlessinger Concert Hall and Arts Center at the Northern Virginia Community College in Alexandria, Virginia. Performers included the Chad Mitchell Trio, Peter Yarrow and Noel Stookey, Carolyn Hester and Anne Hills. Tom Paxton is a true folk icon. He has survived for decades by delivering his simple, yet evocative brand of music that has enriched the lives of all those he connected with. A man with a multiple number of genuine abilities as a gifted storyteller and singer, the Ramblin’ Boy managed to be a ﬁrst-class all-around entertainer.

DISCOGRAPHY: I’m the Man That Built the Bridges, Greenwich Village GV-116. Ramblin’ Boy, Elektra 287. Ain’t That News, Elektra 6969. Outward Bound, Elektra 6970. Morning Again, Elektra 6971. The Things I Notice Now, Elektra 6972. Tom Paxton #6, Elektra 6973. The Complete Tom Paxton, Elektra 6974. How Come the Sun, Reprise 6443. New Songs for Old Friends, Reprise 2144. Children’s Song Book, Bradleys 601. Something in My Life, Private Stock 2002. Saturday Night, MAM 1003.

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New Songs from the Briarpatch, Vanguard VMD-79395. Heroes, Vanguard VMD-79411. Up and Up, Mountain Railroad 52792. The Paxton Report, Mountain Railroad 52796. Even a Gray Day, Flying Fish 0280. One Million Lawyers and Other Disasters, Flying Fish 0356. A Paxton Primer, Pax 2. And Loving You, Flying Fish 414. Balloon-AIloon-Alloon, Sony Kids’ Music 52881. Politics Live, Flying Fish FF-90486. The Very Best of Tom Paxton, Flying Fish 519. It Ain’t Easy, Flying Fish 0574. Suzy Is a Rocker, Sony Kids’ Music LK 48989. Peanut Butter Pie, Sony Music Distribution 52438. A Child’s Christmas, Sony Music Distribution 52774. Wearing the Time, Sugar Hill 1045. Live for the Record, Sugar Hill 1053. A Car Full of Songs, Sony Kids’ Music LK-52772. Goin’ to the Zoo, Rounder 8046. I’ve Got a Yo-Yo, Rounder 8049. Tom Paxton Live in Concert, Strange Fruit 79. Fun Animal Songs, Delta 21096. Fun Food Songs, Delta 21097. A Car Full of Fun Songs, Delta 21098. Live from Mountain Stage, Blue Plate 404. Under American Skies, Appleseed 1052. Looking for the Moon, Appleseed 1069. Your Shoes, My Shoes, Red House 152. Best of Friends, Appleseed Recordings 1077. Live at McCabe’s Guitar Shop, Shout Factory 10085. Comedians & Angels, Appleseed Records 1105. The Marvelous Toy and Other Gallimaufry, Flying Fish 0408. Storyteller, Start STFCD 4. Best of Tom Paxton, Hallmark Recordings (UK) 30815. I Can’t Help But Wonder Where I’m Bound, Elektra 73515. Best of the Vanguard Years, Vanguard 79561. American Troubadour, Empire Music Group Inc. 513.

Carolyn Hester (1937– ) Texas Songbird The group of young, idealistic folk singers who performed in Greenwich Village were mostly political and social foot soldiers. Many had taken their cue from the previous generation that included Woody Guthrie, Cisco

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Houston, Josh White, Pete Seeger, Fred Hellerman, Ronnie Gilbert and Lee Hays, to name a few who had wanted to change their world through song. One of the new breed of folkies wholeheartedly accepted this idea of making the planet a better place and was known as the Texas songbird. Carolyn Hester was born in 1937 in Waco, Texas. She discovered music at an early age and listened to the popular tunes of the day, as well as jazz, country and blues. The ambitious, young girl taught herself how to play the guitar through instructional magazines and by listening to records. She was also bitten by the acting bug and planned on a dual career as a singer and actress. She honed her skills on the guitar and vocals until proﬁcient enough to perform in front of an audience. Hester joined a few bands as a teenager but never found the right formula. The young, yet determined individual decided to concentrate on a singing career instead of ﬁnding the lights of Broadway. At eighteen, the talented young woman felt that she would not be able to make it in her native state of Texas and moved to New York. But before she moved to the Big Apple, Hester was able to lay down some tracks in the studio. Ironically, the songs were recorded in New Mexico, which was not far from Lubbock, Texas, the home of Buddy Holly, one of the ﬁrst rock and roll stars. In fact, Norman Petty, who recorded the bespeckled musical genius, was in charge of Hester’s ﬁrst recording session. In 1957, Scarlet Ribbons was released on Coral Records and included covers of “Black Is the Color of My True Love’s Hair,” “The Wreck of the Old Ninety-Seven,” and “Hush-A-Bye.” It was an important record for different reasons. Hester, along with Odetta Holmes, had a high-pitched voice with precise control that foreshadowed the recordings made by several other soprano singers, including Joan Baez and Judy Collins, just a few years down the road. Strictly a folk recording, in the studio Holly, Jerry Allison of The Crickets, and George Atwood backed her. Unfortunately, the recordings were never issued, presenting a different angle since there were few collaborations between folk and rock artists at the time. From this point on the Texas songbird drifted around the country playing at different venues before ending up in Greenwich Village. Hester was on the cutting edge of the folk boom and waited patiently as the genre was ready to explode and catch up to her. In 1960, the second self-titled album was released on the Tradition label, which the Clancy Brothers operated. Her renditions of standard fare, such as “The House of the Rising Sun” and “She Moves Through the Fair,” put her on the fast track to stardom. This pace was accelerated when the third album (also self-titled) featured a young, unknown harmonica player named Bob Dylan. John Hammond, Sr., the legendary producer who had recorded Billie Holiday, among

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others, produced Hester’s album; and through Dylan’s appearance on it, he signed the young man to his prestigious label. The effort also included Bruce Langhorne on guitar, who would often accompany Dylan, and bassist Bill Lee, who backed the Canadian duo Ian & Sylvia, among others. Hester had met Dylan through her husband at the time, Richard Fariña, whom she had married after a whirlwind courtship. He was born in Brooklyn, New York, 1937, and spent his youth in Brooklyn, Cuba and Ireland. He became a poet and writer before meeting Hester. They recorded and performed together before the union dissolved. Later, Fariña would hook up with Mimi Baez, sister of Joan. The couple would record a couple of albums together before his tragic death in a motorcycle accident in April 1966. Despite great promise, Hester didn’t make the same rocket progress as Dylan, Joan Baez or Judy Collins. In a decision that would alter the course of not only her career but folk music as well, she turned down an offer to form a group with Peter Yarrow and Paul Stookey. The part went to Mary Travers instead. The trio, Peter, Paul and Mary, would become a force in the genre in a very short time and remain active nearly ﬁfty years later. Hester continued to record, including a cover of Buddy Holly’s “Lonesome Tears,” which included drums, a rarity in folk music. The failure to ignite her career rested in a decision to record traditional material rather than cut songs from the emerging talent pool of singer-songwriters, or write fresh tunes herself. However, she was never afraid to take a chance. After signing to Dot records, the folk-based singer added rock elements to the traditional sound with support from artists like guitarist George Tomsco of The Fireballs. Although never established as a folk rock pioneer, she set the table for others to follow including The Byrds and The Lovin’ Spoonful. In 1966, Hester re-signed with Columbia. By this point she had begun to include the songs of such notable folkies as Tom Paxton in her repertoire. Still searching a deﬁnitive direction, the chanteuse recorded material from Cat Stevens, Tim Hardin and Jackson Frank without any success. She also cut a solid version of “Early Morning” and a Beatles tune, “Penny Lane,” as well as a strange cover of Indian sitar player Ravi Shankar’s “Majhires” that proved to be a commercial failure. Never one to take failure lightly, she formed the Carolyn Hester Coalition, which drifted into psychedelic rock, a style that would soon dominate the charts. Some of the more interesting songs the outﬁt recorded included “East Virginia” and “Last Night I Had the Strangest Dream.” Throughout this period Hester jumped labels and recorded for Decca, RCA and Capitol. Despite the unevenness, she still believed that music could change the world. Eventually, she formed the Outpost label with her husband, David Blume. Born in Boston, he discovered a love of music at an early age devel-

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oping a particular ear for jazz. He studied composition and honed his skills on the piano, his instrument of choice. Later, the talented artist penned the song “Turn Down Day,” which the garage band, The Cyrkle, recorded and enjoyed a Top 40 hit with it. The couple also started an ethnic dance club in Los Angeles. Over the next thirty years, Hester continued to record and perform sporadically. One of her best efforts was Carolyn Hester {1973}, which featured contributions from L.A. session musicians Hal Blaine, Earl Palmer, Joe Sanborn and Larry Knechtel. The work included solo material as well as covers of the band Lobo and glam rocker Elton John. It would be over twenty years before she entered the studio again. In 1996, Texas Songbird was released and featured mostly original material from Hester as well as collaboration with her husband, Blume. She also returned to performing in partnership with Nanci Grifﬁth when the duo teamed up on the occasion of a Dylan tribute at Madison Square Garden. It was a highlight to see the once promising singer perform after being out of the spotlight for so many years. The songster who had caused a stir during the revival received an enthusiastic response. In 1997, she toured Germany and a year later appeared at a festival in Denmark. The album From These Hills was a deeply autobiographical work that spoke of her early years in Texas, “Flatlands of Texas.” It also included a song about her brief marriage to Richard Fariña, “Pack Up Your Sorrows,” a tribute to Buddy Holly, “Lonesome Tears,” and a song that harkened back to her days in Greenwich Village, “The Crow on the Cradle.” During her time in the Village, she had befriended Tom Paxton. They often performed together and jammed every Sunday at Washington Square Park. In 2000, she recorded Tom Paxton Tribute, a collection of his most famous songs including “Ramblin’ Boy,” “Bottle of Wine,” “Peace Will Come,” “Come Away with Me,” “Last Thing on My Mind” and “I Can’t Help But Wonder Where I’m Bound.” Blume backed his wife on the record playing bass, piano and keyboards, as well as arranging the songs. In 2006, after Blume died, Hester continued operating the club. However, the most satisfying project was the album We Dream Forever, because it featured her two daughters, Karla and Amy, who co-produced, wrote and performed with their mother. It included many highlights like Dylan’s “Boots of Spanish Leather” and Ed McCurdy’s “Last Night I Had the Strangest Dream” and “Love to Be Deceived.” The Texas songbird continues to record and perform. Carolyn Hester was a spirited folk revivalist. Perhaps more than anyone else during the era, the young singer ﬁrmly believed that one could change the world through song. Although the best part of her career was limited to a particular time frame, she made the most of it and was a large inﬂuence on

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some of the biggest names in folk. While the talented singer didn’t enjoy the same massive success that others did, her contributions are noteworthy. She has a beautiful, bell clear soprano voice that is haunting. There is something engaging, an element of accessibility in her delivery that entices the listener to want to hear more. The range of her vocal delivery stunned listeners because it was very unusual in the annals of folk. Later, when Joan Baez and Judy Collins arrived on the scene with high-pitched voices and displaying more control, Hester faded in the background. Although Odetta Holmes also boasted a soprano voice, her delivery was much different than Hester’s unique tone. There was a deliberate slowness and calculated effort in the musical approach of the woman many considered to be the Voice of Civil Rights Movement. Hester, however, had more swing and syncopation in her vocal articulation, and was therefore a greater inﬂuence on singers like Baez and Collins. Hester’s guitar work was adequate but never truly special. However, she was always clever enough to surround herself in the studio with top musicians who adequately provided excellent support to the sound of the simple acoustic guitar. Later, when the artist experimented with psychedelic and jazz, there was never a shortage of ﬁrst-rate instrumental ability. An experimenter in the studio, she brought in drums before almost any other artist predating the folk rock movement. She was a major inﬂuence on a number of singers including Joan Baez, Judy Collins, Buffy Sainte-Marie, Sylvia Tyson, Sandy Denny, Joni Mitchell, Peggy Seeger, Mary Travers, Cass Elliott, Michelle Phillips, Mimi Fariña, Nanci Grifﬁth, Iris DeMent, Kate Wolf, Mary Chapin Carpenter and many others. Before Hester, with the exception of Ronnie Gilbert and Malvina Reynolds (Odetta arrived as the same time as Hester), there were few female singers on the folk circuit and the expressive singer blazed the path for many to follow. Despite a checkered recording career, she delivered versions of many classics in the high-pitched voice that gave each cut a special dimension. A partial list of her most famous songs includes “The Praties They Grow Small,” “Yarrow,” “Summertime,” “Half the World,” “I’ll Fly Away,” “Lonesome Tears,” “Once I Had a Sweetheart,” “Boots of Spanish Leather,” “Brave Wolfe,” “Galway Shawl,” “Dear Companion,” “Rise Like a Phoenix” and “Be Your Baby.” Essentially, there were two types of performers in the early years of the folk revival. The ﬁrst was the artist with staying power who maintained a career long after the enthusiasm for the style had passed. The second was the singer-musician who made a strong but brief impact before fading into the pages of history. Carolyn Hester was a deﬁnite member of the latter group. Carolyn Hester was a prominent member of the early days of the revival

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and one of the few from the Greenwich Village set to record before the boom. However, she never gained the same popularity as others; yet, she managed to maintain a sporadic career. From the start, the Texas songbird was a different type of performer, a message that she exercised throughout her entire career.

DISCOGRAPHY: Scarlet Ribbons, Coral 57143. Carolyn Hester, Tradition TLP-1043. Carolyn Hester, Columbia CL-17961CS-8596. This Life I’m Living, Columbia CL2032/CS-8832. That’s My Song, Dot DLP-3604. Carolyn Hester at Town Hall, One, Dot DLP-3638. Carolyn Hester at Town Hall, Two, Dot DLP-3649. The Carolyn Hester Coalition, Metromedia MD-1001. Magazine, Metromedia MD-1022. Carolyn Hester, RCA APD-1-0086. Music Medicine, Outpost OR-8201. Warriors of the Rainbow, Outpost OR-050586. Carolyn Hester at Town Hall, Bear Family BCD15520. Dear Companion, Bear Family reissue BCD 15701. Dream Forever, Crazy Creek Records 111. A Tom Paxton Tribute, Road Goes on Forever RGFCD-047. From These Hills, Road Goes on Forever RGFCD-033. The Tradition Album, Road Goes on Forever RGFCD 025. Texas Songbird, Road Goes on Forever RGFGD 019.

Phil Ochs (1940–1976) The Singing Journalist The folk pantheon, like every other style of music, boasts strong individuals who left their mark through sheer talent. During the revival, there were dozens of aspiring musicians plying their trade in the numerous coffee houses and clubs that dotted the main centers. One of the most powerful ﬁgures to emerge from the circuit was the singing journalist, Phil Ochs. Phil Ochs was born on December 19, 1940, in El Paso, Texas. However, the family moved to Queens, New York, when Ochs was a teenager and then to Perrysburg in the more rural part of the Empire State. Later, they made a ﬁnal relocation to Columbus, Ohio. The Great Depression, coupled with the outbreak of World War II and his father’s erratic behavior due to mental illness, created a chaotic childhood for the young man. He found solace in

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adventure books, romantic tales and dramatic storytelling. Later, music would add another dimension of escape and peace of mind. His ﬁrst instrument was the clarinet, and he showed such promise on it that Ochs was able to land a spot with the orchestra at the capital University Conservatory of Music in Ohio. He rose to principle soloist while still in his teens and was a classical music devotee. But the jungle rhythms of radio stars Buddy Holly and Elvis Presley made him re-evaluate his musical path. Later, Faron Young, Ernest Tubb, Hank Williams, Sr., and Johnny Cash would be added to the list of musical heroes. In 1956, Ochs moved to Virginia in order to attend Staunton Military Academy. It was while in college that he discovered the beat writers Allen Ginsberg and Jack Kerouac; both had a large inﬂuence on his writing. He also was introduced to the folk music of Woody Guthrie, Lee Hays, Pete Seeger, and The Weavers. Two years later, after graduating from the institution, the young man enrolled in Ohio University, but then traveled to Florida. In Miami, the college student was jailed for sleeping on a park bench, an incident that truly changed his perspective in life. From this point, he decided to be a journalist and ﬁght injustice. He returned to Ohio State to study journalism. His political conscience was nurtured and fueled by the Cuban Revolution. The one- time cadet became a left-wing protester organizing campus marches against mandatory ROTC training. He learned how to play guitar and began to write topical songs. A true radical side blossomed with the creation of his own underground newspaper after the school rag wouldn’t publish some of the blossoming writer’s more controversial pieces. Although Ochs formed a duo with a roommate, they split before performing one gig. When he was not appointed editor-in-chief of the college newspaper, he quit school in bitterness before graduating. Ochs joined his family in Cleveland and frequented Farragher’s Back Room, a local folk club. He met interesting individuals such as the Smothers Brothers. More importantly, the struggling musician befriended Bob Gibson, who had a huge inﬂuence on the singing journalist’s development as a songwriter. The chaos at home was too much to take, and he left for the bright lights of New York and Greenwich Village. It didn’t take Ochs very long to feel comfortable in the Bohemian cultural center of Greenwich Village. By this time, he had polished his musical and songwriting skills enough to be able to perform in front of an audience. He began to play some of the clubs and was quickly dubbed one of the underground ﬁgures of the folk boom with topical songs covering such issues as the injustice of war, civil rights and labor struggles. Ochs established himself as the “singing journalist” because he derived his material from news sources. His ﬁrst recordings formed part of compila-

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tions for different labels including Broadside, Folkways and Vanguard. By 1963, the enterprising young man was a powerful enough ﬁgure to be invited to perform at the Newport Folk Festival. He delivered three songs; “Too Many Martyrs,” “Talking Birmingham Jam,” and “Power and the Glory,” receiving a standing ovation. Also, in 1963, the budding musician performed at Carnegie Hall and Town Hall. He appeared at civil rights rallies, antiwar demonstrations, labor protests and concert halls. Ochs didn’t limit himself to music; he also ﬂexed his writing muscles contributing many articles to the magazine Broadside. There was a sincere passion to every endeavor undertaken. Undoubtedly, the talented individual was one of the strongest topical singers on the circuit offering an alternative to Bob Dylan’s efforts. In 1964, he made his ﬁrst solo recording for Elektra Records having befriended company owner Jack Holzman years before. All the News That’s Fit to Sing contained mostly self-written material that worked very well at the time, but some forty years later sounds dated. The bare essentials of his style are present in such songs as “Power and the Glory,” “Too Many Martyrs,” “One More Parade” and “Celia.” He even added an Edgar Allan Poe poem “The Bells.” While the debut recording sported glaring ﬂaws, the second effort, I Ain’t Marching Anymore, was much better because he played and sang with tighter conﬁdence. The material was richer, more polished and professional. There were many gems including “I Ain’t Marching Anymore,” “Draft Dodger Rag,” “That’s What I Want to Hear,” “Iron Lady,” “Here’s to the State of Mississippi” and a reworking of Ewan MacColl’s “Ballad of the Carpenter.” Perhaps, the greatest single aspect of this work was the fact that it was an individualistic effort; Ochs didn’t jump on the Bob Dylan-Joan Baez bandwagon like so many other songwriters had done. It was inevitable that Ochs and Bob Dylan would cross paths since they worked many of the same venues. Although they admired one another grudgingly, the rivalry was a tenacious one and resulted in some minor incidents. On occasion, the folk world didn’t seem large enough for both of them to operate in at the same time. The singing journalist was a much different artist than the folk troubadour, even though they operated in the same circles. While both were visionary writers, they drew their inspiration from distinct and separate sources. In 1962, Ochs married and the couple later had a little girl. In 1965, they separated but never divorced, and the time apart served as fuel for his songwriting. Another important source of material was President John F. Kennedy. Despite questioning some of the head of state’s decisions, when he was assassinated, the folk singer was devastated. It demonstrated the fact that the singing journalist had a very innocent side to him, one that expected and demanded change.

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In 1964, he returned to the Newport Folk Festival, but was not invited the following year. For a time he shared managers with Dylan (Albert Grossman), before moving on to Arthur Gorson who was linked to Americans for Democratic Action, Student Nonviolent Coordinating Committee and Students for a Democratic Society. He also continued to write songs at a furious rate, most of them of a very heavy political and social nature. The third album, Phil Ochs in Concert, captured the rising star solo with his acoustic guitar and voice. Although it was a fair representation of an Ochs concert, the recording techniques at the time were not adequate enough to produce a true masterpiece. However, there were some highlights including “Cops of the World,” “There But for Fortune,” “When I’m Gone,” and “Canons of Christianity.” At this point, he was one of the most powerful and outspoken folk artists on the circuit. In 1967, Ochs left Elektra to sign with A&M Records. He also relocated to California. Pleasures of the Harbor showcased a talented individual stretching out musically. More of a commentary on complex social issues than political topics, it featured long songs including the title track, “The Cruciﬁxion,” “The Party,” and “I’ve Had Her.” In an era when Dylan had gone folk rock and the Beatles had emerged with Sergeant Pepper, all folk artists hoping to keep up had to expand, which is exactly what Ochs did by hiring an arranger and a pianist with classical backgrounds to help him attain a grander vision. With the folk revival waning, Ochs, like all others who had thrived during the era, strived to continue a career. On his next effort, Tape from California, he combined the simple, acoustic angle of his previous, earlier efforts with the big production ideas of the most recent release. Once again, the songwriting was powerful, detailing in sharpness one of the most turbulent times in the country with songs such as “When in Rome,” “White Boats Marching in a Yellow Land” and a very distinct version of “Joe Hill.” Ochs continued to perform at various venues and release albums. However, it seemed that he had abandoned his folk roots for a harder rock edge. Once again, the songwriting was haunting with such tracks as “William Butler Yeats Visits Lincoln Park and Escapes Unscathed,” a song depicting the despair felt of the aftermath of the bloody Chicago Democratic riots that had shocked the nation. “Pretty Smart on My Part” and “I Kill Therefore I Am” were violent narratives which were a direct commentary on the times. Despite unquestionable talent, some of his albums were heavily criticized. Ochs fought back with sarcasm and joked about the nasty reviews, but it left a deep impression on him. Although the new material included strong songs such as “Outside of a Small Circle of Friends” and “Hot Prospect” (which was banned for its suggestive lyrics), none were a hit. Joan Baez would take “There But for Fortune” to the Top Ten of the U.K. charts. Ochs continued to be an outspoken critic of everything that offended

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him. A longtime movie buff, he was infuriated with John Wayne’s role in The Green Berets. He was a founding member of the Youth International Party, known as the Yippies, along with radicals Jerry Rubin, Abbie Hoffman, Stew Albert and Paul Krassner. The singing journalist would later be indicted with the others in the infamous Chicago Seven trial. The events of 1968, the political assassinations and the growing distress with the Vietnam War inﬂuenced his writing. The album entitled Greatest Hits (the title was a joke because it contained all new material), including the song “Fifty Phil Ochs Fans Can’t Be Wrong,” was about the same number who bought the record. He had become part Elvis Presley, but retained a political conscience by also adapting the ideas of Che Guevara. Ochs went as far as wearing a gold lame suit a la Elvis, which served as the cover for the album. He toured the album backed by a rock band and performed material from Buddy Holly, Elvis and Merle Haggard. His live performance at Carnegie Hall was eventually released as Gunﬁght at Carnegie Hall. The series of concerts were a critical success. However, at the time he was heavily into drugs and alcohol, which had a profound effect on the songwriting. But he found the strength to perform at the initial Greenpeace beneﬁt that also included Joni Mitchell and James Taylor. Ochs sought a change in direction and traveled to Chile where he met folk singer Victor Jara, a supporter of Marxist President Salvador Allende. In Argentina he was arrested. He escaped to Peru before eventually returning to the United States. The incidents didn’t inspire new songs, which demonstrated the fact that his musical skills were diminishing. However, one of the more interesting artistic achievements was the tune “Here’s to the State of Mississippi,” rewritten as “Here’s to the State of Richard Nixon.” However, he was still thought of highly in music circles and accepted John Lennon’s invitation to perform at the “Free John Sinclair” beneﬁt concert, which also included performances from Stevie Wonder, Allen Ginsberg and Yoko Ono. In order to overcome his writer’s block, the frustrated artist traveled to Australia, New Zealand, Ethiopia, Kenya, Tanzania, Malawi and South Africa. It was in Tanzania that he was attacked, and during the struggle his vocal cords were damaged. In September 1973, Alliende was assassinated; yet Ochs, who was suffering from mental problems and paranoia, still managed to travel there and organize a beneﬁt concert. The event “An Evening with Salvador Alliende” included Pete Seeger, Arlo Guthrie and Bob Dylan. The singing journalist continued to struggle, but managed to appear at the “War Is Over” rally in Central Park, which also featured performances from Harry Belafonte, Odetta Holmes, Pete Seeger and Joan Baez. From this point on, Ochs declined quickly. The drinking combined with his severe paranoia, plus the many ﬁghts he engaged in destroyed what was

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left of his career. Sadly, the once enterprising folk singer became a street person for some time, unrecognized as the man who had been a star during the folk revival. On April 9, 1976, he hanged himself at his sister’s house in Far Rockaway, New York. Phil Ochs was a folk music jewel. A master songwriter, he composed material that made people think and feel uncomfortable. The rather thin, but very impressive catalog left behind is a solid starting point for many contemporary folk singers. There was a deﬁnite power in the music of the singing journalist that boasted many shades. Years later, although some of the songs sound a little dated, the strength and dark poetic beauty remain as vibrant as the day they were written. Ochs was an interesting singer; there was a familiar element in his vocal delivery. Despite the harsh, violent lyrics, there was nothing forced or overthe-top about the way he emoted the treasured words to the songs. He caressed every syllable, but never dwelled on them, emphasizing certain phrases in order to make his point. There was a balance to the man’s singing that made audiences take notice of the message that the artist was attempting to put across. He was a good guitar player and utilized his skills to great advantage. There was an energy, a violence to his ability on the acoustic instrument that never spilled over into something that was unpleasant. There was a balance to the instrumental skills that combined with a vocal delivery to create an even, polished, yet not overly glossy product. Ochs understood restraint and control, the cornerstones of his musical sound, a concept that has reverberated throughout the folk music world the past forty years. More than thirty years after his death, Phil Ochs’s music continues to be celebrated. The family — brother, Michael, sister, Sonny, and daughter, Meegan Lee — have done their best to keep his memory alive. Their activity includes a series of concerts where a rotating group of singers perform his songs. A box set entitled Farewells & Fantasies was released, which was a product fans had waited for a long, longtime. Although he never received the same amount of press given to certain ﬁgures during the revival, forty years later, he continues to be relevant while others have faded from the scene. He had an inﬂuence on a number of singers and songwriters, many who recorded his songs. A short list includes Eric Andersen, Peter Asher, Joan Baez, Bastro, Celia Black, Black 47, Billy Bragg, Eugene Chadbourne, Cher, Gene Clark, Judy Collins, Allison Crowe, Jason and the Scorchers, My Kingdom for a Car, Kevin Devine, Ani DiFranco, Mark Eitzel, Marianne Faithfull, Julie Felix, Diamanda Galás, Dick Gaughan, Thea Gilmore, John Wesley Harding, Henry Cow, Carolyn Hester, Pat Humphries, Jim and Jean, Gordon Lightfoot, Ray Naylor, Harry Nilsson, Will Oldham, Brian Ritchie, David Rovics, Melanie Safka, Pete Seeger, The Shrubs, Crispian St. Peters,

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Teenage Fanclub, Tempest, They Might Be Giants, Dave Van Ronk, Eddie Vedder, and The Weakerthans. There have been many tributes including What’s That I Hear? The Songs of Phil Ochs, Poison Ochs: A Tribute to Phil Ochs and Learn the Songs of Phil Ochs. Jello Biafra and Mojo Nixon recorded a version of “Love Me I’m a Liberal” on their album Prairie Home Invasion. Evan Greer updated the words to the same song in order to use it as a satirical attack on George W. Bush. Ryan Harvey, changed the lyrics to “Cops of the World.” The Clash, the punk rock group utilized some of the words to “United Fruit” in their song “Up in Heaven (Not Only Here).” Jefferson Starship recorded “I Ain’t Marching Anymore,” while Richard Thompson added different poetic dimensions to the aforementioned song to create something unique. There were other tributes. Tom Paxton wrote a song entitled “Phil.” Billy Brag wrote the song “I Dreamed I Saw Phil Ochs Last Night.” Others including Latin Quarter, Schooner Fare and the Josh Joplin Group immortalized Ochs in song. He was and continues to be a celebrated folk singer, but also haunts those who listen to his music because of its chilling depth and power. His brand of folk was not for the purists or traditionalists, but those on the edge of the genre. Phil Ochs was a political folkie and left his stamp on the revival and the genre long after his unfortunate, sad demise. He presented, and still does to this day, an alternative to every other folk singer in the past ﬁfty years including the political and social commentators. There will always be a special place in the folk universe for the singing journalist.

DISCOGRAPHY: All the News That’s Fit to Sing, Elektra EKL 269. I Ain’t Marching Anymore, Elektra EKL 287. Phil Ochs in Concert, Elektra EKL 310. Pleasures of the Harbor, Collectors’ Choice Music 137. Tapes from California, A&M SP4148. Rehearsals for Retirement, A&M SP 4181. Phil Ochs Greatest Hits, A&M SP3125. Gunﬁght at Carnegie Hall, A&M SP9010. There and Now: Live in Vancouver, Rhino R2-70778. Live at Newport, Vanguard 77017. Chords of Fame, A&M 6511. A Toast to Those Who Are Gone, Rhino R2-70080. The War Is Over: The Best of Phil Ochs, A&M 75021-5215-2. The Broadside Tapes 1, Smithsonian Folkways 40008. There But for Fortune, Asylum 60832. American Troubadour, A&M 728. The Last American Troubadour, Universal Distribution 5407282. Farewells & Fantasies, Rhino 73518.

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The Early Years, Vanguard 79566. Cross My Heart: An Introduction to Phil Ochs, Polydor 980881.

Joan Baez (1941– ) Determined The folk revival featured different individuals who were dedicated to various causes as activism became a strong dimension in the careers of many performers. The strength of personal convictions injected the music with a ﬁery passion that bordered on power and anger. One of these artists from the onset proved that she was determined to change the world and to make right all that was wrong. Her name was Joan Baez. Joan Baez was born on January 9, 1941, in Staten Island, New York. The daughter of a Mexican-American physicist and Scottish mother, she moved around during her childhood years until the family settled in California when Joan was in her teens. Although bestowed with an incredible voice, music was not an ambition, and it was while attending Boston University that she developed a folk music persona. In 1959, she appeared at the Newport Folk Festival and made an immediate impression with her three-octave range and determined stance. The gifted soprano made incredible strides after the splash made at the vaunted event. A year later, her ﬁrst self-titled album was released on the Vanguard label containing a mixture of old folk standards, like the haunting version of “House of the Rising Sun.” But the record was also a sensation in that there was a scarcity of women on the folk scene. Those on the circuit at the time — with the exception of Odetta Holmes and Carolyn Hester — were older performers like Ronnie Gilbert and Malvina Reynolds. Baez was a fresh, nineteen-year-old singer full of bluster with an angelic voice. Her second album, Joan Baez 2, continued the momentum of the ﬁrst release and accelerated the pace. Made up of mostly traditional material, she delivered these songs with sparkling arrangements with her ringing voice. “Trees They Do Grow High,” “Engine 143,” “Banks of the Ohio,” and “The Cherry Tree Carol” were played and replayed throughout the country. The folk revival had found its ﬁrst true superstar. The third effort, Joan Baez in Concert, Pt. 1, captured the then undisputed queen of folk music at the height of her powers. The material ranged from African tradition “Kumbaya,” to gospel “Gospel Ship,” negro spiritual “My Lord What a Morning,” West African “Danger Waters,” Brazilian “Ate Amanha” and blues “Babe, I’m Gonna Leave You.” The spark and vitality

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accentuated the power of the ﬁrst two releases and cemented her title as one of the most powerful voices in American music at the time. As Baez matured as an artist, so did the choice of material that appeared on the subsequent releases. She continued to record and scored a Top Ten hit with “There But for Fortune,” a cover of a Phil Ochs song. From 1962 to 1964 she ﬂexed her creative muscle and growing political conscience, attaching herself to the Civil Rights Movement. The rendition of “We Shall Overcome” was the rallying call for African Americans everywhere. It was also around this time that she began to push the material of Bob Dylan. On the album Joan Baez 5, she demonstrated a drastic maturity as an artist, partly in response to Beatle mania, as well as the increasing complexity of Bob Dylan’s folk rock material. Instead of just a simple acoustic guitar, other instruments were added to beef up the sound; however, her voice remained the focus. The album opened with Phil Ochs’ “There But for Fortune” and included the Dylan classic “It Ain’t Me Babe,” as well as the sorrowful “The Death of Queen Jane (Child No. 170)” and “The Unique Grave (Child No. 78).” From 1963 to 1965 Baez and Dylan were an item, the most highly visible couple on the folk circuit, recognized as the king and queen of the folk movement. Unfortunately, the relationship did not last; but despite the fact that they eventually split up, there remained a mutual respect for one another’s musical talent. There would be different collaborations to support various causes over the years. The album Farewell, Angelina was a title taken from a song Dylan never put on vinyl. It was just one of many of his songs featured in the set including “Daddy, You’ve Been on My Mind,” “It’s All Over Now, Baby Blue,” and “A Hard Rain’s A-Gonna Fall.” There were other highlights like Donovan’s “Colors” and Guthrie’s “Ranger’s Command.” More importantly, in an effort to project a contemporary sound and keep up to the changing times, electric instruments were utilized on a Baez recording for the ﬁrst time. She continued to experiment in the studio. Noel featured seasonal material such as “O Come, O Come, Emmanuel,” “Ave Maria,” “Coventry Carol,” “Bring a Torch, Jeannette, Isabella,” “Away in a Manger,” and “Silent Night.” Backed by an orchestra which Peter Schickele conducted, it was an interesting release. Baptism, a Spoken Word record, proved that Baez had not forsaken political and social causes. Any Day Now, a double album of Dylan songs, was cut in Nashville with a complete army of top session musicians. In 1968, she married David Harris, a serious antiwar protester, who would be jailed for draft evasion, fueling Baez to record strong political offerings, David’s Album and One Day at a Time. She appeared at Woodstock and opened with a chilling version of “Joe Hill” dedicated to her spouse. The power of her music was underlined at the massive event, which many taught

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was best suited to loud, electric rock bands rather than the docile folk sound. However, the soprano voice struck a chord with every individual in the half a million throng. By the early 1970s, Baez had shed her country-political persona heading toward a more pop-oriented direction. Early in the decade, she visited Hanoi and some of the Where Are You Now, My Son? album was taped there. The artist would hit the charts with a cover version of The Band’s “The Night They Drove Old Dixie Down.” The talented chanteuse also began to write more of her own material, beginning with the gold certiﬁed Diamonds & Rust. A later release, Gulf Winds, was the ﬁrst complete collection made up of entirely Baez originals. Baez kept busy with a variety of projects throughout the decade that often revolved around political and social principles. She supported South American causes, including the coup in Chile, as well as human rights issues in a variety of countries in South America. A mid–1970s tour was met with hassles and bomb threats, but the feisty singer persevered and never backed down from delivering music to the fans. By this time she had also divorced husband Harris. In 1976, she would team up with Dylan for the second time to appear in his Rolling Thunder Revue, as well as the TV special Hard Rain. Also that year, despite her decidedly Spanish ethnicity, Baez traveled to Northern Ireland and marched with the Irish Peace People, calling for the end to the violence in the country. Later she fought on behalf of jailed Czechoslovakian musicians. The spirit inside her had never died and only grew with each new experience. In 1977, she returned to Kent State, a traumatic place where four students had been gunned down seven years earlier in a demonstration against the Vietnam War, to protest the lack of sacrament on the site of the event. Ever the rebel, while on tour of Spain, she sang “No Nos Moveran,” ignoring the fact that the song had been banned from being performed in concert. Baez ended the decade by forming the International Human Rights Committee, a human rights organization that the singer herself would lead for a dozen years. In the early 1980s, Baez kept up her political causes, appearing in concert for Amnesty International, the Live Aid Concert, and many free performances for the rights of gays and political prisoners. In 1980, the album European Tour was released, only outside the United States; and it would be another seven years before she signed to another American label. That same year, the determined one received honorary Doctor of Humane Letters degrees from Antioch University and Rutgers University for political activity and the many musical gifts bestowed upon the world. Later, the engaging performer delivered a free concert at the steps of the Cathedral at Notre Dame on Christmas Eve.

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A disastrous tour of Latin America included police surveillance and death threats, as well as a ban from performing in Brazil, Argentina and Chile. However, Nicaragua allowed Baez to play; and in other parts of the world, Baez was very well received. For example, later in the decade, in France, she presented a free concert at the Place de la Concorde attended by over a hundred thousand people. Later, Live Europe 1983 received a gold record and was cited as the Live Album of 1983. The popular singer was bestowed the French Legion D’Honneur Award. On home soil, she appeared at the Grammy awards for a ﬁrst time performing “Blowin’ in the Wind.” In 1985, she returned to some of her old haunts including Club 47’s 25th anniversary concert and performed with the Boston Symphony. It was broadcast on PBS as An Evening at Pops. That same year, Baez was on the artist list for the Newport Folk Festival, the ﬁrst time the event had been staged in a decade and a half. A globetrotter in support of a myriad of causes, the singer ventured to Poland to meet solidarity hero Lech Walesa. In 1987, Recently, the ﬁrst studio album in eight years, was released on the Gold Castle label. As well, And a Voice to Sing With, her autobiography, appeared and became a best-seller. Her various causes would take the singer to the Middle East where she sang for the people of Israel, West Bank and Gaza Strip. Then she returned home to perform at a beneﬁt concert supporting the coalition Countdown ’87, a lobby group formed to counter the U.S. support of the Nicaraguan contras. Another concert included sister Mimi Fariña at a fund raiser for the AIDS cause. Although she divided her career between that of a musical ﬁgure and a ﬁghter for a number of political and social issues, Baez managed to maintain both fronts. In 1988, “Asimbonanga,” from the album Recently, was nominated for a Grammy in the Best Contemporary Folk Recording category. Two releases, Diamonds & Rust in the Bullring from a concert in Bilbao, Spain, and Speaking of Dreams, which featured songs recorded with Paul Simon, Jackson Browne, and The Gypsy Kings, ﬁnished the decade. A couple of tours, one as a special guest of Amnesty International and in Czechoslovakia, were noted performances. The American Civil Liberties Union of Southern California awarded her with the Leadership Award. In a beneﬁt performance for Humanitas International Human Rights Committee, Joan performed in a vocal quartet, appropriately titled Four Voices For Human Rights, with the Indigo Girls and Mary Chapin Carpenter in Berkeley, California. The four women performed together numerous times throughout the next few years. Also, because Baez had been such an inspiration to so many young female singers for three decades, it was only understandable that they would quickly accept any opportunity to work with her. In 1990, she toured with the United States with the Indigo Girls, who opened up for the legendary singer, and they

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delighted the audience by closing the show as a trio. There was a deﬁnite harmony between the three singers that transcended generational lines. In 1992, she returned with Play Me Backwards, which was a solid effort. It featured her own material, as well as contributions from Mary Chapin Carpenter, “Stones in the Road”; Janice Ian, “Amsterdam”; and John Hiatt, “Through Your Hands.” A year later, Vanguard released Rare, Live & Classic, a boxed set retrospective. Since Baez was an artist with a very large catalog, it was not surprising that it would be consolidated into different arrangements. This was the start of the releases of numerous greatest hits packages of her material as labels scrambled to gain some mileage out of the multitude of recordings. Throughout the entire decade she maintained a musical and activist career, sometimes intertwining the two. A world tour was interspersed with a performance in war torn Bosnia and Herzegovina in Sarajevo. Despite her best efforts, Humanitas International Human Rights Committee stopped operations after thirteen strong recording years. While Rare, Live & Classic, the retrospective chronicling her career from 1958–1989, was released including a good selection of unreleased material, she was performing at Alcatraz Island (former federal penitentiary) on behalf of her sister’s Bread & Roses organization. In 1994, she attended the gala at the Kennedy Center in honor of longtime friend and fellow folk artist, Pete Seeger. The record Ring Them Bells, an album title taken from a Dylan song, was recorded at the Bottom Line club, a legendary venue that included guests Rory Block, Mary Chapin Carpenter, Mimi Fariña, Tish Hinojosa, Janis Ian, the Indigo Girls, Kate & Anna McGarrigle and Dar Williams. Sometime later, she would team up with Williams and the Indigo Girls to perform once again for the Bread & Roses foundation. The albums Greatest Hits, Live at Newport and Gone from Danger were released, providing fans with ample product to choose from. She toured the latter CD through Europe that lasted into the next year. The Live at Newport edition featured her performances at the legendary venue from 1963 to 1965. In 1999, Baez and Bonnie Raitt encouraged environmentalist and activist Julia Butterﬂy, who had decided to live in a giant redwood tree in order to prevent it from being cut down. In 2000, she received a Lifetime Achievement Award at the British Folk Awards. It was a deserving honor for a woman who had given the world a tremendous amount of great music as well as being a devoted champion for the less fortunate and their plight and for environmental causes. A good example was the participation in the Honor the Earth beneﬁts on reservations in Montana. In this phase of her career there were many awards and honors handed out, a reﬂection of the forty plus years that Baez had been an entertainer. On July 18, 2001, Mimi, her sister, succumbed to cancer and Joan sang at the funeral. In an attempt to try something different, Baez acted in the

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Teatro ZinZanni in San Francisco, portraying La Contessa. It was a role that she would tackle on three separate occasions. Her material continued to be re-released in different packages, including the entire catalog that comprised all of the original albums each digitally mastered with bonus cuts and new artwork, as well as liner notes. In 2003, the activist joined Emmylou Harris, Steve Earle, Billy Bragg and Chrissie Hynde in London for the Concert for a Landmine Free World. In a different kind of honor, Sharon Isbin debuted the performance of The Joan Baez Suite, Opus 144, which John Duarte composed, featuring songs that were part of Baez’s earlier career. In 2004, Dark Chords on a Big Guitar was released and the subsequent tour began in England at the beginning of the year. After presenting Steve Earle with a Lifetime Achievement Award at the BBC2 Folk Awards, they performed a series of concert dates together. In 2005, she returned to the Teatro ZinZanni as the Gypsy Calliope. Bowery Songs was a recorded concert at the Bowery Ballroom in New York. In 2006, she toured parts of Europe in the spring that included England, France, Germany and Italy. The activist would be presented with a special honor from the Legal Community Against Violence and later traveled to the Czech Republic to help honor Vaclav Havel. NARAS, the National Academy of Recording Arts and Sciences, gave her a Lifetime Achievement Award. The record Day After Tomorrow featured Steve Earle as producer, demonstrating a deep respect for one of his major inﬂuences. In 2009, she interspersed the lyrics of the song “We Shall Overcome” with Persian words to help the people of Iraq. Baez continues to record and perform. Joan Baez is a classic folk singer. She embodied the spirit of the early 1960s folk revival with sincerity, musical gifts, commitment to traditional material and social activism. A unique artist, she has matured with age and remains a proliﬁc recording artist long after many of her contemporaries have faded from the scene. The inﬂuence on two succeeding generations is practically incalculable. The ﬁery singer created a ﬁfty-year career with many highlights and very few lows. A study of the career of Baez begins with her voice. For some ﬁfty years, the three-octave soprano singer has sent chills though audiences around the world from the tiniest clubs to the grandest halls and arenas. The haunting element in her vocal delivery that covers original material and that of countless others, forces the listener to reﬂect on the intensity of the lyrics. While there were others with high-pitched voices, including Judy Collins and Carolyn Hester, none quite possessed the intensity of the determined one. There is simply no other voice quite like hers in the annals of American or international music. Her musical intuitions are concise and precise. A chameleon who has moved from simple, traditional folk material, to protest and social introspec-

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tive songs, a brief dabble with country and on to pop rock without losing her audience is a major achievement. In the studio, Baez always knew when to add the right kind of instrument to enrich the song that she was recording. As a live performer, the thoughtfulness and effort put into each number only enhanced a distinguished reputation. Baez has always been a champion of the cause. The activist honestly believed in every mission that she has fought for, from the Civil Rights Movement to the foundation of the Institute for the Study of Nonviolence and later to the Humanitarian International Human Rights Commission. Musically, she has always supported the songs of the ﬁrst generation of folk singers and countless examples are spread throughout her vast repertoire. She has had an inﬂuence on a majority of singers during her long, illustrious career. A small list includes Mary Chapin Carpenter, Dar Williams, the Indigo Girls, Tish Hinojosa, Tracy Chapman, Buffy Sainte-Marie, Joni Mitchell, Kate Wolf, Kristen Lenns, Laura Nyro, Lucy Kalansky, Melanie, Rebecca Riots, Sarah Lee Guthrie, Rachel Bissex and Wendy Waldman, among others. Baez appeared on the folk scene when it was a male dominated industry, and, along with Joan Collins, Sylvia Tyson and Miriam Makeba, changed the concept. She also had a major impact on Bob Dylan. At one time a romantic couple, after their breakup they remained solid professional friends. Baez has recorded a tremendous number of Dylan’s songs that are scattered across a vast catalog. She has been a conﬁdante, a musical companion and a voice of reason during his most troubled times. Their relationship is a complicated one, but also illustrates a deep respect that has beneﬁted folk music. As a songwriter, she matured from the writer of simple, original material to topical songs of social and political comment. She has recorded numerous classics. A partial list includes “Swing Low, Sweet Chariot,” “We Shall Overcome,” “The Night They Drove Ole Dixie Down,” “My Way,” “Diamonds & Rust,” “Amazing Grace,” “Ate Amanha,” “Ave Maria,” “Babe, I’m Gonna Leave You,” “Banks of the Ohio,” “Battle Hymn of the Republic,” “Blowin’ in the Wind,” “Cambodia,” “Cry Me a River,” “Drifter’s Escape,” “Eleanor Rigby, “Engine 143,” “Farewell, Angelina,” “Freedom Now,” “House of the Rising Sun,” “If I Were a Carpenter,” “It Ain’t Me Babe,” “Joe Hill,” “North Country Blues,” “O Come, O Come, Emmanuel,” “Oh Freedom,” “Queen of Hearts,” “Pretty Boy Floyd,” “Saigon Bride,” and many others. Whatever material was tackled, with that superior voice, Baez was always able to make it her own. Joan Baez is a folk music chanteuse who has inspired recognition and social reform to many causes. The talent, drive, vision, political activism, voice of reason and elegance are all part of the winning package. She was determined to make the world a better place through her music, and there is no denying that she accomplished the mission.

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DISCOGRAPHY: Joan Baez, Vanguard 2077. Joan Baez, Vol. 2, Vanguard 2097. Joan Baez in Concert, Pt. 1 [live], Vanguard 2122. Joan Baez in Concert, Pt. 2 [live], Vanguard 2123. Joan Baez 5, Vanguard 79160. Farewell, Angelina, Vanguard 79200. Noël, Vanguard 79230. Joan, Vanguard 79240. Baptism, Vanguard 79275. Any Day Now, Vanguard 79306. David’s 79310. Album, Vanguard 79308. One Day at a Time, Vanguard 79310. Blessed Are..., Vanguard 6570. Carry It On, Vanguard 79313. Sacco and Vanzetti [Original Soundtrack], RCA Victor SP-4612. Come from the Shadows, A&M 75021-3103-2. Gracias a la Vida, A&M 93614. Diamonds & Rust, A&M 75021-3233-2. Live in Japan, Vanguard 315. From Every Stage [live], A&M 6506. Joan Baez in Concert [live], Cisco 2122. Blowin’ Away, Sony Music Distribution 34697. Honest Lullaby, Portrait EK-35766. Il Rock 10 [live], Epic IGDA 71021/22. Very Early Joan [live], Vanguard 79446. Recently, Gold Castle D2-71304. Queen of Hearts, Cede 66107. Speaking of Dreams, Gold Castle D2-71324. Play Me Backwards, Capitol Records 51645. Ring Them Bells [live], Capitol Records 43989. Live at Newport, Vanguard 77015. Gone from Danger, Capitol Records 59357. Dark Chords on a Big Guitar, Koch Records 8622. Bowery Songs [live], Koch Records 5714. Day After Tomorrow, Proper Sales & Dist. 034.

Bob Dylan (1941– ) Folk Troubadour The tradition to pass down the magic of folk music from one generation to the other has kept the genre vibrant for centuries. In the ﬁrst half of the decade, Woody Guthrie was arguably the most important ﬁgure of the

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style igniting a ﬂame that burnt brightly. When Guthrie’s health began to fail, a new leader was needed to carry the torch. In the early 1960s, in the middle of the revival, one individual appeared to become the spokesman of his generation, assuming the title of folk troubadour. His name was Bob Dylan. Robert Allen Zimmerman was born on May 24, 1941, in Duluth, Minnesota. His family would later relocate to Hibbling, and it was here that he discovered music. Soon, the young aspiring musician picked up the guitar and the harmonica, honing his skills until each instrument complimented one another to form a powerful combination. Like many of his generation, Zimmerman came of musical age when the ﬁrst wave of rock and rollers — Elvis Presley, Chuck Berry, Jerry Lee Lewis, Buddy Holly, Eddie Cochran, Fats Domino, Carl Perkins and Gene Vincent, among others — were passing through. They would have an incalculable inﬂuence on his future musical direction, as would the early ﬁgures of folk and country. In an effort to imitate those he admired, the budding musician formed his ﬁrst band, the Golden Chords, playing their songs in high school. There was another side to his blossoming talent; he was learning how to write songs. A serious poet who greatly admired the work of Dylan Thomas, the Welch bard famous for some of the richest, most complicated pieces in modern English. Thomas would provide inspiration, as well as a name change. While attending college, Zimmerman adopted Dylan as his last name and used it when performing at local coffee houses. There were two great inﬂuences on him at this point in his development. One was Hank Williams, Sr., the semi-illiterate, rawbone hick from Alabama who captured the hearts of country music fans across the nation. This messiah of the modern country movement died young due to alcoholism. Dylan’s other main inspiration was the rebel, socialist sympathizer and folk stalwart, Woody Guthrie. The college experience opened Dylan up to a number of different styles of music including the blues. He became an aﬁcionado and quickly incorporated the simple music into his ever growing repertoire. In between his ﬁrst and second year of college, he met bluesman Jesse Fuller, the Georgia native who had emigrated to the West Coast where he became a legend and gave the world the classic “San Francisco Bay Blues.” While Dylan was keen on his music, it was the bluesman’s ability to play more than one instrument at a time which provided the attraction. Fuller would be “rediscovered” during the folk revival. Upon his return to begin his second year of college, Dylan continued to perform in coffee houses, but the young artist had matured. His determination became stronger and now he focused all of his energies on becoming a professional folk musician. In January 1961, he left college and eventually made his way to New York City. A new era in folk music had begun.

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He performed at various venues in Greenwich Village and quickly created attention with his strong instrumental skills and voice. The nasal, offkey delivery didn’t possess the power of some of the other folk singers on the circuit, especially someone of Cisco Houston’s stature, but Dylan cleverly used his lack of vocal talent as another instrument. Although his lyrics were penetrating, as a writer he had not yet reached a full maturity. In 1961, Dylan connected with his hero, Woody Guthrie, visiting the dying folk icon in the hospital where he was wasting away because of Huntington’s disease. The following spring, the young folkie matched skills with another legend, the bad boy of the blues, John Lee Hooker, at the famous Gerde’s Folk City club. Dylan returned to Gerde’s in the fall to perform once again and caught the attention of reviewer Robert Shelton. Suddenly things began to happen quickly. John Hammond, Sr., the driving force behind Columbia records, kept adept of new talent by reading reviews and checking out clubs, both large and small. The record company executive recognized true talent and signed Dylan to the label. A year later, Bob Dylan was released, mostly comprised of folk and blues standards with only two originals. This format would change greatly for his next effort. Between the release of his ﬁrst and second albums, Dylan wrote a wealth of material that would identify him as one of the great folk protest artists. His political and social conscience awakened, the young artist was able to create songs which catapulted him to the top of the folk movement in rather quick time. The folk revival had been looking for a leader, and the young poet from Minnesota answered the call. The Freewheelin’ Bob Dylan demonstrated a mature artist who was gaining rapid momentum by pushing the boundaries of the accepted lyrical phrases of the day. More importantly, the album was comprised of all original material. The profound impact on the folk community was immense, especially when others began covering some of his songs. One of the better examples was Peter, Paul and Mary’s version of “Blowin’ in the Wind.” A true tour de force, the rhetorical lyrics sparked a fury to produce similarly styled songs. The year 1963 was one of great change in the young man’s life. He continued to perform at a regular pace and often opened gigs for Joan Baez, the leading light of the folk movement at the time. The two would become romantically involved, and as a result she recorded many of his songs, which only redoubled Dylan’s forces. The upheaval of such social issues as the civil rights movement provided excellent fodder for someone of his lyrical talents. In early 1964, The Times They Are A-Changin’ proved that Dylan was the greatest songwriter of the day, since the material was far superior to anything else anybody was creating at the time. He was also prophetic with lyrics that predicted the future course of events. Because of his understanding and

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use of the poetic styles of Arthur Rimbaud, John Keats, and Dylan Thomas, the youth from Minnesota had a true edge over all contemporaries. A few months later, he appeared with Another Side of Bob Dylan, which was appropriately entitled because he was moving away from a pure folk sound and exploring his rock and roll side. Ever the restless artist, Dylan was too creative to remain mired in one slot forever. When groups like The Byrds recorded his “Mr. Tambourine Man,” giving it a distinct rock edge, coupled with The Animals release of the old Leadbelly classic, “House of the Rising Sun,” Dylan fully understood his next musical direction. There were also changes in his personal life. He subsequently broke up with Baez and began dating model Sara Lowndes, whom he would later marry. A highly publicized ﬁgure, he began to retreat slightly from the constant media attention — a trend that would grow to greater proportions as fame began to engulf him at intolerable levels. He became reclusive in order to avoid the spotlight. The album Bringing It All Back Home proved that Dylan had outgrown traditional music and was keen on pursuing more of a rock and roll path. The folk music community was outraged and displayed their anger at the Newport Folk Festival when he appeared on stage with some members of The Paul Butterﬁeld Blues Band. The rock and roll community had already embraced him, and he added to this with a tour of Britain captured in the ﬁlm Don’t Look Back. He was now a rocker. In order to make the transition complete, he needed a rock and roll song that illustrated his genius, determination and musical direction. The track was “Like a Rolling Stone,” which became a number two hit. For many, it crystallized the young poet’s songwriting talent at its highest point. The lyrics, always a source of discussion, became the subject of even greater study. Folk rock acts like The Turtles and The Byrds covered Dylan’s tunes and enjoyed hits with them, which only enlarged his circle of inﬂuence. Highway 61 Revisited, his ﬁrst genuine rock and roll album, boasted the hits “Positively 4th Street” and “Rainy Day Women #12 & 35.” His next effort, Blonde on Blonde, was a double album of more folk rock standards, which only added to his growing legendary status. At this point in time, he was one of the best-selling artists on the current scene and rivaled the Beatles. It was in the fall of 1965 that he began to perform with a group called The Hawks. They had been the backing band for Ronnie Hawkins, the fun loving rockabilly icon, before joining Dylan. They would later change their name to The Band. It was with this creative outﬁt that he toured Britain. England was no more impressed with the electric Bob Dylan than America had been, and the tour suffered many heated insults. The momentum and pressure continued to build. There were already

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many bootleg albums circulating from various performances, but his regulated issued material was selling well. Dylan had invested a deep interest in another documentary about himself, Eat the Document, and was writing a book. He was also working frantically on his next album. On July 29, 1966, all momentum was destroyed when Dylan suffered a serious motorcycle injury near his then home in Woodstock, New York. The incident was pivotal to his recording and personal life. The reclusive lifestyle which had begun a few years before now assumed Greta Garbo–like proportions as he concentrated on raising his children with wife, Sara. His musical endeavors at the time consisted of jamming with The Band on old folk, country and blues numbers. The sessions, never intended to be released, became known as The Basement Tapes. In 1975, the album was ofﬁcially released after several bootleg versions had been issued. By that time, Dylan had covered quite a bit of territory. Dylan, who was always a revolutionary character and visionary in musical terms, confused many with the effort John Wesley Harding, a country rock album in the midst of the psychedelic rock era. But the inﬂuence on The Byrds and The Flying Burrito Brothers, as well as the fact that it became a hit in the U.S. and a number one chart topper in the U.K., proved that he remained his own man. Nashville Skyline, recorded in the heart of country music territory with the help of Johnny Cash, followed the same line. The hit “Lay, Lady, Lay” helped divert some of the criticism the record received. Never one to take criticism very well, Dylan issued Self Portrait, a collection of covers, live tracks, reinterpretations and some new material. It received harsh reviews. He followed with New Morning, which won him back some favorable press. But if the old folkies hoped that he would return to where he had begun at the beginning of the decade, they would be sadly mistaken. The following few years were a period of unrest for Dylan. The frustrated artist attempted many projects, including delivering the long awaited book Tarantula, as well as a return to Greenwich Village, and an appearance at the George Harrison organized Concert for Bangladesh. He also made his acting debut in the movie Pat Garrett and Billy the Kid and provided the soundtrack for it, including the hit “Knockin’ on Heaven’s Door.” He signed to Asylum, marking the end of a long association with Columbia. His old label would issue a mountain of unreleased material, much to Dylan’s chagrin. The stay with Asylum Records was short-lived. The album Planet Waves, which became his ﬁrst number one, was released on the label before Dylan returned to the Columbia fold. The subsequent tour, with the support of The Band, became one of the most successful in history and was captured on the double-live effort Before the Flood. It was a much needed boost to a career that was desperately sagging.

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In 1975, Dylan changed directions again with the release of Blood on the Tracks, the lyrics fueled by the breakup of his marriage. He jammed with folk artists in Greenwich Village and embarked on an engaging concert tour styled on the old medicine show format. The supporting cast included Joan Baez, Joni Mitchell, Ramblin’ Jack Elliott, Arlo Guthrie, Mick Ronson, Roger McGuinn and poet Allen Ginsberg. Dubbed the Rolling Thunder Review, the aggregation hit the road in the fall and remained on tour for a year. He found time to record Desire, which gained him valued critical acclaim. One of the main songs in his personal cannon during this period was “Hurricane,” a protest number about boxer Rubin Carter who had been unjustly imprisoned for murder. At the end of the on and off again Rolling Thunder Review, the live album Hard Rain was released. In 1978, a ﬁlm, Renaldo and Clara, based on the tour appeared to subsequent poor reviews. In 1978, Dylan hit the road again backed by a Las Vegas lounge band. Together they recorded Street Legal and At Budakan, a live album of their performance in that Japanese city. However, the biggest newsmaker was his claim to be a born-again Christian. He followed with a number of religious based albums including Slow Train Coming, Saved, and Shot of Love. In 1983, he recorded the secular Inﬁdels. In 1984, he resumed performing live and released the album Real Live and the strange Empire Burlesque with its odd mixture of dance tracks and rock and roll. But, the multi disc retrospective box set Biograph appeared and maintained that Dylan was still a force in popular music. It was the long awaited compilation that his many fans had hoped would one day arrive. The critics also liked it. In 1986, Dylan joined Tom Petty & the Heartbreakers on tour and found time to release another album, Knocked Out Loaded. While the effort was not well received, he continued to write material for future recording projects. In between the tours and the studio work were the many charity events and causes he attended as well as guest appearances on the efforts of musician friends. Although he had seemingly abandoned the folk roots over twenty years before, he returned to them often. In 1988, he joined The Traveling Wilburys, which included George Harrison, Jeff Lynne, Tom Petty and Roy Orbison, spanning three generations of rock and roll. Friends for years, they came together to record one song; but instead, to the delight of fans, cut a whole album, yielding two hits, “Handle with Care” and “End of the Line.” Sadly, the death of Roy Orbison later that year seemingly ended further projects. However, the remaining quartet recorded a second work, but with less impressive results. Also that year, Dylan teamed with the Grateful Dead who served as his backup band on tour and produced the subsequent record Dylan & the Dead, which appeared two years later.

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In the span of two or three years, he released a series of albums including Down in the Groove, which featured mostly cover songs. It was ironic, since throughout Dylan’s career so many of his tunes had been interpreted by a countless array of artists from every genre. In 1989, Oh Mercy appeared and earned him the highest critical appraisal in twenty-ﬁve years. However, Under the Red Sky was a failure. But fans rejoiced with the arrival of The Bootleg Series, Vols. 1–3 (Rare & Unreleased), a collection of rarities and outtakes of some of his most memorable work. The 1990s saw him return to folk roots. Both the Good As I Been to You, an acoustic collection of traditional tunes, as well as World Gone Wrong were widely acclaimed; the latter winning a Grammy for Best Traditional Folk Album. In 1997, Time Out of Mind, an album of original material — the ﬁrst in several years — sparked a Bob Dylan renaissance of sorts. His loyal fans remained, but a new generation of the listening audience had discovered the iconic ﬁgure. He appeared on the cover of the national magazine Newsweek, and suddenly it became chic to attend a Bob Dylan concert; his performances became sellouts again. Time Out of Mind would win three Grammy Awards — Album of the Year, Best Contemporary Folk Album and Best Male Rock Vocal. In a career of ups and downs, this was certainly a celebrated period in the cycle, and the positive energy radiated from him. In 2001, he released Love and Theft. Two years later, he made his own ﬁlm that included an accompanying soundtrack, Masked and Anonymous. In 2006, he self-produced the album Modern Times, which received two Grammy Awards for Best Contemporary Folk/Americana Album and for Best Solo Rock Vocal Performance for the song “Someday Baby.” It received high praise from different corners, including Rolling Stone magazine. Also that year, he premiered as a DJ on a radio program Theme Time Radio Hour, with songs selected from a chosen theme. Dylan played obscure records from the 1930s, as well as modern stuff from Prince, Blur, The Streets and rap star, L.L. Cool J. The show was well received. Three years later, he broadcasted his 100th and last show with the theme of “Goodbye” with the ﬁnale being Woody Guthrie’s “So Long, It’s Been Good to Know Yuh.” In 2007, the award-winning ﬁlm I’m Not There, a biography of Dylan, appeared. Six characters were utilized to represent different aspects of his life. The unreleased album of the same name served as the soundtrack, and a number of artists — Mason Jennings, Stephen Malkmus, Jeff Tweedy, Karen O, Willie Nelson, Cat Power, Richie Havens, Eddie Vedder and Tom Verlaine — provided cover versions of Dylan tunes. The rise of his popularity beginning in the previous decade continued as he became more visible to a wider audience. In 2004, he appeared in a TV ad for Victoria’s Secret lingerie. Three years later, he was in a car commercial

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for the Cadillac Escalade. Two years later, Dylan starred opposite rapper Will.i.am in a Pepsi commercial during the Super Bowl, one of the most watched telecasts of a single day event in any given year. They sang different verses to the song “Forever Young.” In 2009, Together Through Life appeared with guests David Hildago of Los Lobos and Mike Campbell of Tom Petty & the Heartbreakers. He would also release the holiday charmer, Christmas in the Heart, with the proceeds going to various charities around the world. It contained versions of “Little Drummer Boy,” “Winter Wonderland” and “Here Comes Santa Claus.” He continues to record and perform. Bob Dylan is a folk icon. During the revival, the artist gained the style more respect that it had ever experienced. But, the troubadour was also an inﬂuence on rock, blues and modern music. While the talented lyricist seemed to abandon his roots, he returned to the traditional sound many times during a long, interesting career. His contributions to popular music are considerable, and he is one of the most single important individual artists of the last ﬁfty years. Dylan was never a great instrumentalist, but he managed to be more than adequate as he blended all aspects together as well as played one off another to create a stronger musical foundation. More than anything, the clever entertainer knew when to interject with a harmonica lick or add a touch on the guitar. His intuition as a musician was one of his strongest assets which enabled him to project a positive image. In the studio and on stage, the troubadour was always surrounded with quality talent. Dylan has a very distinct vocal delivery; there is none other like it in musical history. Although many in the listening audience were unable to cope with that nasal, off-key voice, they didn’t realize that he utilized it as an instrument in harmony with the guitar and harmonica. The instantly discernable voice has made him of the most recognized, if least favorite, vocalists in the annals of popular music. At the forefront of any discussion of Dylan’s musical gifts is his songwriting ability. A poet-musician in the tradition of the old minstrels with a prowess as a wordsmith that surpassed all contemporaries, no other single folk artist can match his ability. Few rock acts, such as the writing team of Lennon-McCartney, Bruce Springsteen and Jim Morrison, can be said to be at the same level. Yet, the troubadour’s vision was much different and clearly individual and unique. Dylan wrote at least a half dozen classics. A very short list includes “Like a Rolling Stone,” “Oxford Town,” “It Ain’t Me Babe,” “Blowin’ in the Wind,” “A Hard Rain’s A-Gonna Fall,” “Lord Randall,” “Maggie’s Farm,” “The Times They Are A-Changin’,” “Rainy Day Woman #35 & #12,” “Hurricane,” “Tangled Up in Blue,” “Lay, Lady, Lay,” “Knockin’ on Heaven’s Door,” and “Mr.

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Tambourine Man.” Any selection of his catalog deemed to be a classic is a personal choice because of the wealth of material to choose from. Most of the songs were political in nature. For example, “Oxford Town” depicted the struggles James Meredith faced as the ﬁrst black student to enroll at the University of Mississippi. “Hurricane” was an effort dedicated to the release of the boxer. “The Times They Are A-Changin’” was sung at the March on Washington and displayed a very satirical side of his musical personality. There were many others, including “The Lonesome Death of Hattie Carroll,” which told the story of the death of black hotel barmaid Hattie Carroll murdered at the hands of a white socialist. “Only a Paw in Their Game” addressed the murder of civil rights leader Medgar Evars. “The Ballad of Hollis Brown” cast a perspective on the plight of the farming community, while “North Country Blues” brought to light the difﬁculties of the miners and their struggles. Arguably, no one has written as many political tunes as Dylan. Dylan is responsible for expanding the role of the songwriter in popular music. The modern bard pioneered the confessional singer-songwriter, the stream of consciousness narratives. The clever writer introduced the introspective songwriter, which had an enormous inﬂuence on The Beatles. He also blazed the trail in shifting the folk song from traditional toward personal songwriting, a path many have followed. He has won numerous awards over his career. He has been inducted into the Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame and Songwriters Hall of Fame, to name just a few. Dylan was awarded a special citation from the Pulitzer Prize jury for his vast contributions to American culture. The number of awards and prizes bestowed upon him are countless. Dylan was also an experimenter. Never one to be comfortable or satisﬁed wallowing in one particular style, he had the foresight to always forge ahead. He took the basic folk style and expanded it to include other elements. The musical visionary had a hand in creating electric folk rock and country rock, two genres that continue today. He changed the way blues was interpreted and brought respect to the idiom. He inﬂuenced a number of individuals. The list includes Bono, lead singer of U2, Joe Strummer, John Lennon, Paul McCartney, Neil Young, Syd Barrett, Nick Cove, Jim Morrison, Bruce Springsteen, Patti Smith, Joni Mitchell, Gordon Lightfoot, Cat Stevens, Tom Waits, Bryan Ferry, David Bowie, The Byrds, The Flying Burrito Brothers, The Band, and literally hundreds of other artists. Dylan has also had his fair share of critics. A number of individuals from the time he appeared to the present day have attempted to degrade his inﬂuence on contemporary music. He has been labeled a fake, a plagiarist, a minor talent, and an egotistical, overrated performer. As well, his struggles

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with religion came under ﬁre. Born Jewish at birth, he converted to Christianity during his career, which only brought down more criticism. Dylan’s son Jakob has been an active musician for a number of years and the lead singer of the band The Wallﬂowers. The Los Angeles group has released ﬁve studio albums and won a couple of Grammy awards for their efforts. There has been collaboration between father and son on different occasions. Another boy Jesse is a ﬁlm director. There have been a number of books written on Dylan. A short list includes Trailblazers of the Modern World, Formative Dylan: Transmission and Stylistic Inﬂuences, 1961–1963, Down the Highway, The Life of Bob Dylan, Encounters with Bob Dylan, Like a Bullet of Light, and The Bob Dylan Companion. Although there are several volumes that have captured a certain aspect of the folk icon, none have truly managed to paint a complete picture. Dylan the writer has also penned a number of books including Forever Young, The Deﬁnitive Bob Dylan Songbook, Tarantula, Bob Dylan Revisited: 13 Graphic Interpretations, Chronicles: Volume One. He is also an artist, and an exhibit of his work opened at a gallery in Germany. In 2010 into 2011, forty large acrylic paintings entitled The Brazil Series was shown at the National Gallery of Denmark. Fifty years after he started his career, Bob Dylan continues to exude a mastery of inﬂuence on popular music as new generations discover his magic. The long run has created more controversy and conversation than arguably any artist to appear on the scene. A truly original and iconic performer, he will be a major contributor long after his death and remembered as the folk troubadour.

DISCOGRAPHY: Bob Dylan, Columbia CK-8579. The Freewheelin’ Bob Dylan, Columbia CK-8786. The Times They Are A-Changin’, Columbia CK-8905. Another Side of Bob Dylan, Columbia 8993. Bringing It All Back Home, Columbia CK 9128. Highway 61 Revisited, Columbia CK-9189. Blonde on Blonde, Columbia 66012. John Wesley Harding, Columbia CK-9604. Nashville Skyline, Columbia CK-9825. Self Portrait, Columbia 30050. New Morning, Columbia CK-30290. Pat Garrett & Billy the Kid [Soundtrack], Columbia Europe 30298. Dylan [1973], Columbia 32747. Planet Waves, Columbia CK-37637. Before the Flood [live], Columbia 37661. Blood on the Tracks, Columbia 33235. The Basement Tapes, Columbia 33682.

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Desire, Columbia CK-32893. Hard Rain [live], Columbia CK-34349. Street Legal, Columbia CK-35453. Slow Train Coming, Columbia CK-36120. At Budokan [live], Columbia 36067. Saved, Columbia CK-36553. Shot of Love, Columbia Europe CK-37496. Inﬁdels, Columbia CK-38819. Real Live, Columbia CK-39944. Empire Burlesque, Columbia CK-40110. Knocked Out Loaded, Columbia CK 40439. Down in the Groove, Columbia CK-40957. Dylan & the Dead [live], Columbia CK 45056. Oh Mercy, Columbia CK-45281. Under the Red Sky, Columbia CK-46794. Good as I Been to You, Columbia CK-53200. World Gone Wrong, Columbia 57590. MTV Unplugged [live], Columbia 67000. Time Out of Mind, Columbia 68556. Love and Theft, Columbia 85795. Masked and Anonymous, Sony 90536. The Classic Interviews 1965 –1966, United States Dist 540. Classic Interviews, Vol. 2: The Weberman Tapes, Chrome Dreams 2005. Modern Times, Columbia 87666. Together Through Life, Columbia 743893. Christmas in the Heart, Columbia 57323. Bob Dylan’s Greatest Hits, Columbia CK 9463. Bob Dylan/Times They Are A-Changin’, Columbia 38221. Bob Dylan’s Greatest Hits, Vol. 2, Columbia CK-31120. More Greatest Hits. Columbia 467851. 11 Years in the Life of Bob Dylan, Columbia 11/12. Bob Dylan Versus A.J. Weberman, Smithsonian Folkways FB-5322. Masterpieces, Columbia 462448. Biograph, Columbia CK-38880. The Bootleg Series, Vols. 1–3 (Rare & Unreleased) 1961–1991, Columbia CK-47382. Subterranean Homesick Blues, Columbia 65417. The 30th Anniversary Concert Celebration [live], Columbia CK-53230. The Songs of Bob Dylan, Sequel NEB655. Bob Dylan’s Greatest Hits, Vol. 3, Columbia 66783. Testament [live], Living Legend 235. The Bootleg Series, Vol. 4: The “Royal Albert Hall” Concert [live], Columbia/Legacy 65759. The Essential Bob Dylan, Columbia 85168. The Q 5 Star Reviews, Vol. 1, Sony 501621. The Q 5 Star Reviews, Vol. 3, Columbia 501623. Live: 1961–2000, SME 2438. Q 5 Star Reviews, Vol. 2, Columbia 5016222. Not Dark Yet Live, Vol. 2, Sony 8914. The Essential Bob Dylan [Limited Tour Edition], Sony 503133.

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Bootleg Series, Vol. 5: Bob Dylan Live 1975 —The Rolling Thunder Revue [Bonus DVD], Columbia 5101403. Collector’s Box, Columbia 5147386. The Bootleg Series, Vol. 6: Bob Dylan Live 1964 — Concert at Philharmonic Hall, Columbia/Legacy 86882. Live at the Gaslight 1962, Columbia 96016. The Dylan Trilog y, Sony 88697203112. Broadcast Rarities [live], Archive 2714. The Bootleg Series, Vol. 8: Tell Tale Signs — Rare and Unreleased 1989 –2006 [Deluxe Edition], Columbia/Legacy 735797.

Country Joe McDonald (1942– ) Fixin’ to Die Many of the political folkies addressed a variety of issues through their music. Often, they were associated with a speciﬁc cause and carried the ﬂag for that particular conviction with a fervent passion. One of the most ambitious and satirical performers became known for his anthem opposing the Vietnam War and claimed that he was ﬁxin’ to die. His name was Joe McDonald. Joe McDonald was born on January 1, 1942, in Washington, D.C., but grew up in El Monte, California. His parents had moved to the West Coast in order to avoid the political atmosphere of the nation’s capital. The young boy’s childhood was ﬁlled with a variety of music; he attended many concerts at the local stadium. Among his favorite style was Dixieland, and he indulged this passion at a local club in Hermosa Beach, not far from his hometown. Following a three year stint in the U.S. Navy, McDonald attended City College in Los Angeles, then moved on to Berkeley. Although an intelligent student, his heart was ﬁrmly committed to music and he majored in playing in bands. One of the highlights at the time was a chance to record. A bandmate at the time, guitarist Blair Hardman, backed McDonald on an initial recording with the First American Records label. Much of the original material would be polished and released in the solo effort, Goodbye Blues, which appeared long after Country Joe had reached folk cult status. The initial tracks were rough and lacked the maturity of later material, but the bare essentials of the feverish musician’s style were present. By this time, McDonald was strictly a left-wing political activist, even publishing his own magazine, Rag Baby. A creative individual, he decided to record a talking issue of the magazine. The EP included two of his most

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famous songs, “I Feel Like I’m Fixing to Die Rag” and “Superbird.” The former, a Dixieland arrangement, was a satirical view of the Vietnam War, while the latter was directly aimed at then President Lyndon Johnson, a favorite target of the radical set in the nation at the time. McDonald was the right man for the times. In 1965, the Free Speech Movement organizers, who had been a vital part in the Civil Rights Movement, shifted their emphasis on the Vietnam War. Anti-protest demonstrations were set up, and it was decided that music played before and after would draw a greater audience. He organized two groups, the Berkeley String Quartet that included Bob Cooper on 12-string guitar, Toby Lighthauser on bass and Carl Shrager on washboard; and the Instant Action Jug Band, comprised of a ﬂoating membership, ready at a moment’s notice to show up at whatever rally or street demonstration as they arose. In this ensemble was one Barry Melton, a talented guitarist who had played at The Ash Grove on different occasions. McDonald, along with friend Melton, agreed to form a band, and Country Joe & the Fish was born. In the beginning, there was a constant change in personnel as the lineup tried to solidify itself. Eventually, Bruce Barthol, a high school student, held down the bass position, David Cohen played guitar and keyboards, Paul Armstrong joined in on guitar, bass, tambourine and maracas and John Francis Gunning, a jazz enthusiast, occupied the drum chair. They began as a folk and jug band outﬁt and played mostly coffee houses such as the Jabberwock. The group evolved into a rock outﬁt using electric instruments as they shed their folk skin to appeal to the new left portion of the rock audience. They gained instant notoriety in the San Francisco Bay area, performing at the famed Avalon and Fillmore Auditorium. Their second EP boasted “Bass Strings,” “Section 43,” “(Thing Called) Love,” and three self-penned Country Joe tunes. In late 1966, the outﬁt was signed to Vanguard Records. Their ﬁrst album, Electric Music for the Mind and Body, brought their craziness and political fever to the masses. A mixture of different styles but very psychedelic in nature, it combined the exuberance of rock and roll rebelliousness with a strong left-wing political message. The song included a polished version of “Super Bird.” Their second effort, entitled I Feel Like I’m Fixing to Die Rag, included the title song that perfectly deﬁned the sound and image they were trying to project. Lost in all of the lyrical excitement was McDonald’s ﬁne voice, as important as Melton’s stirring lead guitar work. Because of the blatant militant messages found on the record, it sold well enough to establish them as prime artists in the burgeoning political rock and roll market. The band continued to release a steady stream of material. In 1968, the

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album Together was enthusiastically received and featured the band at their creative zenith. The fourth effort, Here We Are Again, boasted a different set of musicians including Jack Cassady of Jefferson Airplane, as well as David Getz and Peter Albin of Big Brother & the Holding Company. In the latter half of the decade, the group was starting to fall apart so the inclusion of an all-star cast of psychedelic musicians was attempted to save a sinking ship. They were one of the most active live bands performing all over the country at the Cafe Au Go Go as well as the major festivals Monterey and Woodstock. At Monterey, they were one of the featured artists in the ﬁlm of the same name. At the Woodstock Festival, there was a historic moment. McDonald, who attended the event, was scheduled to play with the group. However, because of the zaniness of the large amount of people as well as the confusion and congestion, many acts were unable to make it to the stage on time. However, because he was milling around backstage, McDonald was given an acoustic guitar and coerced into doing a solo folkish set. He played four or ﬁve songs and then led the obscene Fish cheer, where ﬁve hundred thousand strong participated. It catapulted Country Joe to international fame as a ﬁrst-rate political folk artist. The Woodstock Festival was the band’s last stab at fame. Soon after, McDonald and Melton were both arrested for different offences. They would release one more album, C.J. Fish, with a complete new backing band. In 1971, as the psychedelic sixties were quickly becoming a past memory, the group disbanded. Before this, McDonald had already released two solo efforts, Thinking of Woody Guthrie and Tonight I’m Singing Just for You. From this point on, he toured and recorded alone. In England, he cut a live album, Hold On: It’s Coming, with featured guest Peter Green of Fleetwood Mac, amongst others. He was still an entertaining performer and wowed audiences at the Bath and Bickershaw festivals in England, as well as other concert venues in Europe. Some of his more political and satirical songs at the time included “Mr. Big Pig” and “Air Algiers,” which detailed complaints against police harassment and the Nixon administration. It was evident that despite the changing times, Country Joe had not abandoned his political and social fervor. During this period, McDonald also lent his satirical talents to ﬁlm scores. He wrote three songs, “Mara,” “Ny’s Song,” and “Henry Miller and the Hungry World,” for the ﬁlm Quiet Days in Clichy. While there were some legal hassles in releasing the ﬁlm, it eventually appeared in the United States. Later he supported Salvador Allende’s successful campaign in Chile for president, making an appearance in the documentary Que Hacer. McDonald continued his political activism against the Vietnam War and joined actress Jane Fonda and actor Donald Sutherland as part of the FTA

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(Free the Army) tour. Eventually, he became disillusioned with the whole production and dropped out, but not before incurring the wrath of then President Richard M. Nixon and making the infamous Enemies List. He remained a radical in the eyes of the authorities and seemed comfortable in this role. Upon returning to the United States, Country Joe recorded an EP with Grootna, a San Francisco–based outﬁt; the work didn’t do much for his career. However, in 1972, the release of a recorded solo performance, Incredible Live!, regained some lost popularity. Throughout this period, he often appeared in concert with The All Star Band, a group that included alumni from the Fish and Big Brother and the Holding Company. In 1973, he recorded Paris Sessions with the All Star Band. A wanderer, he lived in Europe for a year before returning to the United States and joining a California outﬁt, Energy Crisis, that included former Fish member Bruce Barthol and Phil Marsh. They would back him on his next effort, Paradise with an Ocean View. One of the tunes from the album, “Save the Whales,” indicated that McDonald was leaning toward a strong environmental point of view. From 1975 until the end of the decade he released seven albums. Love Is a Fire, Goodbye Blues, Rock & Roll Music from the Planet Earth, Leisure Suite, On My Own, Into the Fire, and Child’s Play underlined one of the most proliﬁc periods of his musical career. The highlight of this time frame would be a temporary reunion with members of the Fish. The result was the Reunion effort. Most of the 1980s saw McDonald returning to a favorite cause: The Vietnam War. He dedicated his time and music to helping the Vietnam veterans and worked with a variety of action groups on their behalf. In 1988, Vietnam Experience, an album and video, was released. While many had moved on, Country Joe was unable to forget the event, as well as all of the direct and indirect causes linked to the U.S. involvement in Southeast Asia. In 1991, he released Superstitious Blues, an interesting effort for several reasons. For one, Jerry Garcia of the Grateful Dead collaborated on the album. Also, it was mostly an acoustic endeavor and displayed a unique side of Country Joe’s musical personality. Although the singer had dabbled with a number of different styles throughout his career, it was clearly evident on this album that he was a folkie at heart. In 1995, burdened with the tragedy of losing his parents, he released Carry On, which included the song “The Lady with the Lamp,” a tribute to Florence Nightingale. Once again, Garcia played guitar on the work. The pair who had emerged from the San Francisco folk rock scene around the same time matched skills well together, but unfortunately the leader of the Grateful Dead would die from natural causes not too long after the disc was cut. McDonald carried on despite losing one of his best collaborators.

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In 2003, Country Joe was sued for copyright infringement over his signature song. Kid Ory, an early jazz cornet player, had written “Muskrat Ramble,” from which his daughter claimed McDonald had stolen the lyrics. Eventually, the folkie won the suit on a technicality, as well as a huge settlement. In 2004, he reunited with a few former members of the Fish, including Bruce Barthol, David Bennett Cohen, and Gary “Chicken” Hirsh. They toured the United States and the United Kingdom. Although it was a successful venture, it was only meant to be a brief adventure. In the past two years, there have been a couple of major causes he has dedicated his time and music to. The ﬁrst is Florence Nightingale, the war nurse. He discovered her special position when interviewing the caretakers who had served in Veteran’s Hospitals during the Vietnam War. He became a scholar on the subject of the pioneer caregiver and even traveled to Turkey to do further research on her activities during the Crimean War. He later toured England to do more investigation. He established a Web site dedicated to her efforts, which has been a major resource for school children doing projects on the famous nurse. The other cause has been a dedication to Woody Guthrie. He began to collect and perform a cycle of songs attributed to the great folk artist from Oklahoma. McDonald honed the show entitled “Tribute to Woody Guthrie,” a mix of music, spoken word, and his personal vision. On tours around the nation, Country Joe received rave reviews for his work. In the last few years, he has proceeded to lampoon public ofﬁcials and has not lost any of his political edge. He continues to record and perform. Country Joe McDonald was a folk experimenter. He took the basic roots of folk and stretched them beyond breakable boundaries to serve his political agenda. The passionate individual had a vision about a new world and created it through the myriad of songs he composed. While not a prime artist in the revival, the radical musician appeared on the edge of it and took the style in a much different direction. McDonald has a believable voice. When he sings about a cause or issue, he genuinely supports one decided point of view. More importantly, the man manages to convince the listener to side with him. There is an authenticity and uniqueness in the vocal delivery that not only made Country Joe a spokesman for a generation with one song, “I’m Fixin’ to Die,” but it also enabled him to sustain a career that has spanned almost ﬁfty years. While the voice might not be recognized by the casual listener, those who grew up listening to him can instantly acknowledge it. McDonald was a solid folk enthusiast, despite delving into psychedelic rock, especially during the days with the Fish. He was cut in the same mold as Joe Hill, Woody Guthrie, Cisco Houston, Pete Seeger, Fred Hellerman, and others from the political folk era of the 1940s and 1950s. If he had lived

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during the McCarthy “Red Scare” days, McDonald would have written some sarcastic song to counteract any false charges. His role in the revival was slim because the singer appeared at the tail end of the boom. In many ways, he began where Dylan left off. In 1965, when the folk troubadour went electric, symbolically ending the folk revival, Country Joe was waiting in the wings to take over and be more overtly political than his predecessor. In many respects, McDonald was the militant musical voice of the latter generation of the turbulent 1960s. Aside from his vocal prowess, he possessed an incredible imagination as a writer. There was an accessibility to the songs that covered an array of political and social issues. Some of McDonald’s best work includes the Vietnam War. The song “I’m Fixing to Die Rag” was the most in your face, antiwar tune written during those turbulent times. The famous, expletive Fish cheer was exactly what everyone wanted to say to a government that had overstepped its boundaries. Years later, long after the troops had returned home, he continued to express his views on the debacle with the number “Agent Orange Song.” The biting, stinging lyrics haunted the current administration. Other “cause” songs include “Save the Whales,” “Mr. Big Pig” and “Air Algiers,” which personiﬁed McDonald’s and his generation’s disapproval of police tactics (a current complaint from today’s avant garde youth much the same as then) and the harassment by the Nixon administration of dissent and direct political action. While many were scared and angry when they made the dangerous “Enemies List,” McDonald was proud of the accomplishment. There has always been criticism of his political and social stance on songs. Many felt that he never really chose a direct political direction. In the 1960s, when radical leaders like Jerry Rubin and Abbie Hoffman were adamant about change, McDonald did not follow. Instead of sure action, he chose to point out the problems and sing about them, but offered no real solutions. Whatever shortcomings others are able to point out, Country Joe McDonald was a major voice of his generation on political and social issues that has transcended the years. Forever a folk artist at heart, he always returned to its roots and embraced the idiom with pure vigor. The man who claimed he was ﬁxin’ to die was always present to point out what was wrong with the world through his music and words.

DISCOGRAPHY: Joe McDonald, Custom Fidelity 2348. Thinking of Woody Guthrie, Vanguard VSD 6544. Tonight I’m Singing Just for You, Vanguard VSD 6557. Hold On It’s Coming, Vanguard VSD 79314.

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War, War, War, Vanguard VSD 79315. Incredible Live!, Vanguard VSD 79316. Paris Sessions, Vanguard VSD 79328. Country Joe, Vanguard VSD 79348. Essential Country Joe, Vanguard VSD 85/86. Paradise with an Ocean View, Fantasy FAN 9495. Love Is a Fire, Fantasy FAN 9511. Goodbye Blues, Fantasy FAN 9525. Rock and Roll Music from the Planet Earth, Fantasy FAN 9544. Leisure Suit, Fantasy FAN 9586. Into the Fray, Rag Baby Rag 2001. On My Own, Rag Baby RAG 1012. Animal Tracks, Rag Baby, Animus 1017/F-1. Childs Play, Rag Baby RAG 1018. Peace on Earth, Rag Baby RAG 1019. Vietnam Experience, Rag Baby RAG 1024/25. Classics, Fantasy FCD 7709. The Best of Country Joe McDonald, Vanguard VCD 119/20. Superstition Blues, Rag Baby/Ryko Rag 1028. Carry On, Rag Baby/Shannachie RAG 1029. Something Borrowed, Something Nice, Rag Baby RAG 1030. Eat Flowers and Kiss Babies, Woronzow/Rag Baby WOO 33. The Big Three, Rag Baby Records 200003. www.countryjoe.com, Rag Baby RAG 1032. I Fell Like I’m Fixin to Sing Some Songs..., Hance JCT 762001. Crossing Borders, Rag Baby RAG 1034. Thank the Nurse, Rag Baby RAG 1034. Original Country Joe Band Live in Berkeley, Rag Baby A1065. Natural Imperfections, Rag Baby RAG 1037. At the Borderline, Rag Baby RAG 1038. Vanguard Visionaries, Country Joe McDonald, Vanguard 73171. War, War, War Live, Rag Baby RAG 1040. A Tribute to Woody Guthrie, Rag Baby RAG 1039. • With Country Joe and the Fish Electric Music for the Mind and Body, Vanguard VSD 79244. I Feel Like I’m Fixin’ to Die, Vanguard VSD 79266. Together, Vanguard VSD 79277. Here We Are Again, Vanguard VSD 79299. Greatest Hits, Vanguard VSD 6545. C.J. Fish, Vanguard VSD 6555. Talking Issue #1 (Peter Krug B Side), Rag Baby Rag 1001. Country Joe and the Fish, Rag Baby RAG 1002. Life and Times of Country Joe and the Fish, Vanguard VSD 27/26. Reunion, Fantasy FAN 9530. Collector’s Items: The Fist 3 EP’s, Rag Baby RAG 1008. Collected Country Joe and the Fish, Vanguard VCD 111/12. Live! Fillmore West 1966, Vanguard VCD 139/40-2. Vanguard Visionaries: Country Joe and the Fish, Vanguard 73162.

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Arlo Guthrie (1947– ) Family Link Folk music is about tradition. For centuries the lyrics and melodies of the treasured songs were passed down from one generation to the next with little lyrical change. The familial link was one of the strengths of the genre and spawned many inside careers. Alan Lomax followed in the footsteps of his father, John. Pete, Mike and Peggy Seeger took a cue from their parents, Charles and Ruth. The family chain continued with Woody Guthrie who inspired many, in particular, his son, Arlo. Arlo Davy Guthrie was born July 10, 1947, in Coney Island in Brooklyn, New York. Despite being able to boast of having a father who was one of the most famous folk singers in the history of the style, he saw very little of his dad because the latter was hospitalized with Huntington’s disease. However, the little boy grew up surrounded by his father’s friends, which included folk icons such as Pete Seeger, Cisco Houston, Fred Hellerman, Lee Hays, Ronnie Gilbert, Ramblin’ Jack Elliott, Sonny Terry and Brownie McGhee. By the age of six, Arlo could play guitar proﬁciently and often joined in the hootenannies that included Seeger, Houston and others. He learned from these older players, not just acquiring an accessible rhythmic beat, but how to work a crowd, how to properly interpret traditional material to give it a modern sound without losing its essence, and how to write topical song that would capture the moment and prove to endure the test of time. In his early teens, Guthrie was playing coffee houses. He was a constant performer at Gerdes Folk City, the Gaslight, and the Bitter End — all in Greenwich Village — as well as Club 47 in Boston and The 2nd Fret and the Main Point in Philadelphia. He would later make friends with the beat poet Allen Ginsberg, jam with the Father of Bluegrass, Bill Monroe, and trade licks with another folk revivalist, North Carolina’s Doc Watson. Arlo Guthrie was one of the many performers during the revival who remained in the shadows. The struggling musician never gained any degree of popularity, but did beneﬁt from the many coffee houses and clubs that opened up to serve the folk crowd. During the era, Arlo was still trying to escape the enormous shadow that his father had cast over the entire scene. In order to move away from that immense shadow, Guthrie needed to ﬁnd his own sound and persona. As the 1960s unfolded, he adapted the antiwar shaggy hippie slant, which worked very well and set him up for his greatest moments.

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Like his father, Arlo had developed a social conscience and delivered political statements with an immense and intense amount of humor. As a long-haired, antiwar, anti-draft enthusiast, he was clearly a counterculture favorite and hero to the young masses of those of a like mind. The draft board and authorities were not oblivious to what he represented and like his father, he became a target. “Alice’s Restaurant,” a humorous spoken and sung narrative about how an unkept hippie and radical in the eyes of the law dealt with such oppressive forces, catapulted him to stardom overnight. He had always been on the fringe of success, but this signature tune put him center stage in the hippie folk world. The timing of the appearance was impeccable. The album would go gold and produce a ﬁlm that ranked high among must-see movies in the counterculture catalog. It was on par with Easy Rider, another hippie favorite of the era. The movie, Alice’s Restaurant, turned into a cult classic and the song became a staple during U.S. Thanksgiving, being played several times a day on radio stations. He debuted “Alice’s Restaurant” at the Newport Festival and overnight became a leading voice of the social conscience and active political left. He would add “Coming into Los Angeles,” a song banned from many radio stations, which only increased his rebel status among fans. Guthrie not only sang about the radical left-wing hippie, he lived the life and was the genuine embodiment of the concept. Guthrie performed at Woodstock where his set was very well received. One of the genuine hippies, he embraced the bohemian lifestyle, much like his father had adopted the nomadic-political way of life a generation before. Arlo’s counterculture status helped him sustain his career for a few more years as the revival faded and audience tastes turned to different styles. In 1972, he scored a hit single with a cover of “The City of New Orleans.” The song, written by Steve Goodman, was Guthrie’s ﬁrst single to hit the charts since “Alice’s Restaurant,” which was too long to be played on most radio programs, with the Thanksgiving Day exception. However, an aborted version eventually peaked into the Top 100. Despite the lack of hit records, he was of a different artistic makeup; he didn’t need a top song to maintain a career. Guthrie remained in the public eye and in the hearts of old hippies ﬁghting for important causes like the environment, government oppression, banning of nuclear weapons, basic freedom and rights in the United States as well as around the world. Because he was such a singer of causes, Arlo’s style would never become dated; there was always an audience for his style of music. He took this music all over the world, including North America, Europe, Asia, Africa and Australia. The multi-instrumentalist, adept at the six and twelve-string guitar, harmonica, piano, and a number of other instruments,

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had learned from the folk legends who were his father’s friends on how to entertain any and all crowds. He could perform anywhere on the planet, and his set was usually always well received. In the 1980s, he formed his own folk rock label, Rising Son, and continued to record on it. Later, much of Guthrie’s earlier material was re-released by his own company. The records of others, including Abe’s Band, Xavier, Sarah Lee Guthrie, and Johnny Irion, were also released on RSR. It was a working business that enjoyed a certain degree of success and was not just another vanity agency. In 1986, he began publishing The Rolling Blunder Review, a popular newsletter that presented him with a vehicle to spread his message of social and political reform. Later, Guthrie would write an award-winning children’s book, “Mooses Come Walking.” He also collaborated with Irion on the latter’s new release, Ex Tempore. Through technology the son was allowed to put his voice alongside that of his father on the re-recording of This Land Is My Land. In 1997, it would garner a Grammy nomination for Best Musical Album for Children. He also turned to acting. He accepted roles on Byrds of Paradise and Renegade. Perhaps not an Oscar caliber actor, the thespian always gave a strong performance and a reasonable account of himself. Like many of the folk children of his generation, the style had suffered a severe ﬂuctuation in popularity and in leaner times Guthrie was forced to ﬁnd other ways of sustaining a career. One of his most satisfying projects was to purchase a piece of history. In 1991, he bought the old Trinity Church where the Thanksgiving events took place that inspired him to write his most famous tune, “Alice’s Restaurant.” It was named The Guthrie Center, in honor of his parents, and became a nonproﬁt interfaith church foundation dedicated to helping others. The outreach program included local and international causes such as HIV/AIDS, a Huntington’s Disease walk-a-thon, and other similar activities. Ever the philanthropist, he also oversaw The Guthrie Foundation as a not-for-proﬁt educational organization that dealt with issues such as the environment, health care, cultural preservation and educational exchange. Although known for his antiwar musical slogans and concert tours, Arlo’s humanitarian causes have always been at the forefront of the activity schedule. Guthrie continued to perform and record, albeit sporadically, throughout the years. However, he continued to ﬁght for what he believed in and the ﬂame in his hippie heart never burnt out. Every November, he enjoyed a resurgence of sorts when his signature piece was played three or four times in one day on scattered classic rock stations across the country. His other hits, “City of New Orleans” and “Coming into Los Angeles,” also received a fair amount of airplay.

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In 1998, he began to perform his music with symphony orchestras. He was never afraid to experiment and eventually would collaborate with over forty such ensembles from across the United States. One of these concerts was with the Boston Pops in July 2001, and featured an audience of nearly a million people. His work with the Boston Symphony was recorded for PBS television. Another noted performance was with the Kentucky Symphony Orchestra. The concert was released on his 60th birthday and received critical acclaim. In 2006 and right through 2007 he toured the United States, Europe and Australia with the Arlo Guthrie Solo Reunion Tour — Together at Last. It was a successful endeavor and proved that he retained the same wonderful storytelling ability that has always been one of his strongest trademarks. The older musician also continued humanitarian work which occupied half of his time. Like Joan Baez, there was a balance to his career. There have been other tours. From the summer of 2009 to the spring of 2010, the Guthrie Family Rides Again tour that featured Arlo and all of his four children, as well as more than half a dozen grandchildren. They sang Guthrie family songs that range from Woody’s material to Arlo’s to that of the new generation. It received interesting and enthusiastic reviews. Another tour, Journey On, commenced in October 2010 and is scheduled to end in the spring of 2011. The performers include Arlo, Abe Guthrie on keyboards and vocals, Terry A La Berry on drums, Bobby Sweet on electric guitar and vocals, Jody Lampro on bass and vocals and The Burns Sisters as backing vocalists. There is a carnival, almost circus like atmosphere that has something for the entire family. He continues to record and tour. Arlo Guthrie is a folk soldier. While many saw him very much a man of the times, he astounded everyone with a forty year plus career that is still running strong. The man was able to write material that appealed to the counterculture crowd, which has transcended generations, enabling him build a solid reputation as one of the more entertaining individuals left over from the turbulent 1960s. He achieved these goals with different tools. He has an engaging voice. There is something familial about his delivery that was very much antiestablishment. The sarcastic edge places him ﬁrmly on one side of the line, but the humorous quality erases any bitterness or anger. In his most famous song, a good portion of it is narration and not genuine singing, but the storytelling ability shines through and continues to appeal to a new generation of listeners. He has a solid ragtime guitar stroke. There is nothing original about his music and he is no great virtuoso, but has always been able to push messages across with limited musical abilities. What Guthrie lacked in virtuosity, he made up for in heart. Over the years, the entertaining individual would stretch

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out musically on the harmonica, piano, and six and twelve-string guitars, as well as a number of other instruments. Guthrie is a solid songwriter, but never produced the catalog his father did. However, he could pen interesting material. Some critics have dubbed him a one hit wonder because it seemed that the street poet poured his entire soul into “Alice’s Restaurant” and didn’t have anything else to say. The song, with its political satire, environmental concerns, and antiwar message, included everything Arlo believed in. However, “Coming into Los Angeles” and “City of New Orleans” proved he could lean on more than one tune. He often performed the songs of others, including his father, Leadbelly, Steve Goodman, Pete Seeger, Bob Dylan, Lee Hays, Jack Guthrie, Holly Near, Hoyt Axton and Jimmy Webb, among others. With his plain, yet interesting voice and multi-instrumental abilities, Arlo was able to give every song he covered a proper treatment. Although the son performed some of his father’s songs, the younger Guthrie strived to stay away from the material as much as possible in order to escape the elder Guthrie’s shadow. In some ways, he was a much different performer than his father, but at the same time very much alike. The fact that they lived in different times, with Arlo enjoying the use of more modern technology, enabled him to accomplish things his father could never have imagined. The son never reached the same high level of inﬂuence as his famous dad, but persisted nonetheless and has carried on the family name for the past ﬁve decades. Like his father, Arlo was a historian. Both witnessed history being made with many changes occurring during their respective careers. The younger Guthrie was a child surrounded by Cisco Houston, Pete Seeger, Ronnie Gilbert, Ramblin’ Jack Elliott, Sonny Terry and Brownie McGhee; he watched them pass through singing mostly traditional folk material. However, growing up he saw the transformation of the folk singer from ballad chanter and blues enthusiast, to singer-songwriter. There was also a shift of material as different causes, including the environment, the Vietnam War and the Civil Rights Movement, among others, provided new fodder for songs. Arlo Guthrie has spent a lot of time devoted to causes near to his heart, such as the founding and running of the Guthrie Center and the Guthrie Center and Foundation. Another special project was the collaboration with Hans Theessink. They co-produced Banjoman as a tribute to their late friend Derroll Adams. Some of the noteworthy musical guests on the album included Donovan, Dolly Parton, Billy Connelly, and Ramblin’ Jack Elliott. Aside from continuing to record his own material, he has appeared on the works of others. This includes a Tribute to Leadbelly, Tribute to Steve Goodman, Other Voices, Other Rooms by Nanci Grifﬁth, The Bitter End Years, Troubadours of Folk, Vol. 4., Southbound by Hoyt Axton, Me & Bobby McGhee by

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Ramblin’ Jack Elliott. Also, through sophisticated technology was able to sing with his father, Woody. He also was a powerful believer in social consciousness and activism and is a hero to many of the current political and anti-folk performers such as Mary Chapin Carpenter and Nanci Grifﬁth, among others. His thin catalog, which includes “Alice’s Restaurant,” “Coming into Los Angeles,” and “City of New Orleans,” was controversial, satirical and very much part of the underground movement. Arlo Guthrie has carved a multidimensional career by utilizing music as his springboard. He has devoted his talents to entertaining millions and sending a message of concern to those willing to listen. He raised the political conscience of others around him. The man who gave the world a forever personality was born into the role of folk singer-protester-ﬁghter of causes; it was part of the family link.

DISCOGRAPHY: Alice’s Restaurant. Rising Son RSR-6267. Arlo, Rising Son RSR-6299. Running Down the Road, Rising Son RSR-6346. Washington County, Rising Son RSR-6411. Hobo’s Lullaby, Rising Son RSR-2060. Last of the Brooklyn Cowboys, Rising Son RSR-2124. Arlo Guthrie, Rising Son RSR-2183. Together in Concert, Rising Son RSR-2214. Amigo, Rising Son RSR-2239. The Best of Arlo Guthrie, Warner Bros. BSK-3117. One Night, Rising Son RSR-3232. Outlasting the Blues, Rising Son RSR-3336. Power of Love, Rising Son RSR-3558. Precious Friend, Rising Son RSR-3644. Someday, Rising Son RSR-0001. All Over the World, Rising Son RSR-0002. Son of the Wind, Rising Son RSR-0003. 2 Songs, Rising Son RSR-0006. More Together Again, Rising Son RSR-0007. Alice’s Restaurant—The Massacre Revisited, Rising Son RSR-0010. Mystic Journey, Rising Son RSR-0009. This Land Is Your Land: An All American Children’s Folk Classic, Rising Son RSR-2102. Banjoman: A Tribute to Derroll Adams, Rising Son RSR-1125. Live in Sydney, Rising Son RSR-1124. In Times Like These, Rising Son RSR-1126. 32¢/Postage Due, Rising Son RSR-1127. Tales of ’69, Rising Son RSR-1128.

PART FOUR

Groups and Duos While the individual folk singer garnered a large amount of attention during the folk revival, groups and duos also made their mark. Many patterned themselves on The Weavers, the seminal outﬁt that boasted a sterling lineup of Pete Seeger, Ronnie Gilbert, Lee Hays, Fred Hellerman, Erik Darling, Frank Hamilton and Bernie Krause. They would heavily inﬂuence The Kingston Trio, the Chad Mitchell Trio, The Limeliters, Peter, Paul and Mary, and others. The Weavers became the benchmark for other aspiring outﬁts for many different reasons. They were able to blend the different voices and personalities into one coherent unit. There were male and female parts that were clearly deﬁned, something that a few later groups would also contain including Peter, Paul and Mary; the Mamas & the Papas; The Rooftop Singers; and Ian and Sylvia; among others. Although each group shared essential elements of harmonies and speciﬁc assigned roles, what divided them was their choice of material. Some delved into folk-pop, uniting both styles in order to reach a larger audience, most notably the college age crowd. The formula worked because melting the best elements of both genres created an exciting, mainstream, catchy style that appealed to a cross-section of the music listening audience. Others followed a folk rock path. The initial moment in the new hybrid style occurred when Bob Dylan went electric at the Newport Festival and was booed off the stage. Overnight, a number of groups that favored traditional material began to utilized drums and electric instruments. A partial list includes The Byrds, The Band, The Lovin’ Spoonful, The Mamas & the Papas, Fairport Convention and Steeleye Span. Although the purists scorned at the idea of using electric instruments to perform folk music, many felt it was necessary in order to reach larger audiences and lead to a number of other styles namely psychedelic, acid rock, and heavy metal. Led Zeppelin, acknowledged as the greatest of all the hard rock bands, had a deﬁnite afﬁnity for lighter, bucolic folk etudes. The idea of individuals uniting their skills and abilities to form a group had a strong effect on the folk music of other countries, including England, 175

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Ireland, Scotland and Canada. During the revival, the sounds of the Clancy Brothers with Tommy Makem and Ian & Sylvia, both outside exponents, would make strong inroads in the American market. They were able to break through without sacriﬁcing any of the charm and appeal that existed from their initial starting point. In Great Britain, the revival linked English, Irish and Scottish tunes with a harder edge sound. The simple melody and lyrics of the early Beatles inspired many to follow suit. The Dave Clark Five, The Animals, the early version of Fleetwood Mac, and The Zombies all boasted a folkish bent. The British Invasion was really a reﬂection of the American blues, the ﬁrst wave of rock and rollers and the inspired folk revival. There were a great number of folk groups and duos to emerge during the revival that gained a certain amount of notoriety, but aren’t included in this book. A list includes The Mamas & the Papas, Beau Brummels, The Turtles, The Grass Roots, The Brothers Four, The New Christy Minstrels, The Highwaymen, The Springﬁelds, The Wayfarers Trio, The Serendipity Singers, The Even Dozen Jug Band, The Gateway Singers, The Freedom Singers, The Au Go-Go Singers, The Brandywine Singers and Buffalo Springﬁeld. Many of the aforementioned outﬁts beneﬁted from the folk revival, playing the songs of Bob Dylan, Pete Seeger, Woody Guthrie and a number of other earlier ﬁgures. The Kingston Trio sported a clean-cut college image and scored the ﬁrst big hit of the folk revival with their reworked harmonized rendition of “Tom Dooley.” The Clancy Brothers and Tommy Makem revived the Irish ballad and added a distinct foreign sound to the American folk revival. The Chad Mitchell Trio were a group of college students who managed to rival The Kingston Trio and The Limeliters with their smooth harmonies and overall fun presentation. The New Lost City Ramblers revived old jug band and string band songs from the early part of the century, giving them a modern sound in order to appeal to the college audience. Ian and Sylvia Tyson were a Canadian duo who formed at the start of the revival and inﬂuenced many with their female-male harmonies and outstanding original material. The Limeliters were a bunch of college kids who found a successful formula and became a dominant force in the early years of the folk revival. Peter, Paul and Mary were three very talented individuals who combined forces to create a high level brand of folk. Simon and Garfunkel began their careers in the sixth grade, but wouldn’t attain success until much later as one of the most engaging folk duos in the history of the genre.

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The Byrds arrived at the start of the folk revival and were the leading exponents of the folk rock movement. The Lovin’ Spoonful were a good-time folk music band who scored a number of hits before a drug bust tore the group apart.

The Kingston Trio (1956– ) Trendsetters Although there were many groups and duos during the revival who gained popularity, only a handful changed the course of folk music. The secret of their success was an ability to update traditional material and put it in a modern context for the college age students who had embraced the genre to appreciate. One of the major trendsetters who inspired legions of young people to pick up a guitar and sing the old songs, as well as write their own, was The Kingston Trio. The Kingston Trio saga begins with Dave Guard, born on November 19, 1934, in San Francisco, California. However, he grew up in Hawaii where he discovered music by picking up the banjo and guitar. Like all practitioners, the aspiring musician honed his skills as a solo artist before joining various groups, including one with good friend, Bob Shane. This apprenticeship would serve both of them well later on in their careers. Bob Shane was born February 1, 1934, in Honolulu, Hawaii. He picked up the guitar and developed his skills until proﬁcient enough to play in front of an audience. However, the opportunities to advance a musical career in his native state were not very plentiful, so eventually the hopeful musician moved to California with its many recording studios and plethora of clubs. It was in the Golden State that he met Nick Reynolds. Nicholas Wells Reynolds was born on July 27, 1933, in Coronado, California. His father was an enthusiastic guitarist and this fueled the boy’s interest in music. As a student he drifted from San Diego State to the University of Arizona and ﬁnally Menlo College in Palo Alto, California; but academia and a regular job was not a burning passion. The determined musician, who was a proﬁcient guitar player, met Bob Shane in school, who in turn introduced him to Guard. The trio bonded, talking shop, harmonizing together and working on the rough song ideas each one had brought along. After some time, they formed a trio, playing at frat parties and various other small venues. But Shane returned to Hawaii and devoted his time to a solo career, while the other two recruited

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bass player Joe Gannon and singer Barbara Bogue to become Dave Guard & the Calypsonians. There would be further changes. Reynolds left and Don MacArthur replaced him for a brief time. The remaining members began to call themselves The Kingston Quartet and continued singing at dead-end venues with little hope of breakout success. After a series of more personnel shufﬂing, Reynolds and Shane were brought back into the group, and the three of them — Shane, Reynolds and Guard — christened themselves The Kingston Trio. All the pieces ﬁt perfectly as each member had their part in the group for deﬁnite reasons. Shane sang most of the lead parts because of the quality of his voice and lack of experience singing harmony. He also played guitar. Reynolds and Guard shared the melody, with the former on second guitar and the latter on banjo. Individually, they were good, but together they were something special. They secured a one-week engagement at the Purple Onion, one of the premiere spots in San Francisco, backing comedienne Phyllis Diller. In a wise marketing move, they sent out invitations to all of their college friends, who showed up for the concerts creating a series of sell outs. The group would be elevated as headliners and remained at the club for the next ﬁve months, during which time they acquired a manager who hustled them a recording contract with Capitol. During their ensuing run at the Purple Onion, the lads polished their act to include a comedic side. They were able to woodshed to the point that their conﬁdence grew with each successive show as their name spread through the grapevine: The Kingston Trio was a hot act. The momentum would build from their stand at the Purple Onion and develop into a national tour. It was the beginning of the folk boom and The Kingston Trio was a leading ﬁgure. About this time, they released their ﬁrst self-titled album, containing a number of classics including “Scotch and Soda,” “Hard, Ain’t It Hard,” and “Tom Dooley.” The latter would spend some four months in the Billboard Top Ten ensuring the group star status, which was enhanced with appearances on The Dinah Shore Show and The Kraft Music Hall. An old standard, “Tom Dooley,” sparked interest in the group’s recorded material that equaled enthusiasm for their hot, live show. The three lads were a double threat act. When they returned to San Francisco, they appeared at the more prestigious Hungry I. It was at this venue where they recorded their second album, a live effort, which brought the polished, comical stage act to a wider audience, those not yet lucky enough to have seen them perform. During this time, a movie was made based on the song “Tom Dooley.” While it wasn’t a blockbuster hit, fans associated the ﬁlm with The Kingston Trio name, which helped sell more records and concert tickets.

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At Large, the group’s third album, illustrated the trio expanding on their solid base without losing the values that had brought them fame. The record was released in stereo, which at the time was a technological marvel and showcased an extensive use of overdubbing, including multiple voices, guitars and banjos. They also included more of an R&B edge to their traditional sound. At this point in time, The Kingston Trio was arguably the hottest act on the folk circuit. The year 1959 was a banner one for the group. In the thick of the folk revival, they appeared on the cover of Life magazine and were later voted Best Group of the Year in the issues of Billboard and Cash Box. They would add two Grammy awards to the increasing recognition that had swept across the country and spilled into international zones. They also appeared at the Newport Folk Festival and enjoyed a solid reception increasing their strong presence in the folk world. Despite their success, the opinion on the group was a mixed one. The mass audiences embraced The Kingston Trio for their talent, unity and musical appeal. However, the serious folkies rejected the group because they were not from the old guard, but upstarts who had cashed in by updating the traditional material that had been part of repertoires for years and putting it in a modern context. But the three of them boasted a large fan base made up mostly of college age students and rode the wave of popularity. The trio continued to dominate the charts and assume their role as one of the leading lights of the folk revival. With their clean-cut presence, the reworking of traditional folk standards, and their youthful exuberance, coinciding with the Kennedy administration and the Camelot image, their music deﬁned the folk-pop genre like no other group on the circuit. They were in such a powerful position that their rendition of “It Was a Very Good Year” and “The First Time Ever I Saw Your Face” would be two songs others recorded repeatedly. However, in 1961, a crises took place when Dave Guard left the group citing creative differences. Although he found some success, he never again enjoyed the same level of popularity experienced as a member of The Kingston Trio. He would go on to form the Whiskeyhill Singers, which included Judy Henske, David “Buck” Wheat and Cyrus Faryar. They recorded one album together and later appeared on the soundtrack of the western ﬁlm How the West Was Won. That same year, Wheat left the trio and Dean Reilly replaced him on bass. Reynolds and Shane needed to ﬁnd a replacement. John Stewart was born on September 5, 1939, in San Diego, California. He formed the Cumberland Three, which recorded three albums before joining The Kingston Trio. He would later go on to write “Daydream Believer,” which The Monkees would take to the top of the charts. His contributions were instantly

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strong as he sang lead on “Take Her Out of Pity” and wrote “Coming from the Mountains.” They continued to evolve. A good example was their own version of “Where Have All the Flowers Gone?,” a song Peter, Paul and Mary, a rival to The Kingston Trio, had achieved some chart success with. Although they avoided confrontational material for most of their career, they slipped in the occasional edgy song, including “Pastures of Plenty,” a Woody Guthrie composition, as well as the anti–Nazi “Reuben James.” They also introduced more of a political point of view in their live shows. Their version of “Where Have All the Flowers Gone?” changed the perception of the group through the eyes of those who perpetuated the folk revival: the college kids. Those who had enjoyed “Tom Dooley” now liked the idea of their favorite group making a political statement. In 1962, the Cuban Missile Crisis encouraged many academics to assume a stronger political and social conscience and to become more involved in what was going on in the world. The trio continued to participate in the hottest debates of the day with their recording of “Road to Freedom,” a song that was an integral part of the Civil Rights Movement soundtrack. However, just as it seemed as if they were becoming hip for the times, others such as Peter, Paul and Mary pull ahead of them. The big difference between the two was a choice of material. While The Kingston Trio relied on the Woody Guthrie and Pete Seeger songbooks almost exclusively, Peter, Paul and Mary were recording the tunes of the more contemporary Bob Dylan. By 1963, the folk music audience was quickly being split into two very different camps. The ﬁrst was the left-wing protesters who took on social and political challenges via their folk material, led by Dylan, Joan Baez and Phil Ochs. The other was the pop-folk crowd, which was dwindling quickly. While the three lads still placed songs high in the charts, their clean-cut image put them squarely on the other side of the ledger. With the arrival of The Beatles and the subsequent British Invasion, the Kingston Trio’s fate was sealed. Time had passed the group. While they would record solid material such as “I’m Going Home,” “The Last Thing on My Mind, “Where I’m Bound,” and “Early Morning Rain,” the trio could not compete with the likes of the immensely popular Fab Four, Dylan and the Rolling Stones. In June 1967, The Kingston Trio broke up after making their farewell appearance at the Hungry I. It was an end of an era in folk music. The members of The Kingston Trio went their separate ways. Stewart would continue a musical career. Reynolds left the business and became a farmer and businessman in Oregon. Guard remained active and eventually drifted into world sounds. Shane took some time off and reformed the group as The New Kingston Trio amid the 1950s nostalgia boom. The 1969 lineup

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included Pat Horine and banjoist Jim Conner, accompanied by bassist Frank Passantino and drummer Frank Sanchez. They carried on for some time recording new material trying to catch the initial spark of the group’s early, more successful days. However, they eventually disbanded. In 1973, Shane reformed the group proper. He combined his forces with Roger Gambill, born on September 10, 1928, in Wilkes County, North Carolina. The new member of The Kingston Trio developed a taste for country music and became a musician at Nashville’s Opryland before joining the group. He brought another side of the traditional element with him that had never existed in any lineup of the original trio. The other member recruited was Bill Zorn, born in Bridgeport, Connecticut; but because of his father’s traveling salesman job, he lived all over the country including rural Pennsylvania, Ohio, and ﬁnally Phoenix, Arizona. He picked up a guitar at an early age and formed different groups. Eventually, the young man became a member of The New Christy Minstrels and enjoyed success with that group before ﬁnally joining Shane and Gambill. Despite the nostalgia boom, it was difﬁcult for the group to ﬁnd the kind of fan base they had once enjoyed because their type of music didn’t appeal like it had over a decade before. The current edition of the college set would never embrace the new trio. However, they forged on, appealing to the crowd that had ﬁrst bought their records and attended their concerts back in the day. In 1975, Tom Green joined in order to augment their sound. He played with the outﬁt Nightsmoke, an opening act for The Kingston Trio, before he joined Shane and the others. Therefore familiar with their music, he was a good ﬁt bringing in strong vocal talents. Green would remain for some twenty years making enormous contributions on record and in concert before leaving. In 1976, Zorn left the group and George Grove replaced him. Grove was born on October 9, 1947, in Hickory, North Carolina. As a young boy, the Live at the Hungry i made a huge impact on him, dictating his future course in life. The determined man became a musician and worked at Opryland for a few years until he joined the group. He played trumpet and guitar and also brought along a ﬁne singing voice. They continued to roll on recording and performing but never created the excitement they had during their formative years. In 1981, a reunion concert was taped for PBS. Shane, Reynolds, Guard, Stewart, Grove, and Gambill all shared the stage singing the songs that had kept the group on the road for over twenty years. Mary Travers of Peter, Paul and Mary hosted the show and Lindsey Buckingham of Fleetwood Mac fame added his strong musical talents to the mix.

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They recorded 25 Years Non-Stop, a greatest hits package that was reproduced to include the trio’s biggest songs such as “Tom Dooley” and “The First Time Ever I Saw Your Face.” In 1983, the album Looking for the Sunshine followed and was well received. The band was picking up momentum and seemed to have found a solid niche in the entertainment world when tragedy struck; Gambill died of a heart attack. His replacement was Bobby Haworth. Howorth was born on October 9, 1946, in Spokane, Washington. He would learn to play the guitar, mandolin, banjo and ﬂute, as well as develop his singing talents. The young musician was part of a number of folk outﬁts before joining the somewhat popular Brothers Four. He made invaluable contributions to the group, who enjoyed a moderate level of success throughout the years. In 1986, he became part of The Kingston Trio — an ensemble he had always admired. In 1988, Reynolds rejoined the group and remained with them for the next eleven productive years. They had found their target audience made up of those who enjoyed the ringing harmonies of the early days of the folk revival, so they continued to record and perform. Reynolds retired a second time and Bobby Haworth returned. This lineup — Shane, Haworth and Grove — stayed intact for some ﬁve years. In March 2004, Shane suffered a heart attack that left him unable to go on the road. Bill Zorn entered and rejoined the group. A year later, Bobby Haworth left and Rick Dougherty ﬁlled in. The college kids who had been their biggest fans during the revival now brought their children and grandchildren to the concerts. The group had managed to survive a couple of generations. Despite the constant shift in personnel, The Kingston Trio continue to record and perform. The Kingston Trio was a folk revival jewel. One of the ﬁrst groups to catch the wave, they rode it for a few years and enjoyed a level of popularity that few before them or after ever did. While they managed to carve out their own niche, the outﬁt also changed the musical landscape in the process, bringing the genre a tremendous amount of respect not long after the McCarthy witch hunt had devastated the industry. Any discussion of The Kingston Trio begins with their harmony vocals which made them famous. Despite a revolving door of personnel, they managed to always create a rich balance between lead and background vocals that added depth to any material performed. The interplay between group members was the foundation of their entire sound and remains so to this day. Each member always knew their role in the group and never overstepped their boundaries, which created a clean, organized sound that enabled them to take any song and put a personal stamp on it. They recorded a wealth of material A partial list includes “Tom Dooley,” “When the Saints Go Marching In,” “Blow Ye Winds,” “Fast Freight,”

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“Haul Away,” “Round About the Mountain,” “The Unfortunate Miss Bailey,” “Blue Tattoo,” “New York Girls,” “The First Time Ever I Saw Your Face,” “Scotch and Soda,” “All My Sorrows,” “The Long Black Riﬂe,” “Farewell Adelita,” “The Tattooed Lady,” “Goodnight My Baby,” “Bye Bye Thou Little Tiny Child,” “The Last Month of the Year,” and many, many more. No matter the source of the song they were able to make it their own. The Kingston Trio inspired many others to form groups and sing the traditional material. The Limeliters, The Highwaymen, Bud & Travis, The Journeymen, The Halifax Three, The New Christy Minstrels, Serendipity Singers, Big 3, and The Shilos all followed the path The Kingston Trio blazed. Their success also urged other record labels and folk clubs to book folk acts trying to imitate the popularity of the Trio. In retrospect, they opened as many doors as Bob Dylan did with his personal brand of folk. But their inﬂuence spilled into different styles. Lindsey Buckingham of Fleetwood Mac, Timothy B. Schmit and Bernie Leadon of The Eagles, Al Jardine of The Beach Boys, Peter Albin of Big Brother and the Holding Company, Denny Doherty of The Mamas & the Papas, ABBA, Marty Balin and Paul Kantner of Jefferson Airplane, Richie Furay of Buffalo Springﬁeld, Gene Clark of The Byrds, David Grisman, Tony Trischka, Tom Paxton, Harry Chapin, Jimmy Buffett, Tim Buckley, Steve Goodman, Steve Gillette, Michael Smith, Jerry Burgan, Jerry Yester and Manhattan Transfer all beneﬁted from The Kingston Trio’s impact. The Kingston Trio was one of the more commercial, yet inﬂuential of all folk acts and spawned many imitators. While they remained mostly politically inert, their music pleased audiences and has done so for some ﬁfty years because of its wholesome quality. Although plagued by several personnel changes during a long, colorful history, the spirit never died. They remain one of the most interesting stories of the folk revival, and to many, they were trendsetters.

DISCOGRAPHY: The Kingston Trio, Capitol T-996. From the Hungry i, Capitol 1107. Stereo Concert, Capitol ST-1183. At Large, Capitol T/ST-1199. Here We Go Again, Capitol T/ST-1258. Sold Out, Capitol T/ST-1362. String Along, Capitol T/ST 1407. The Last Month of the Year, Capitol T/ST-1446. Make Way, Capitol T/TS-1474. Goin Places, Capitol T/ST-1564. Close Up, Capitol T/ST 1642. College Concert, Capitol T/ST 1658.

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Something Special, Capitol T/ST 1747. New Frontier, Capitol T/ST 1809. #16, Capitol T/ST 1871. Sunny Side, Capitol T/ST 1935. Time to Think, Capitol T/ST 2001. Back in Town, Capitol T/ST 2081. Nick Bob John, Decca DL 4613. Stay Awhile, Decca DL/ST 74656. Somethin’ Else, Decca DL/ST 74693. Children of the Morning, Decca DL/ST 74758. Once Upon a Time, Tetragramaton TD 5101. The World Needs a Melody, Longines Symphonette Society SYS 5607. Everybody’s Talking: The Houston Tapes, Vol. 1, Folk Era Records 1464. Live at the Crazy Horse, Silverwolf Records 1991. Best of the Kingston Trio, Capitol T/ST 1705. Best of the Kingston Trio, Vol. 2, Capitol T/ST 2280. Best of the Kingston Trio Vol. 3, Capitol T/ST 2614. Aspen Gold, Nautilus Nr-2. 25 Years Non-Stop, Xeres Records S CH 1-100001. Live at Newport, Vanguard Records 770092. Best of the Decca Years, Decca MCAD-11771. Kingston Trio Collector’s Series, C2-92710. The Capitol Years, The Boxed Set, Capitol 28498. The Stewart Years, Bear Family 16161.

The Clancy Brothers and Tommy Makem (1957–2007) Irish Hearts In the beginning of the revival, all artists sang updated versions of traditional material. One of the best, if not the greatest, sources of these songs was derived from the rich British, Irish and Scottish music veins. One group of brothers arrived in America, hooked up with a hometown friend and proceeded to bring to light the material of their ancestors with genuine Irish hearts. Tommy Makem was born on November 4, 1932, in Keady, County Armagh, Ireland. Unlike many others who were forced to learn their folk through records or on the street, his mother, Sarah Makem, a legendary singer and ethnomusicologist long before the term was coined; taught him many songs. These formed the foundation of a repertoire that included hundreds of old tunes some dating back over a hundred or more years.

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Although music was one of his burning passions, Makem wanted most to become an actor, so in order to pursue his dream, he relocated to the Big Apple as a young man. The aspiring thespian struggled for a few years until one night when he sang at Greenwich Village’s Circle in the Square Theater. Makem proved to have a good voice and discovered that there was money to be made in America singing traditional Irish songs. Later, the curious youth attended a performance of The Weavers and received encouragement from the group, particularly Pete Seeger, who was already a giant in the ﬁeld. While a good singer in his own right and the possessor of an encyclopedic knowledge of English, Irish and Scottish numbers, a partnership with the Clancy Brothers — Tom, Liam and Paddy — accelerated his career. Paddy Clancy was born on March 7, 1922. He sang Irish songs, but never envisioned a musical career. His brother Tom was born on October 29, 1924, also in Carrick-on-Suir, County Tiperrarey, Ireland. They served in World War II, before emigrating to Toronto, Canada. They worked odd jobs before relocating to the United States, ﬁrst in Cleveland, Ohio. Later, after they caught the acting bug, they had plans to go to Hollywood. When that adventure failed the pair ended up in New York City. In 1951, they arrived in Greenwich Village where legends Billie Holiday and Charlie “Yardbird” Parker had starred. The Irish brothers established themselves on Broadway ﬁnding great success and also appeared on TV performing in plays they had written. In order to ﬁnance their own production company, Trio Production, to the delight of the gathered crowds, they held Midnight Special concerts every Saturday night, harmonizing old Irish tunes learned during their childhood. It was an easy and enjoyable way for them to make money. Bobby Clancy, born on May 14, 1927, also in Carrick-on-Suir, County Tipperary, Ireland, joined them. He had toured Europe absorbing different cultures and musical styles before going over to the United States. The three were the ﬁrst unofﬁcial version of the Clancy Brothers. Despite the promise of great success, Bobby returned to Ireland to take over his father’s insurance business, which meant that Liam was free to pursue his dream of acting. Liam born on September 2, 1935, was the most artistic of all the Clancy boys. He was a painter, a poet and writer of short stories. He also produced, directed and designed scenery for plays. But his greatest single passion was acting, and he performed in many local theatrical productions. Like Makem, his mother was an important source of music and taught him dozens of old standards from the old country. Long before Makem and the Clancy Brothers joined forces in New York, they connected back in their homeland. In 1952, Jean Ritchie, one of the true pioneering spirits in folk history, had ventured to Ireland in search of authentic Emerald Isle songs and discovered Sarah Makem, as well as her son,

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Tommy. She was enchanted with their deep knowledge and repertoire of homespun tunes. A few years later, Diane Hamilton, another folk individual who cherished the Irish music and knew the importance of preserving it, met Paddy in New York and desired to follow in the footsteps of her mentor, Ritchie, to record authentic Irish folk songs. She went directly to the Clancy household and convinced them to help her on the venture. One of the sources they tapped was Sarah Makem. Liam, who accompanied Hamilton on the trek, met Tommy, and the two became fast and lifelong friends since they had similar interests in acting, theater and music. During that session, Tommy recorded “The Cobbler” shortly before leaving for America to make it as an actor. The story picks up in Dover, New Hampshire, where an unemployed actor, Makem, toiled in the mills to make ends meet. An unfortunate accident at work turned out to be a fortunate turn of events. Because the injury allowed him time off work, it enabled the curious Irishman to venture down to New York to reconnect with old friends, the Clancy brothers. The Clancy brothers — Tom, Liam and Paddy — along with Makem, decided to cut an album of Irish rebel songs. The result was The Rising of the Moon, which proved to be a regional hit, surprising the quartet and record producers. Initially, they had emigrated to New York in order to be actors not singers; the singing was a side hobby to make quick money. However the record proved to be so popular that they decided to give music a full attempt. The musical atmosphere had changed drastically from their ﬁrst recording. At that time, they had recorded a bunch of Irish songs in order to help Paddy’s recording company to release Diane Hamilton’s material. Liam had improved as a guitar player and Makem was once again able to play the bagpipes and the whistle having recovered from his work injuries. More importantly, three years of hanging out, getting to know one another, harmonizing and singing on an unprofessional level had developed a bond that would greatly fuel the next effort. Come Fill Your Glass with Us was a smashing success. It enabled them to extend their circle of live concerts into pubs from Chicago to Boston and other points on the East Coast. However, their base of operations was New York and their immense appeal allowed them to perform on a regular basis. Eventually, they came to the attention of staffers of the Ed Sullivan Show. On March 12, 1961, the Clancy Brothers and Tommy Makem performed for about a quarter of an hour to a worldwide audience of millions, which catapulted them to international status. The four of them sported Aran sweaters, projecting an image that was easy to package and that became their trademark. The importance of their TV debut was the attention it received from John Hammond, Sr., of Columbia Records.

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They were signed to a contract for an unprecedented amount of money and recorded A Spontaneous Performance Recording, which included classics such as “Brennan on the Moore,” “Jug of Punch,” “Reilly’s Daughter,” “Finnegan’s Wake,” “Haul Away Joe,” “Roddy McCorley,” “Port Láirge,” and “Moonshiner.” For this record, they enlisted the services of Pete Seeger on banjo, a service he was more than glad to provide, turning in some excellent session work. By the end of the year they had released Hearty and Hellish: A Live Nightclub Performance, appeared at Carnegie Hall and made the rounds of the radio and television talk show circuit in America. While the group were big stars in their adopted land, they yearned to be famous back in their homeland. Their wish was soon to be granted. In 1962, a popular radio host in Ireland, Ciarán Mac Mathúna, visited the United states, heard the group for the ﬁrst time and collected all of their albums. He played them on his radio show back in Ireland, and the quartet’s popularity soared. While many knew “Roddy McCorley,” “Kevin Barry,” and “Brennan On the Moor” as songs full of melancholy, the Clancy Brothers and Tommy Makem turned them into national treasures. They instilled musical pride in the Irish people, a point of the heart that was always going to be very well received. It was only a matter of time before they had to return to Ireland in order to reap the rewards of their newfound international popularity. They performed a sold-out tour of their homeland with many family members in attendance cheering them on. They also appeared in England and other parts of Europe, as well as Australia and Canada. Because of the large Irish population in Canada and the United States, the group had a built-in audience. In 1963, they continued to appear on American TV, mostly talk shows, rolling out their appeal as the four most famous Irishmen in the world. Their popularity was so widespread that they appeared on television with then President John F. Kennedy. With an unequalled ability to render a traditional Irish melancholy into a modern context with blustery energy, they became kings of the ballad. While the younger folk crowd and the college audiences were turning to more social and political causes, the Clancy Brothers and Tommy Makem continued to entertain their set audience with a homespun brand of folk. However, in the late 1960s, folk music and the ballad, the group’s specialty, reached a low ebb. Although their producer attempted to keep them popular by having them record in a variety of different contexts, including a multitude of stringed instruments and synthesizers, the quartet’s time in the sun had come and gone. It had been a good run, and they had made the Irish ballad one of the most acceptable musical forms in the traditional realm. In 1969, Makem left the group to pursue a solo career. Bobby came over

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to replace him and the quartet added two of the Furey brothers to make it a six-man outﬁt. They recorded Clancy Brothers Christmas and Flowers in the Valley. The group would experience dissension among the four brothers after the Furey’s left. Bobby would quit the band and the three — Paddy, Liam and Tom — carried on as a trio for some time. In 1971, they brought Louis Killen into the fold, someone they had recorded an album with a few years before. A master of the concertina, he appeared on the Save the Land and Show Me the Way for the Audio Fidelity label. In 1973, the group ofﬁcially disbanded after recording the album Clancy Brothers and Lou Killen’s Greatest Hits. Their last TV appearance included a guest appearance by Bobby, as the brothers had solved their differences for the time being. The brothers went their separate ways. Paddy and his wife settled down on their dairy farm. Tom became the star actor he had always dreamt about, appearing in ﬁlms and popular TV shows such as Little House on the Prairie, The Incredible Hulk, Charlie’s Angels and Starsky and Hutch. Liam suffered ﬁnancial problems and moved to Calgary. The only one to continue singing, he recorded the song “The Dutchman,” which became a hit and earned him the opportunity to host his own TV show. At the end of its run, Tommy Makem was a guest, and the duo realized how much they missed working together. In 1975, Liam and Tommy appeared at the Cleveland Irish Festival and sang a duet, receiving an overwhelming response. The two decided to record a self titled album; it included the smash hit, “The Band Played Waltzing Matilda.” Their lifelong friendship that had begun when they were young men was renewed. Makem and Clancy followed with a live album recorded in Dublin entitled, The Makem & Clancy Concert. They toured England, Australia, Canada and the United States appearing on a number of television specials. As well, the duo continued to release many successful albums proving that there was always a market throughout various parts of the world for the reworking of Irish ballads. After several years absent from the musical scene, Paddy, Tom and Bobby decided to reunite on a part-time basis. Their attempt at luring Liam back into the fold failed, so they were forced to recruit Robbie O’Connell, their sister’s son, in order to keep it a family affair. In 1982, they recorded a live album of mostly new material and were catapulted into the spotlight once again. The Clancy Brothers began to tour and revive the Irish ballad. In 1984, the four of them — Paddy, Liam, Tom and Tommy Makem — agreed to perform at the Lincoln Center in New York City. The enthusiastic audience provided a perfect background for the recorded concert, Clancy Brothers and Tommy Makem Reunion. A tour of England, Ireland and the United States lasted over a year as the group discovered that they had never

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gone out of favor due to their immense fan base. The energy, the spark and the desire to become a unit remained vibrant. In 1986, Makem and Liam Clancy recorded their ﬁnal album, We’ve Come a Long Way, before returning to their solo careers. Meanwhile, the Clancy brothers Paddy, Tom and Bobby, along with Robbie O’Connell, recorded a live album in Manchester, New Hampshire. The disc utilized speciﬁc technology that didn’t produce a very solid effort as it was panned by the critics and fans alike. However, because of their strong Irish spirit, the lads were not about to give up; they forged on. In 1990, Tom Clancy was diagnosed with stomach cancer and the subsequent surgery proved unsuccessful. His passing marked the end of an era. Liam joined forces with Paddy and Bobby, as well as his nephew, on stage as the Clancy Brothers continued to perform and record. An active quartet, they appeared on TV many times, including Regis and Kathie Lee and the 30th Anniversary Bob Dylan Concert. Eventually they cut Older and Wiser, which contained mostly new material that was well received. The foursome disbanded, but not before recording their ﬁnal tour entitled The Clancy Brothers and Robbie O’Connell: A Farewell to Ireland. After the quartet called it a day, Paddy and Bobby decided that they were not ﬁnished and continued under the Clancy Brothers name. Finbarr Clancy, Bobby’s son, joined the duo to make it a trio. Eventually Eddie Dillon, a friend to one of Bobby’s daughters, became the fourth member. Dillon became the ﬁrst and only American to be part of the still popular Irish group. The four of them found success with their built-in audience. Liam and Robbie O’Connell toured as a duo and added Liam’s son, Donal Clancy, to the mix. He had gained experience after having participated in the quartet’s ﬁnal tour and recording. This unofﬁcial version of the Clancy Brothers released two albums under the name Clancy, O’Connell & Clancy, their self-titled debut, as well as a collection of sea songs, The Wild and Wasteful Ocean. In 1999, the trio called decided to call it quits. On November 11, 1998, Paddy Clancy, the eldest of the group, died of cancer. Before his death, Liam and his older brother reconciled. The three of them — Bobby, Liam and Paddy — came together to sing at their local pub one ﬁnal time. After this, Bobby, Finbarr and Eddie Dillon resumed as a trio and called themselves The Clancys and Eddie Dillon, in order to avoid any unnecessary lawsuits. However, they made good use of the trademark name working many of the same venues and recording in a similar style as had every version of the group. In 1999, Bobby who had been diagnosed with pulmonary ﬁbrosis, eventually succumbed to the disease. It made his last few months on the planet very difﬁcult. However, there was one last triumph at the Milwaukee Irish Festival’s 20th anniversary. Robbie O’Connell, Donal, Liam, Bobby, Finbarr,

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and Aolfe Clancy and Eddie Dillon performed together. On September 6, 2002, Bobby Clancy died. Liam continued to tour solo and write. In 2002, he published his memories, Mountain of the Women: Memories of an Irish Troubadour. He later toured the book. In 2005, he appeared at the Gaiety Theatre in Dublin and sang with legends Ronnie Drew and Paddy Reillly. A year before, the massive and introspective biography, The Clancy Brothers with Tommy Makem & Robbie O’Connell: The Men Behind the Sweaters, appeared. Sadly, on August 1, 2007, old friend and former group member Tommy Makem passed away. Liam continues to record and tour. The Clancy Brothers and Tommy Makem were folk emeralds. They arrived on the scene with their Aran sweaters and glistening, intricate harmonies, sparking a renewed interest in one of the main sources of the folk revival: the Irish ballad. They performed thousands of concerts in various group formats and recorded a wealth of music. They were one of the most popular and delightful acts on the circuit. Every member that was ever part of the Clancy Brothers and their friend Tommy Makem could sing very well. More importantly, despite the fact that they all possessed strong individual voices which could stand on their own, their ability to blend different textures into one cohesive package was nothing short of musical genius. The bond between the initial quartet allowed them to interchange words and phrases with relative ease. Each member knew their role in the group so well that they could take liberties that only enhanced the product. The quartet’s specialty was the Irish ballad. By bringing their ancestral music into the American folk revival, they created a dimension that none of the musicians or singers from the United States could ever duplicate. Their secret existed in their ability to take a melancholy tune with depressing lyrics and add ﬁre and energy through their delicate harmonizing to create something fresh and new. Songs of dread and despair that the Irish people had wanted to forget became old favorites. A partial list of the old favorites that the group brought to life includes “Real Old Mountain Dew,” “Finnegan’s Wake,” “I’ll Tell Me Ma,” “Courting in the Kitchen,” “Johnny McEldoo,” “Nell Flaherty’s Drake,” “Me Grandfather Died,” “Bold Tenant Farmer,” “Brennan on the Moor,” “Paddy Doyle’s Boots,” “Whack Fol the Diddle,” Moonshiner,” “Boulavogue,” “Foggy Dew,” “Whiskey You’re the Devil,” “Old Woman from Wexford,” “Roddy McCorley,” “Johnny I Hardly Knew You,” “Eamonn An Chnuic,” “Kevin Barry,” “Little Beggarman,” “Minstrel Boy,” “Cruiscin Lan,” “Bold Thady Quill,” “Bungle Rye,” “I Know Where I’m Going,” “Barnyards of Delgaty,” “Maid of the Sweet Brown Knowe” and “Parting Glass.” No matter what song the Clancys sang, it rang with an authentic Irish spirit that endeared them to audiences around the world.

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It is only understandable that through their extensive catalog and longevity as performers, they would inﬂuence a number of other artists. A partial list includes The Irish Rovers, Wolfe Tones, The Tossers, Christy Moore, The Chieftans, Ashley McIsaac, Planxty, The High Kings, Celtic Thunder, Great Big Sea, The Battleﬁeld Band, Peter, Paul and Mary, Spirit of the West and Carolyn Hester, among others. The connection to the Canadian Maritime Irish tunes, as well as centers such as Boston inspired many to take up the mantle. The story of the Clancy Brothers and Tommy Makem is the deep tale of Irish lads and how they were able to crystallize their talents into a very attractive package. They occupy a special place in the folk boom with their revival of the Irish ballad, producing an excellent body of work that has withstood a ﬂuctuating wave of popularity. With their intricate harmonies, ﬁne singing voices and Irish hearts, they made a deep impact on traditional music.

DISCOGRAPHY: Rising of the Moon, Tradition TLP 1006. Come Fill Your Glass with Us, Tradition TLP 1032. The Clancy Brothers & Tommy Makem, Tradition TLP 1042. A Spontaneous Performance Recording, Columbia CL 1648. Hearty and Hellish, Columbia CL 1771. The Boys Won’t Leave the Girls Alone, Columbia CL 1909. In Person at Carnegie Hall, Columbia CL 1950. The First Hurrah!, Columbia CL 2165. Recorded Live in Ireland, Columbia CL 2265. Isn’t It Grand Boys, Columbia CL 2477. Freedom’s Sons, Columbia CL 2536. The Irish Uprising, CBS Legacy 32-B5-0001. In Concert, Columbia CL 2694. Home Boys Home, Columbia 9608. Sing of the Sea, Columbia 9658. The Bold Fenian Men, Columbia 9805. Christmas, Columbia 9876. Flowers in the Valley, Columbia CS 9932. Welcome to Our House, Audio Fidelity AFSD 6246. Show Me the Way, Audio Fidelity AFSD 6252. Save the Land, Audio Fidelity AFSD 6255. Live on St. Patrick’s Day, Audio Fidelity AFSD 6256. Greatest Hits. Vanguard VSD 53/54. Live!, Vanguard VSD 79445. Reunion, Blackbird/Shanachie BLB 5009. Tunes ’n’ Tales of Ireland, Folk Era FE 2061. Older but No Wiser, Vanguard VSD 79488. The Luck of the Irish, Columbia/Legacy CK 47900. Irish Drinking Songs, Columbia/Legacy CK 52833.

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Ain’t It Grand. Columbia/Legacy C2K 57639. In Person at Carnegie Hall, Columbia/Legacy 42571.

Chad Mitchell Trio (1958–1967) Missed Opportunities The folk revival fueled many aspiring musicians to create groups in order to capture the fever that raged throughout the country. With the emergence of coffee houses, mostly around colleges and universities, these newly formed outﬁts found plenty of venues to perform in. One of the best of the early ensembles, the Chad Mitchell Trio, emerged from the West Coast, and despite missed opportunities achieved a fair degree of fame. William Chad Mitchell was born in Portland, Oregon, in 1936, and during the middle of the Second World War moved to Spokane, Washington. An early music enthusiast, he formed a number of different groups as part of regular choirs and glee clubs in order to develop his singing talents. One of the outﬁts performed on the Spokane Rangers’ Radio Show, giving the aspiring musician a taste of future success. He would later study piano, but never became an accomplished musician. He formed his ﬁrst vocal quartet in high school and they performed at various venues, including Women’s Club, The Lions and the Rotary, as well as a slot on a local TV program broadcast on Friday nights. Although passionate about music, Mitchell still looked for the right road to lead him to fame and fortune. Eventually, he would follow a path to Gonzaga University in Spokane on a choral scholarship. There he met Mike Kobluk. Michael Kobluk was born in 1937 in Trail, British Columbia. Although surrounded by music from an early age, it wasn’t until high school that he began to start singing in the glee club. The future member of the Chad Mitchell group attended the University of British Columbia, combining his interests in mathematics and writing with the intention of becoming an architect. He took the longer road, studying engineering for a year then switching to the University of Gonzaga where he enrolled in business courses. When he joined the men’s glee club on campus, Mitchell was already a member. At the time, the aspiring young singer knew very little about folk music. He was aware of Harry Belafonte, the Calypso singer with the deep voice and sunshine in his mouth, as well as Burl Ives and The Weavers; however, it would be much later before he developed a deep interest in the style. When the glee club was disbanded, Mitchell recruited Kobluk as well as another student, Mike Pugh.

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Mike Pugh ﬁrst started singing with the group while at Gonzaga University. Originally from the West Coast, he followed a similar path as his two cohorts. In many ways, the third member was the missing piece to the puzzle, ﬁtting right in vocally and socially with Mitchell and Kobluk. In 1959, the trio was formed and blended their unique vocals into one smooth style, enabling them to ﬁnd work at frat parties and other events around town. While they enjoyed performing together, it was Father Reinard Beaver who really helped the group toward a professional career in the early days. The following summer, he suggested the trio, who had polished their act, accompany him to New York City in order to impress the talent scouts. They obliged and sang their way across the country at various venues in order to ﬁnance the trip. They were also building up an audience who would remember the three handsome college boys with the golden harmonies. Despite some initial tough times in the Big Apple, the trio eventually found work on the Arthur Godfrey Show. They also acquired a manager, landed a recording contract and hooked up with musical director Milt Okun. In the fall, when Father Beaver’s stint at the camp where he was working was done, the priest returned to Spokane alone. The group, now christened the Chad Mitchell Trio, was about to embark on a dizzying musical adventure that would take them from a status as relatively unknown singers to superstardom in a short period of time. They found plenty of work in and around the Big Apple in various clubs that catered to folk music. The trio also appeared on the Pat Boone Show and performed at Carnegie Hall on a bill that included Harry Belafonte, Odetta Holmes and Miriam Makeba. The group was picking up momentum and survived the winter intact; however, the following summer, Pugh quit the group to return to school. After dozens of unsuccessful auditions, Joe Frazier was hired on. Frazier was born in Pennsylvania where his family settled in the town of Lebanon. His father taught him the rudiments of guitar, and the young musician honed those skills until he was proﬁcient enough to play in front of an audience. The aspiring singer also worked on developing vocal skills. In high school, the young man boasted his own local radio program featuring classical, folk and Broadway show tunes. After graduation, the youth enlisted in the U.S. Air Force and was soon singing with a chorus on Sampson Air Force Base in New York State. Because of his radical political views, he was incarcerated. Eventually discharged, Frazier attended Lebanon Valley College, where he met his future wife and also became an actor. Because of certain political leanings, the music buff was an enthusiastic fan of Pete Seeger, The Almanac Singers, The Weavers, Josh White and Paul Robeson. The successful candidate became a member of the Chad Mitchell Trio before they recorded their ﬁrst album.

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In 1960, they cut The Chad Mitchell Trio Arrives, which went virtually unnoticed. Although it contained a strong selection of songs, the group was still discovering their personal singing voice. But long stints at such prestigious spots as the Blue Angel Nightclub in the Village enabled the three lads to hone the rough edges and polish their act. With each gig, they became a more professional outﬁt and expanded their appeal to a new audience every night. In 1961, they were signed to Kapp Records, a division of MCA, during the height of the folk revival. When they recorded a live album at Brooklyn College entitled Mighty Day on Campus, it was apparent that performing in front of an ebullient audience was the best setting for them. They were able to feed off the positive vibes from the crowd, which in turn, energized the group to try harder. One of the more interesting additions to the group was guitarist Jim McGuinn. He had earned notice as a strong support player with The Limeliters and remained with the Chad Mitchell outﬁt for about a year. In 1962, the foursome toured South America to enthusiastic reviews and also released the album At the Bitter End. McGuinn would eventually leave to become one of the founding members of The Byrds, a seminal outﬁt that would usher in the folk rock era. Despite McGuinn’s departure, they remained a solid musical enterprise because of their cautious approach. An example was their humorous but safe recorded version of “The John Birch Society,” a song which would sound much different in the hands of more politically astute groups. Another factor working in their favor was their wide range of abilities handling any material — folk, pop, and topical songs — with soaring harmonies. By 1962, they were one of the most popular folk acts with the mainstream audience that had not yet turned rebellious, although it would in a very short period of time. Things would change quickly for the group over the debate of whether they should cut a version of Bob Dylan’s risky “Blowin’ in the Wind.” Their producer and record company didn’t want them to cover the tune because it wasn’t considered suitable material for them. In the end, they didn’t record it, but Peter, Paul and Mary did, establishing them as the number one folk group surpassing the Chad Mitchell Trio. While they eventually waxed a version, it was done too late and with little effect, creating much distance between the band and their management team. In 1965, they signed to Mercury Records which didn’t change the group’s fortunes. However, by this time because of the waning interest in folk trios, Mitchell was coaxed to go solo, which infuriated Frazier and Kobluk. Even after they changed their name to The Mitchell Trio, the bickering and dissension did not cease. It seemed that one of the genre’s most popular groups was on the verge of self-destruction; the time bomb was ticking.

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When Bob Dylan went electric, he took with him a very large part of the folk audience and doomed groups like the Chad Mitchell Trio to the background. In 1965, Mitchell left the group and John Denver, then a young unknown songwriter, replaced him. Eventually, Frazier and Kobluk exited the group. However, Denver kept everything going by bringing in David Boise and Mike Johnson under the name Denver, Boise and Johnson in order to avoid lawsuits since they didn’t legally own the Mitchell name. John Denver went solo, and it put an ofﬁcial, if indirect, end to the Chad Mitchell Trio. In 1987, Mitchell, Kobluk, Frazier and Denver all reunited for several concerts broadcast on PBS. In 2005, the Mitchell-KoblukFrazier trio came together as part of a nostalgic folk package which also included Tom Paxton and the then current lineup of the Kingston Trio. A reissue of the classic material kept the name fresh in folk circles. Of the group, John Denver enjoyed the greatest success as a solo artist, recording such hits as “Leaving on a Jet Plane,” “Take Me Home Country Roads,” “Rocky Mountain High,” “Sunshine on My Shoulders,” “Thank God I’m a Country Boy,” “Annie’s Song,” and “Calypso.” Chad Mitchell would release a number of solo records before retiring from the business. Mike Kobluk settled in Spokane and assumed various positions in local entertainment. Joe Frazier and David Boise eventually left the industry. Michael Johnson recorded “Bluer Than Blue” and retired to Nashville where he continues to record to this day. The Chad Mitchell Trio was a folk revelation. They were also one of the most entertaining groups during the revival with an ability to mix humor with soaring harmonies and the proper choice of material — a combination that put them on top of the circuit, even if it was for only a brief moment. Arguably, if it had not been for a misjudgment from their record company and producer, they would have been labeled as one of the greatest ensembles of all time instead of an interesting footnote in the pages of history. Chad Mitchell was a tenor who sang on top and around the two-part harmonies. A capable vocalist, he was able to compliment the others in the group with his savvy and talent. The unofﬁcial leader of the outﬁt, despite possessing a strong voice and a deep experience in show business, he was never able to make his solo career eclipse the popularity enjoyed with the trio. Despite this fact, he remains one of the best known names of the revival. Joe Frazier was a baritone who added much needed punch to the trio’s sound. He was able to blend his vocal talents with Kobluk and Mitchell to create a uniform unit, but at the same time he managed to put down an individual style. Blessed with a voice that was instantly recognizable even in the mix of a group arrangement, the talented singer was able to add a distinct chapter in the annals of the outﬁt and the revival. Mike Kobluk was a tenor who was able to blend his voice with that of

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the others. He had an uncanny ability to ride between Mitchell and Frazier forcing them to bring out their best singing abilities in order to match his own personal style. A polished vocalist, he was an asset in any recording studio as well as in a live setting. In many ways, he was the ﬁnal piece to the puzzle and made the three-part harmony click. They covered a variety of material. “Mighty Day” depicted in poignant terms the devastation of the Galveston, Texas, hurricane. “Rum By Gum” told the story of the Prohibition movement. “Lizzie Borden” explored with satirical lyrics the “true” story of the famed axe murderess. There was also “The John Birch Society” and “The Ides of Texas,” which was one of their stronger political messages, poking fun at ﬁnancier Billie Sol Estes. Other interesting songs included “Barry’s Boys,” a slash against Republican presidential candidate Barry Goldwater. “The Draft Dodger Rag,” a Phil Ochs tune, depicted the anger against the Vietnam War recorded when the resistance movement was in its infancy. “Alma Mater” tackled segregation, a very controversial issue during the group’s best years, and it was coupled with “Your Friendly, Liberal, Neighborhood Ku-Klux-Klan.” The group’s repertoire was solidly based in folk, but also spilled into different styles. They recorded square dance numbers like “Whup Jamboree” and “Hello Susan Brown” and dabbled in gospel with “You Can Tell the World,” “I Felt So Good About It (Sin Bound Train),” and “One Day When I Was Lost (Easter Morn).” Their nature for experimentation enabled them to acquire a different type of fan base. One of the reasons for their eclectic choice of songs was musical director and arranger Milton Okun. They explored the songbooks of other folk artists. They recorded Tom Paxton’s “The Marvelous Toy,” “What Did You Learn in School Today?,” and “We Didn’t Know.” They covered Woody Guthrie’s “The Great Historical Bum (Bragging Song),” Bob Dylan’s “Blowin’ in the Wind,” “With God on Our Side,” and “Mr. Tambourine Man.” However, unlike others like Peter, Paul and Mary who had a big hit with “Blowin’ in the Wind,” and The Byrds who scored with “Mr. Tambourine Man,” the Chad Mitchell Trio never managed to turn a Dylan tune into gold. The group was always backed by quality musicians. Jim McGuinn, who played guitar and banjo and later founded The Byrds, was an alumni. Also Erik Darling on ﬁve-string banjo was associated with The Weavers, The Tarriers and The Rooftop Singers. Paul Prestopino played guitar, banjo and mandolin on various occasions. Bob Hefferan, Vic Messer, Bruce Langhorne, Fred Hellerman, Jacob Ander, Dennis Collins, and David ( Juke) Ander were guitarists. Later, John Denver would add his instrumental talents to the outﬁt’s sound. Pete Soloway was an acoustic bass specialist, while Norman Keenan, Clyde Lombardi, John Frigo and Jim Atlas all were proﬁcient on the electric bass.

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The history of the Chad Mitchell Trio is a rich tale of three lads who produced magic, singing together a wealth of material they wrote and covered. No matter who was in the lineup, their appeal and power always worked, making them an interesting chapter in the folk revival sharing in the fever that raged throughout the entire fan column. However, one will always wonder how far the group would have gone if they had not suffered missed opportunities.

DISCOGRAPHY: The Chad Mitchell Trio Arrives, Colpix SCP411. Mighty Day on Campus, Colpix SCP463. At the Bitter End, Kapp KL-1262. At the Bitter End, Kapp KL-1281. Blowin’ in the Wind, Kapp KS-3313. Singin’ Our Mind, Mercury MG20838. Reﬂecting, Mercury MG20891. The Slightly Irreverent, Mercury MG20944. Typical American Boys, Mercury MG20992. That’s the Way It Gonna Be, Mercury MG21049. Violets of Dawn, Mercury MG21067. Alive, Reprise R56258. Mighty Day —The Chad Mitchell Trio Reunion, Folk Era FE1422. Chad Mitchell Trio Reunion Part 2, Folk Era FE1438. An Evening with the Chad Mitchell Trio & Friends, Medium Rare Records MR002. The Best of the Chad Mitchell Trio, Kapp KL1334. The Chad Mitchell Trio Collection, Verve VSD-5749. The Very Best of the Chad Mitchell Trio, Vanguard 79494-2. The Chad Mitchell Trio —The Mercury Years, PolyGram 314534 400-2.

New Lost City Ramblers (1958–1975) Old-Time Reintroduction One of the most important elements of the folk revival was the Antholog y of American Folk Music. It sparked a renewed interest in material and artists whose songs had been included in the famed collection. One group took the idea a step further with the reintroduction of old-time lost classics by bringing them to a modern audience without losing the magic. They were the New Lost City Ramblers. In 1958, the New Lost City Ramblers were formed and boasted an impressive pedigree. Mike Seeger was born on August 15, 1933, in New York

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into one of the ﬁrst families of traditional music. His father, Charles, mother, Ruth, half-brother, Pete, and sister, Peggy, all boasted solid folk credentials. By his teens, Mike was adept at the autoharp, banjo, ﬁddle, dulcimer, mouth harp, mandolin and dobro. He also beneﬁted from the music his parents brought from the Library of Congress. Another advantage was having Elizabeth Cotten living in the house for ﬁve years. Initially, Mike began to perform with his sister, Peggy, at square dances before forming a band with Hazel Dickens and Bob Baker. He was also conducting ﬁeld recordings, creating for himself credentials as an ethnomusicologist. His entire childhood, teen and adult experiences crystallized to a point when he helped form the New Lost City Ramblers in order to perform string band music from the lost era of the 1920s and 1930s. John Cohen was born in 1932 in New York City. Like Seeger, he learned to play several instruments including guitar, banjo and mandolin. The interest in American roots music started long before joining the New Lost City Ramblers; in fact, the young musician had served a lengthy apprenticeship. For years, he had studied traditional music and taught himself hundreds of songs. In many ways, he complimented Seeger and third member of the group, Tom Paley. Tom Paley was born on March 19, 1928, in New York. At an early age, the young boy discovered old-time music and it soon became a consuming passion. Utilizing the Antholog y of American Folk as a base, the keen student learned many of the songs from the collection that served as a foundation of his sound. He taught himself the ﬁve-string banjo, as well as the guitar, and quickly developed those skills until becoming very proﬁcient on both instruments. He would play brieﬂy with legend Woody Guthrie before moving on to join friends Seeger and Cohen in the New Lost City Ramblers. The three musicians, with their dedication to old-time music and attempt to recreate that sound and bring it to modern audiences, formed on the cusp of the folk revival. Their fast-paced career accelerated very quickly. Barely formed, the trio released their ﬁrst recording, The New Lost City Ramblers, on the Folkways label. The traditional material included instrumentals “Forked Deer,” “Tom Cat Blues,” “East Virginia Blues,” “Brown’s Ferry Blues,” and “Don’t Let the Deal Go Down.” Many of the songs featured social concerns, a reoccurring theme throughout all of their studio material. In 1959, they released a second album, The New Lost City Ramblers, Vol. 2. Some of the song highlights include “Up Jumped the Devil,” “Tom Dooley,” “Bank of the Ohio,” and “Hawkin’s Rag.” More than anything, the disc demonstrated a commitment to a purer strain of folk than their rivals The Kingston Trio were performing, as the latter specialized in folk-pop. A comparison of each’s version of “Tom Dooley” underscores the point, although The Kingston Trio’s version was a massive number one hit.

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The New Lost City Ramblers also appeared at the Newport Folk Festival where they caused a sensation with their down-home sound that was a throwback to a bygone era. In the process, they had a hand in helping Buell Kazee, Clarence Ashley, Dock Boggs and Hobart Smith all revive their careers. Everyone of the old-time musicians had been part of the Antholog y of American Folk. The Ramblers’ dedication to the roots of American music assured them a heavy touring schedule and a solid fan base at many venues across the country. In 1962, Paley left the group and Tracy Schwarz replaced him. Schwarz was born on November 13, 1938, in New York City; and when he heard country music for the ﬁrst time on the radio, he was hooked for life. Soon after, the enthusiastic student took up the banjo and guitar, teaching himself how to play all of the old-time standards. Later, in college, he added the mandolin and bass ﬁddle to his musical arsenal. While a strong multi-instrumentalist, it was the bass ﬁddle that would gain him widest acclaim. He brought a harder edged sound to the group. With the addition of Schwarz, the group began to include more Appalachian songs into their repertoire, both the religious and secular type. While the trio was trying to broaden their appeal, they were also educating American and international audiences about the beauty and importance of preserving traditional music. Their appearance on TV, on tours and at festivals were the perfect venues for these lessons to take place. Despite the fact that there was an honesty and sincerity in their music, they soon fell behind the fast changing times. By 1963, many folk artists began writing more overtly political songs that included original material. The subsequent British Invasion didn’t do the group any favors since The Beatles and The Rolling Stones relied on the ﬁrst generation of rock and rollers, blues and rockabilly as their musical source book, instead of the Appalachian folk strain. Despite not being in sync with the record buying public, the Ramblers continued to record a steady stream of albums, concentrating on the old-time music of the jug band, in similar fashion to past groups such as The Fruit Jar Drinkers and The Skillet Lickers. A good example was Remembrance of Things to Come released during the psychedelic era. It featured the three of them — Seeger, Schwartz and Cohen — doing what they did best: reviving lost classics and putting them in a modern context. “Black Bottom Strut,” “New Lost Hometown Blues,” A.P. Carter’s “The Titanic,” “Dark and Stormy Weather” and “Soldier’s Joy” were just some of the highlights. They toured throughout the United States playing at bluegrass festivals, jamborees and folk festivals, putting down their retro sound with distinction and instrumental imagination. They also featured lost, important artists (from their perspective) backing them with spoons, guitar, harmonica, ﬁddle, banjo,

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mandolin and a dozen other instruments. A good example was The New Lost City Ramblers with Cousin Emmy. Taking over the vocal chores enabled Cousin Emmy to excel on several cuts including “A Home in Old Kentucky,” “Ruby, Are You Mad at Your Man?,” “Mother’s Grave,” “Johnny Booker” and “Chilly Scenes of Winter.” Despite the importance and dedication to their work, a lack of genuine progress and interest in their music waned. In 1975, the New Lost City Ramblers disbanded long after the folk revival had faded into the pages of history. They had made a serious impact on the course of traditional music with their staunch idealism and brought appeal to the common music fan. Each went on to pursue different activities with mixed results. Mike Seeger toured and recorded with his wife, Alice Gerrard, a classically trained musician who would eventually discover folk and blues via the recordings of the New Lost City Ramblers. As far back as 1962, Seeger had been involved in a number of solo albums and side projects. He recorded his self-titled debut on the Vanguard label. In 1965, Tipple, Loom & Roll: Songs of the Industrialization of the South was released with the effort dedicated to the poor working conditions in coal mines and factories through songs like “The Miner’s Blues,” “Cotton Mill Blues,” “The Hard Working Miner,” “Factory Girl,” and “Come All You Coal Miners.” He formed the Strange Creek Singers with Hazel Dickens, his wife, Alice, and Lamar Grier. Seeger also took on major responsibility with his strong involvement in the Newport Folk Festival and as director of the Smithsonian Folklife Company that included the compilation of scholarly projects. However, he still found time to record his own solo material, mainly for the Rounder label. A good example was Fresh Old-Time String Band. Like with the New Lost City Ramblers, he updated and revitalized oldtime string band music to bring to a new audience. “Black Jack Davey,” “Poor Black Sheep,” “Pork Fat Makes My Chicken Tan” and “Boatman” were some of the highlights. This collection involved collaborators Kirk Stuphin, Norman and Nancy Blake, The Horseﬂies, and James Bryan, utilizing some interesting instruments such as a fretless banjo. In 1984, he won a Guggenheim Fellowship. Later, Seeger won the Rex Foundation’s Ralph Gleason Award and the Award of Merit from the International Bluegrass Music Association. Although the talented individual participated in a number of activities, he never wavered from his penchant for keeping the ﬂame of old-time music burning. The devoted folkie also brought Libby Cotten to a mass audience, touring with her and helping out on the studio work. Sadly, on August 7, 2009, Mike Seeger died of cancer in Lexington, Virginia. John Cohen would go on to become a well-known photographer, artist, musician, ﬁlm documentary maker and teacher that involved a long stint at

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Purchase College. He also made a number of documentary ﬁeld recordings of traditional musicians in their home settings, continuing the work of such pioneers as John and Alan Lomax, Helen Flanders and Margaret MacArthur, among others. There were many facets to the remainder of a career that was very interesting and productive. Two of his ﬁeld recordings, High Atmosphere and Mountain Music of Kentucky, were considered the best Appalachian ﬁeld collections ever assembled. Even while a member of the group, Cohen was involved in side projects. In 1961, he founded the Friends of Old Time Music with Ralph Rinzler & Israel Young. They organized concerts where old-time singers Roscoe Holcomb, Clarence Ashley, Doc Watson, Dock Boggs, Mississippi John Hurt, The Stanley Brothers, Bill Monroe, Gus Cannon, Joseph Spence, Hobart Smith, Almeda Riddle, Bessie Jones and many others were able to perform and extend their careers. He also made documentaries of these individuals, most notably Roscoe Holcomb. Cohen would also record with the Putnam String Country Band, which included members Jay and Lyn Ungar and Abby Newton. He made solo records like Stories the Crow Told Me, an interesting collection that featured him singing in a very rustic manner with banjo and guitar. “Farmland Blues,” “Rambling Hobo,” “The Highwayman” and “Chitlin Cookin’ Time in Cheatham County” were some of the highlights. David Grisman, Jody Stecher and Sue Draheim added string band touches to a few of the numbers. Other contributions include writing linear notes for the Alan Lomax portrait series, “Texas Gladden,” as well as Jerry Garcia & David Grisman: Shady Grove. He penned articles for Sing Out! magazine as well as conducted interviews with Bob Dylan, Pat Conte, Roger McGuinn, Dillard Chandler, Harry Smith, John Hartford and Roscoe Holcomb that were later published. There seemed to be no end to his endeavors. In 2006, Cohen formed the Velocity Ramblers with Peter Stampfel, Pat Conte, Walker Shepard, Sam Shepard and Betty Berlin. The multi-talented individual continued to produce recordings of traditional American music, including An Untamed Sense of Control (Roscoe Holcomb), Dark Holler (Dillard Chandler), The Lost Recordings of Banjo Bill Cornett (Bill Cornett), and If I Had My Way (the Rev. Gary Davis). Photography was also a major part of his work, including photographs of a young Bob Dylan. He continues to record, write, draw and perform. Tom Paley continued to play traditional music after leaving the New Lost City Ramblers. He formed Old Reliable String Band with Roy Berkeley and Artie Rose. Later, he moved to Sweden and ﬁnally to England where he formed the New Deal String Band and learned how to play the ﬁddle. Other projects included The Mysterious Redbirds, a group which included James Reams and Bill Christophersen; they recorded three respected albums.

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In 1993, he was elected president of the Friends of American Old-Time Music and Dance. He continues to record with his sons, Ben and Tom. Tracy Schwarz continued to record and perform, most notably with the Strange Creek Singers. He would cut a number of interesting solo albums further displaying his virtuoso ability on the ﬁddle that reached an international level. He also collaborated on projects with a variety of outﬁts including his Cajun Trio. In the past few years, he has teamed up with Ginnie Hawker. The duo perform southern Appalachian mountain music, proving that the penchant for old-time music never dies. Despite their busy schedules, Seeger, Schwarz and Cohen reunited to perform and record on occasion. In 1997, they released There Ain’t No Way Out, a mixture of old-time, bluegrass, blues, spirituals and Cajun with songs like “God’s Gonna Ease My Troublin’ Mind,” “Shady Grove,” “Skip to My Lou,” “Cumberland Gap” and “Crapshooter’s Hop.” In 2009, the band celebrated its 50th anniversary. Although they had disbanded many years before, the group had maintained solo interests in promoting the old-time music they all so dearly loved. However, the death of Mike Seeger ended the possibility of any future reunions. It was the end of an era. The New Lost City Ramblers were a folk wonder. With their dedication to old-time music, they predated the entire acoustic coffee house return to the roots boom of the revival. They were able to bring to life many traditional songs that would have otherwise been lost or remained dormant. There was an authenticity in their sound coupled with a strong instrumental element that enabled them to experiment with material that others could and would never consider recording. The group possessed one of the strongest instrumental abilities of any folk revival group. Mike Seeger, John Cohen and Tom Paley were all solid virtuosos who managed to mesh their abilities together into one cohesive entertaining package. They utilized their skills to bring out the best of the old-time music, drawing inspiration from Uncle Dave Macon, Charlie Poole, Bill Monroe, The Carter Family, Woody Guthrie, Dock Boggs, Roscoe Holcomb, Kelly Harrell, Bascom Lamar Lunsford, Eck Robertson, Gid Tanner and His Skillet Lickers, Sam & Kirk McGee and Clarence Ashley. The outﬁt professed that the music of those who recorded long ago was gold and proved it with each carefully executed cover. In turn, they inﬂuenced John Sebastian, Buffy Sainte-Marie, The Red Clay Ramblers, Lindsey Buckingham, Jerry Garcia and Jim Kweskin. They also brought on the folk, bluegrass, and old-time revivals that would occur throughout the next forty years. Many amateur outﬁts that perform at these festivals all over the United States and the world who dedicate their sound to the music of the past owe a debt of gratitude to the New Lost City Ramblers. Some of the songs they brought back to life included “We Are Up Against

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It Now,” “Dear Okie,” “Bye Bye Black Smoke Choo Choo,” “Cotton Eyed Joe,” “Eyes Are Blue,” “Old Bell Cow,” “Rabbit Chase,” “Weave Room Blues,” “Hot Corn,” “Fly Around My Pretty Little Miss,” “Black Mountain Rag,” “The Titanic,” “New Lost Hometown Blues,” “Soldier’s Joy,” “Dark and Stormy Weather,” “A Home in Old Kentucky,” “Railroad on the Great Divide,” “The Old Man at the Mill,” “Walking Boss,” “A Night at the Country Opera,” and many others. The New Lost City Ramblers provided an important and genuine dimension to the folk revival with their dedication to bringing treasures from the past to a modern audience. They displayed splendid virtuoso as individuals and in a group setting. Despite the fact that they recorded much of the material many years ago, it remains fresh and interesting. The old-time reintroduction project was a successful endeavor and continues to inﬂuence others interested in keeping the ﬂame alive.

DISCOGRAPHY: The New Lost City Ramblers: The Early Years, 1958 –1962, SF 40036. The New Lost City Ramblers: Volume II, SF 40040. There Ain’t No Way Out, SF 40098. New Lost City Ramblers: 40 Years of Concert Recordings, Rounder 821 610 481-2. New Lost City Ramblers (1958), FA 2396. New Lost City Ramblers, Volume 2, FA 2397. New Lost City Ramblers, Volume 3, FA 2398. New Lost City Ramblers, Volume 4, FA 2399. New Lost City Ramblers, Volume 5, FA 2395. Old Timey Songs for Children, FC 7064. Songs from the Depression, FH 5264. Tom Paley, John Cohen and Mike Seeger Sing Songs of the New Lost City Ramblers, FA 2494. American Moonshine and Prohibition, FH 5263. Gone to the Country, FA 2491. String Band Instrumentals, FA 2492. Rural Delivery Number One, FA 2496. Remembrance of Things to Come, FTS 31035. Modern Times, FTS 31027. Cousin Emmy with the New Lost City Ramblers, FTS 31015. On the Great Divide, FTS 31041. The New Lost City Ramblers, EPC 602. Earth Is Earth, FF 869. Radio Special #1, EPC 603. 20 years — Concert Performances, Flying Fish 102. 20th Anniversary Concert, with Elizabeth Cotten, Highwoods String Band, Pete Seeger & the Green Grass Cloggers, Flying Fish 090. The New Lost City Ramblers & Friends with Cousin Emmy, Maybelle Carter, Eck Robertson, Roscoe Holcomb, Dock Boggs and Sam & Kirk McGee, Flying Fish 77011-2.

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Stories the Crow Told Me, Acoustic Disc ACD 34. Mountain Music of Kentucky, SF 40077. Roscoe Holcomb: The High Lonesome Sound, SF 40079. Roscoe Holcomb: Close to Home, Folkways FA 2374. High Atmosphere, Rounder 0028. Old Love Songs and Ballads (from North Carolina), Folkways FA 2309. Dillard Chandler: The End of an Old Song, Folkways FA 2418. When Kentucky Had No Union Men: George Davis, Folkways FA 2343. The Music of Wade Ward & Roscoe Holcomb, Folkways FA 2363. Mountain Music of Peru, Vol. 1, Smithsonian Folkways SF 40020. Mountain Music of Peru, Vol. 2, Smithsonian Folkways SF 40406. Huayno Music of Peru, Arhoolie 320. Huayno Music of Peru, Vol. 2, Arhoolie 338. From the Mountains to the Sea, Arhoolie CD 400. Your Struggle Is Your Glory, Arhoolie LP 3025.

Ian and Sylvia Tyson (1959–1975) Canadian Folk Duo In the 1960s, during the revival, the Canadian music industry exploded as new talent emerged from coast-to-coast. Gordon Lightfoot, Joni Mitchell, Buffy Sainte-Marie and Neil Young were just some of the new voices who put the country on the modern folk map. Like every other artist, they were able to cite important inﬂuences on their development that included the Canadian folk duo, Ian & Sylvia. Ian Dawson Tyson was born on September 25, 1933, in Victoria, British Columbia. Although he enjoyed music, the youth had decided by his teens to be a rodeo rider. He joined the circuit, but an accident from a fall ended a brief career. While recuperating from his injuries, the determined individual started to play music. Eventually he relocated to Toronto and found work playing clubs and coffee houses. By 1959, Tyson was a full-time musician. Although a good singer and instrumentalist, Tyson was one of dozens of such performers playing traditional songs and the odd original composition. The struggling artist was caught up in the folk revival that was sweeping North America and would reverberate throughout the world. Intent on becoming a musical force, he needed to add a different dimension to a standard act. The solo artist found a future partner when he met a pretty, young singer who would become a special force in his life. Sylvia Fricker was born on September 19, 1940, in Chatham, Ontario.

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She loved music and had a wide range of tastes that included traditional material, country, Big Band jazz and even show tunes. In her teens, she was determined to make it as a folk singer and poured all her energies into achieving that particular goal. After graduating from high school, the songstress relocated to Toronto where eventually the two met. The pair sounded good together and they practiced their unique female and male harmonies until it was one ﬁnely honed package. At the time, with the exception of The Weavers, most of the early stars of the folk revival featured only male lineups; the duo offered something different. In the 1950s, Toronto was the acknowledged Canadian mecca of music — especially folk that boasted a small colony — and anyone who wanted to make it settled there. However, after some time, the pair decided to relocate to New York City. In New York, they continued to play coffee houses and other venues, bringing a distinct Canadian ﬂavor with a spattering of East Coast, West Coast and Central folk material. They began to write more original material and continued to develop their male-female harmonies. Their hard work paid off when Albert Grossman, Bob Dylan’s manager, liked what he heard and signed them to a recording contract with the Vanguard label. Their ﬁrst album consisted of traditional material including British as well as Canadian folk songs. There was some spiritual material and a few blues tunes thrown into the mix. Although it didn’t make a huge splash, the record was successful enough to earn them a spot at the Newport Folk Festival. The event was a springboard for many who wanted to make it in the folk ﬁeld, and Ian & Sylvia made the most of their appearance, earning enthusiastic reviews. Their second recorded effort mirrored their ﬁrst. However, there was the original composition, “Four Strong Winds,” which earned them a larger spot in the spotlight. A true Canadian tune, Neil Young would record a version during his long, distinguished career. In a short time, it became a standard folk classic, and a variety of musicians from different corners would cut their own interpretations. The second set also featured a Bob Dylan song, “Tomorrow Is a Longtime.” In 1964, the couple married. They also released their third album, Northern Journey. Among the standouts was the original song “You Were on My Mind,” which the California group We Five would take to number one. Another major composition was “Someday Soon,” covered by many artists including Judy Collins. Bobby Bare, a country artist, recorded his own version of “Four Strong Winds,” giving the Tyson’s increased clout in music circles. As an inspiration to others, they cut Early Morning Rain, the title track taken from then relatively unknown singer Gordon Lightfoot. They also covered his “For Loving Me,” as well as Steve Gillette’s “Darcy Farrow.” The rest

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of the record was balanced out with their own compositions. By showcasing the music of struggling, fellow Canadians, the couple enhanced the country’s musical environment, which in turn increased their appeal. In 1965, they released Play One More, displaying a signiﬁcant move from simple acoustic music to the more electriﬁed sound that was becoming increasingly popular at the time with the emergence of The Byrds and The Lovin’ Spoonful, among others. They supported the recordings with regular tours of Canada and the United States playing to enthusiastic audiences at various venues, including clubs and outdoor concerts. The duo was one of the more visible husband and wife teams on the circuit with very few competitors. By 1967, they were one of the most celebrated folk duos on the North American circuit. They would release two more albums: So Much for Dreaming and Lovin’ Sound, which featured more of the same folk rock recorded on their previous effort. They also hosted a weekly TV program for the CBC that enriched their already solid standing in the music community. It gave them another opportunity to showcase new Canadian talent, something they did with regularity. They continued to change musical styles. For their next album, Nashville, they recorded in Music City U.S.A., delving into country rock. The work included two songs from Bob Dylan’s Basement Tapes, and a host of original compositions. Although “Farewell to the North,” “Taking Care of Business,” “She’ll Be Gone,” “London Life” and “Ballad of the Ugly Man” were solid efforts, many fans hoped that they would return to their folk roots. In 1970, they became part of the rock group Great Speckled Bird, consisting of studio musicians Amos Garrett on guitar, Buddy Cage on steel guitar, and N. D. Smart on drums, which was organized for a weekly CBC program. They were eager participants in the cross–Canada rock and roll rail tour, Festival Express, and recorded a self-titled album that failed because of inadequate company marketing practices. The Canadian musical landscape was changing in many ways that Ian & Sylvia were not able to cope with, so they started to sound stale. Their last two efforts as a duo, Ian & Sylvia and You Were on My Mind, featured mostly hard country rock and mainstream country. There had been problems in their relationship for some time due to the pressures as performers. The two who had been together for sixteen years left one another behind when they split up and divorced. Although the partnership was over, the pair could look back at a long, illustrious career that had inﬂuenced a number of artists on both sides of the border. After they broke up, Ian retreated to Western Canada, speciﬁcally the ranch country of southern Alberta in order to train horses. The former rodeo enthusiast decided to return to music and recorded Old Corrals & Sagebrush, consisting of traditional cowboy songs. A couple of years later, he would be

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swept up in the cowboy renaissance performing his material at a gathering of saddle makers, rawhide braiders, cowboy poets and musicians. It renewed his career, and the old folkie has ridden the wave ever since, recording songs about the desert, sage hills and riding horses. Some of the releases include Ian Tyson, Cowboyography, I Outgrew the Wagon, And Stood There Amazed, Eighteen Inches of Rain, Lost Herd, Live at Longview, Songs from the Gravel Road, Yellowhead to Yellowstone and Other Love Stories. In 2010, he embarked on a cross-country tour of Canada to celebrate his ﬁve decades of performances and also wrote an autobiography, The Long Trail: My Life in the West. Meanwhile, his one-time partner Sylvia established an impressive solo career. She hosted a radio show on the CBC Network, Touch the Earth, as well as a national TV show, Country in My Soul. She would release a number of solo works including Gypsy Cadillac, You Were on My Mind, Cool Wind from the North, River Road & Other Stories, and the greatest hits package, The Very Best of Sylvia Tyson. Later, Sylvia would establish her own record label and co-author a book about songwriting entitled And Then I Wrote. In 1994, she joined Quartette, a super group consisting of herself, Cindy Church, Caitlin Hanford and Gwen Swick. The four delighted audiences with their lush harmonies and diverse repertoire consisting of blues, gospel, folk, country, jazz and pop. Simultaneously, she also continued a solo career touring with the own show, River Road and Other Stories. Ian and Sylvia Tyson were a golden folk duo. They were very popular during the revival and managed to create a solid catalog and introduce the malefemale harmonies that would make them famous and inﬂuence a number of other groups. They also demonstrated a knack for writing ﬁrst-rate material that a variety of different artists covered and continues to earn the pair royalties. There was something special about the Tyson-Fricker musical collaboration. Ian had a strong, mature vocal delivery that was perfectly tailored to the folk material he wrote and sang. His ability to mesh that talent with his partner was the secret of their success. Sylvia possessed a smooth, higher-pitched tone that blended well with her husband’s lead voice. Individually, they have proved that they were talented, but as a duo it is understandable why they created such a sensation. They possessed the ability to take any folk tune, whether traditional or an original composition, and mold it into something special because of the magical quality of their harmonizing. Some of the songs that made them famous include “Four Strong Winds,” “When I Woke Up This Morning,” “Come All Ye Fair and Tender Ladies,” “Someday Soon,” “The French Girl,” “Early Morning Rain,” “Tomorrow Is a Longtime,” “The Wheels on Fire” and “Circle Game,” among others. They also experimented with different styles, proving that they could handle any type of material.

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The duo were pioneers. In the beginning, they spearheaded the folk movement in Canada, as well as being an integral part in the early days of the folk revival. Later, they pioneered the country rock movement as members of the Great Speckled Bird group. Because of their willingness to experiment, they gained more respect and inﬂuenced a number of people. A partial list includes Connie Kalder, Jim Croce, Paul Siebel, The Byrds, Daniel Lanois, Lucinda Williams, Crystal Shawanda, Iain Matthews, The Mamas & the Papas, Tom Russell, Crosby, Stills and Nash, Neil Young, Fairport Convention, Joni Mitchell, Leonard Cohen, The Carpenters, Ike & Tina Turner, and Poco. For their efforts they received a number of awards. In 1992, Sylvia was inducted into the Canadian Music Hall of Fame. Three years later, she received the Governor General’s Order of Canada. Ian Tyson was the recipient of the Order of Canada and has been inducted into numerous Halls of Fame. In 2000, his song “Four Strong Winds” was voted top song of the 20th century in a CBC poll. They are among the most recognized Canadian music personalities and still draw a strong crowd ﬁfty years after they began their career. Ian and Sylvia Tyson were one of the most interesting and effective couples during the folk revival. They delivered a number of strong albums and wrote a solid body of music that still receives airplay on selected radio stations to this day. Even after their breakup, they continued to make an impact on popular music as solo artists. The Canadian folk duo will always hold a special place in the annals of the style.

DISCOGRAPHY: Ian & Sylvia, Vanguard 2113. Four Strong Winds, Vanguard 2149. Northern Journey, Vanguard 79175. Ian & Sylvia Play One More, Vanguard 79215. Full Circle, MGM SE-4550. The Great Speckled Bird, Ampex 10103. Ian & Sylvia {1971}, Columbia 30736. Live at Newport, Vanguard 77020. The Best of Ian & Sylvia, Vanguard 79269. Ian and Sylvia’s Greatest Hits, Vol. 2, Vanguard 23. Greatest Hits!, Vanguard 73114. Long Longtime, Vanguard 79478. The Best of the Vanguard Years, Vanguard 79516. The Complete Vanguard Studio Recordings, Vanguard 196/99. • Ian Tyson Solo Ol’ Eon, A&M 9017. One Jump Ahead of the Devil, Stony Plain 1177. Old Corrals and Sagebrush & Other Cowboy Culture Classics, Vanguard 151. Cowboyography, Vanguard 79474.

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I Outgrew the Wagon, Asgard 79473. And Stood There Amazed, Vanguard 79471. Eighteen Inches of Rain, Vanguard 79475. Lost Herd, Vanguard 79533. Live at Longview, Vanguard 79714. Songs from the Gravel Road, Vanguard 79787. Yellowhead to Yellowstone and Other Love Stories, Stony Plain 1339. • Sylvia Solo Womans World, Capitol 11434. Gypsy Cadillac, Folk Era Reocrds 2266. You Were on My Mind, Stony Plain 1140. Cool Wind from the North, EMI Music Distribution 532335. River Road & Other Stories, Independently By Label 2333940042.

The Limeliters (1959–1965, 1973–2010) Successful Formula One of the most important aspects of the revival was the number of inﬂuential folk groups. Prior outﬁts, The Almanac Singers and The Weavers, paved the way for others to unite their special talents to create an effective unit. One of the prime ensembles who thrilled everyone with their successful formula that has endured many personnel changes throughout their long history is The Limeliters. In July 1959, the group was formed with the members taking very different paths to get there. Louis Gottlieb was born on October 23, 1923, in Los Angeles, California. He was enchanted with the entertainment world and developed his comedic side, but was also an intelligent individual, obtaining his PhD in musicology. He was originally a member of The Gateway Singers as well as an arranger for The Kingston Trio before returning to school. Although a talented individual, the clever young man realized that he would excel better in an ensemble format. Glenn Yarbrough was born January 12, 1930, in Milwaukee, Wisconsin, and began his career singing in church as part of a boy’s choir. However, two incidents directed him to a folk music path. The ﬁrst, was a friendship with Jack Holzman (who would establish Elektra Records) at St. Johns College in Annapolis, Maryland. The second turn of events was a meeting with Woody Guthrie. After a stint in the army as a radio operator, Yarbrough moved on to be a radio and television host in South Dakota. In 1957, he relocated to

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New York City and recorded an album, Come Sit by My Side. The aspiring musician performed at coffee houses around the country before settling in Aspen, Colorado, where he met Alex Hassilev. Alex Hassilev was born on July 11, 1932, in Paris, France, but moved to the United States to attend Harvard and then the University of Chicago. A talented actor and singer, he played guitar for a period of time before switching to the banjo. His background enabled him to learn different languages, including French, Russian and Spanish. Eventually, the aspiring musician found himself in Los Angeles and he struck up a friendship with Glenn Yarbrough. One July night in 1959, Yarbrough and Hassilev were performing at the famous Cosmo Alley nightclub. Gottlieb, part of the audience that night, realized he had found his musical kindred spirits. The three voices consisted of Gottlieb’s rich bass, Hassilev’s even baritone and Yarbrough’s complimentary tenor. As single artists they were good, but as an ensemble they were something special and had the potential to go far in the music business. The trio practiced for a short time and then relocated to Aspen, Colorado, to work at the Limelite Club, which Yarbrough and Hassilev had purchased some time before. Once their act was polished, the trio headed to the Hungry i in San Francisco, one of the most celebrated folk venues in the country. When the trio needed a name they decided to adopt The Limeliters, derived from the place where they began. Everything seemed to be in order. The group’s repertoire consisted of “There’s a Meetin’ Here Tonight,” “City of New Orleans,” “A Dollar Down,” “Have Some Madeira M’Dear,” “Lonesome Traveler,” “Wabash Cannonball,” “Whiskey in the Jar,” and other traditional standards. After a months of honing their sound, they had managed to create exciting tension between themselves that brought any and all songs to life. The three-part harmony was impressive and hinted at a very successful formula. In 1961, they recorded their ﬁrst album, Tonight in Person, which reached the Top Five of the charts. The group toured consistently from one end of the country to the other and quickly built up a strong, loyal following. Because of the success with the ﬁrst effort, it was with great enthusiasm and conﬁdence that they entered the studio to record their second, entitled The Slightly Fabulous Limeliters. With two solid recordings, the trio had carved out a niche for themselves in the very competitive market. The years 1961 to 1963 were the group’s heyday. As one of the hottest acts in Hollywood, they toured endlessly, playing over three hundred dates a year, appearing on a number of TV shows, and singing in commercials (Coca Cola) all enhancing their star reputation. They also rivaled the mighty Kingston Trio, Chad Mitchell Trio, and Peter, Paul, and Mary for supremacy. They also recorded a steady stream of albums, including Folk Matinee, Through

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Children’s Eyes (a children’s album), Fourteen 14k Folk Songs, Makin’ a Joyful Noise, Our Men in San Francisco. In 1963, the group survived a plane crash. Later that year, Yarbrough left the group and Ernie Sheldon replaced him. He was born Ernest Liebermann on January 24, 1930, in Brooklyn, New York. The young boy developed an interest in music, and by his teens was already singing in various groups. After many interesting adventures, he replaced Gottlieb in The Gateway Singers. After his stay with The Limeliters, Sheldon would go on to enjoy a wonderful solo career and cut many records, as well as edit the folk magazine Sing Out!. In an ironic twist, it was Sheldon who wrote “Baby the Rain Must Fall,” which became Yarbrough’s greatest solo hit. By 1965, the musical landscape had changed dramatically and not in the group’s favor. The innocent folk days of the early part of the decade had been replaced by a country’s growing unrest with the Vietnam War. Also, the revival was beginning to wan so they decided to take a consensual break. Hassilev worked as a producer in his own recording studio, Gottlieb became an owner of a commune ranch in California and Sheldon embarked on a very successful solo career. In 1973, a decade after they had decided to go on sabbatical, the three original members — Gottlieb, Hassilev and Yarbrough — reformed due to pressure from their fans. They embarked on yearly tours to smaller, almost specialized audiences, while still pursuing their personal interests. In 1981, Yarbrough left and Gottlieb and Hassilev decided to continue to revamp the group to return to a more active schedule. Although Sheldon was unavailable, Red Grammer was recruited to make it a trio. Red Grammer was born in 1952 in Orange, New Jersey, but grew up in Little Silver, New Jersey. He discovered a love for singing and began to develop his talents working in high school groups, the glee club and other formations. The young man majored in music at Beloit College before eventually making numerous contributions during his stay with The Limeliters. However, a devotion to children’s songs eventually forced him to follow that path. In 1981, John David, a multi-instrumentalist, was brought in to shore up the sound of the group. He played several types of guitars, banjo, mandolin, dobro and harmonica, giving them a much fuller sound. The talented individual would remain with the group for the next thirteen years, producing the background music that allowed the others to soar under, around and over with their vocal powers. By this point, The Limeliters had returned to a much more full touring program. In 1989, Grammer left the group in order to concentrate on his solo career. However, they rolled on as Gottlieb and Hassilev recruited new member Rick Dougherty. Dougherty was born in 1948 in La Grange, Illinois, and grew up around music. His mother was a pianist who instilled the classical

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works of Frédéric Chopin, Ludwig van Beethoven and Johann Sebastian Bach into her son. The family moved around, but the one element that remained an essential part of their life was music, as they would often gather and harmonize together around the piano. He would develop his skills, and after years of struggling, Hassilev contacted him to join The Limeliters. From 1991 to 1996, the group featured Gottlieb, Rick Dougherty and Hassilev. However, on July 11, 1996, founding member Gottlieb died of cancer. The future of the group seemed in jeopardy, but Bill Zorn joined, adding his excellent banjo skills and powerful vocal ability. William Zorn was born October 8, 1947, in Bridgeport, Connecticut; but the family moved around and eventually they settled in Phoenix, Arizona, where by this time the young boy had developed a deep interest in music. He would take part in the Win’jammers, The New Christy Minstrels and The New Kingston Trio before accepting a spot in The Limeliters. Despite the fact that Hassilev was the only original member, they carried on entertaining audiences and recording new material. In 2003, Doughtery and Zorn left the group. However, Hassilev was able to recruit tenor Mack Bailey, born in Troy, North Carolina. An avid John Denver fan, the young boy based his career on the famous Rocky Mountain singer. Eventually Bailey would join The Hard Travelers and be involved in Tribute to John Denver Productions. In 2004, he eagerly joined The Limeliters, a group that the talented individual always admired. Andy Corwin also joined the group at the same time as Bailey. He was born in New York and discovered music at an early age, taking up the bass as the instrument of choice. In the late 1970s, he relocated to California to attend U.C.L.A. and earned a master’s in Fine Arts in play writing. The working artist would gain fame as a member of the quartet, The Foremen, before occupying the vacant spot in The Limeliters, making another ﬁne addition to the group. In 2006, Hassilev retired and Gaylan Taylor replaced him. Gaylan Taylor was born in 1950 and was already earning money as a folk singer in his teen years. His ﬁrst truly professional gig was as a member of the Win’jammers. Later, along with Dougherty, he joined The New Christy Minstrels. The guitarist, bassist and harmonica player was also a solid songwriter, engineer, producer, vocalist and arranger. In 2005, he toured with Glenn Yarbrough as the leader of the Havenstock River Band. The present lineup of Bailey, Corwin and Taylor display the ﬁne vocal harmonies and comedic side that are trademarks of the outﬁt that has lasted some ﬁfty years in show business with only one major interruption. They now carry The Limeliters ﬂag with pride and distinction, singing the group standards as well as introducing new material to the fold. The trio continues to record and perform.

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The Limeliters were folk revival opportunists. They were assembled on the eve of the boom and rode the early wave like expert musical surfers, creating an excitement for a period of four years that has rarely been matched in the history of the style. There was always a polished side to the group that earned them criticism from purists and the political set; but no matter who was in the outﬁt, they always knew how to entertain an audience. Gottlieb was a bass and the main voice of the group for nearly forty years. His unfortunate passing was one of the darkest periods for The Limeliters. Hassilev was also a bass, blending perfectly with his partner Gottlieb. Yarbrough, the tenor, balanced the sound of the other two. Over the years the tenors Sheldon, Grammer, Dougherty and Bailey were able to ﬁll in with maximum effect in maintaining the excellent quality fans came to expect from the outﬁt. There was always a solid musical presence in the group. Hassilev was a good guitar and banjo player, while Yarbrough added his six-string skills to the set. Later, when Grammer and David joined the outﬁt, they both added a musical expertise that included a polished ability on a number of instruments that gave the group a decided extra dimension. They delivered many musical treasures to the world. A partial list includes “The Hammer Song,” “Molly Malone,” “Spanish Is the Loving Tongue,” “Turn! Turn! Turn!,” “Morningtown Ride,” “The Midnight Special,” “This Train,” “Sing Hallelujiah, “Blow the Candles Out,” “The Wild Colonial Boy,” “Gambler’s Blues,” “Those Crazy Days,” “40 Year Old Waltz,” “Harmony,” “John Henry,” “I Had a Mule,” “The Riddle Song,” “The Importance of the Rose,” “The Strangest Dream” and “City of New Orleans,” among others. No matter the song, each one was always given the special Limeliter treatment. The group were one of the leading folk-pop ensembles of the early years of the folk revival along with The Kingston trio, the Chad Mitchell Trio and Peter, Paul and Mary. While the latter would record more political and social material, The Limeliters were more pure entertainers. Their lack of political direction angered the purists and especially the political folkies, but the original blueprint of the trio was drastically different than the protest artists. Despite their lack of political stature, they inﬂuenced a number of groups including The Clancy Brothers, The Shacklefords, The Brothers Four, The New Christy Minstrels, Sha Na Na, Rooftop Singers, The Tokens, Journeymen, The Big 3, The Highwaymen, and the Serendipity Singers. There was something about their harmonies and approach that others found appealing. The story of The Limeliters is an enchanting tale of three college students who enjoyed singing together as a group and created a spirit that continues to this day. The longevity of the outﬁt is remarkable considering that

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there has been so many personnel changes. However, their chiming harmonies, fun songs and energetic enthusiasm proved to be a successful formula.

DISCOGRAPHY: The Limeliters, Elektra EKL180. Tonight in Person, RCA LSP2272. The Slightly Fabulous Limeliters, RCA LSP2393. Sing Out, RCA LSP2445. Children’s Eyes, Folk Era Records LSP2512. Folk Matinee, RCA LSP2547. Makin’ a Joyful Noise, RCA LSP2588. Our Men in San Francisco, RCA LSP2609. Fourteen 14K Songs, RCA LSP2671. More of Everything, RCA LSP2844. Leave It to the Limeliters, RCA LSP2906. London Concert, RCA LSP2907. Look at Love in Depth, RCA LSP3385. Time to Gather Seeds, Collectors Choice Music WS1762. Limeliters Reunion Vol. 1, Stax BDR2201. Limeliters Reunion Vol. 2, Brass Dolphin Records BDR2202. Pure Gold, RCA ANL1-2336. Alive in Concert Vol. 1, GNP WK-1001. Alive in Concert Vol. 2, GNP WK-1002. Harmony, West Knoll FE2056. Singin’ for the Fun, GNP D2206. Joy Across the Land, GNP D2219. Until We Get It Right, GNP D2266. Best of the Limeliters, RCA LSP2889. Alive! in Concert, Vol. 1 + 2, GNP D2188. 36 All-Time Greatest Hits, RCA DRC3-1832. The Complete RCA Singles Collection, RCA RC1-2407. Our Men in San Francisco/London Concert, Collector’s Choice Music CCM-119-2.

Peter, Paul and Mary (1961–1970) Deep Roots In the wake of the revival many groups were formed seemingly overnight to cash in on the fad. However, because of their lack of understanding, several ensembles did not last very long and faded away. Nevertheless, there were some formations who continued for decades because of their commitment to

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the spirit of the music. One such trio enjoyed tremendous success because they remained connected to their deep roots. They were Peter, Paul and Mary. They all followed very different paths before uniting as a trio. Mary Travers was born on November 9, 1936, in Louisville, Kentucky; but she was raised in the Bohemian setting of Greenwich Village. The future vocalist made connections with one of the icons of folk music, Pete Seeger, and sang backup on one of his recording sessions. Eventually, she became a member of The Song Swappers, performing with them as well as participating in stage productions such as The Next President. In all of her activities it was evident that Ronnie Gilbert of The Weavers was a big inﬂuence. Noel Paul Stookey, was born on November 30, 1937, in Baltimore, Maryland. Early on, he discovered jazz and R&B, and selected the guitar as an instrument of choice. In his teens, the fervent musician led a group, The Birds of Paradise, a regional outﬁt that enjoyed some success performing at various small venues. He continued to pursue a musical career in college, developing his skills as a storyteller and comedian. Eventually, the young man moved to Greenwich Village and befriended Travers, the two occasionally sharing the stage as a duet. Peter Yarrow was born on May 31, 1938, in New York City. While attending Cornell University he realized his deep love for music at a later age than his two bandmates. However, he quickly made up for lost time and performed in Greenwich Village before heading off to host a television show about folk music. When he met Albert Grossman, the manager suggested he form a trio. In 1961, they ﬁrst approached Travers and then Stookey. Stookey went with his middle name as they decided on the name Peter, Paul and Mary. Their goals were to combine the female/male mix of the Weavers with the spirit of The Kingston Trio and Ian & Sylvia, as well as the humor of The Limeliters. Peter, Paul and Mary rehearsed for nearly half a year, blending the three voices into a workable harmony that was pleasing and exciting. Once the trio had found the proper balance and developed a solid repertoire of original and cover songs, they were ready to dominate the folk music world. In 1962, their self-titled debut on Warner Bros. was released. Although the ﬁrst released single, “Lemon Tree,” was successful, it was their second, “If I Had a Hammer,” which catapulted them to national prominence. Not only did the song win them two Grammy Awards for Best Performance by a Vocal Group and Best Folk Recording, it also ﬁt in perfectly with the current political and social climate at that time. Although their music had a deﬁnite serious message to it, there was also a fun side that was very accessible to the average listener. Their harmonies were as appealing as their visual image, especially with the stunning Travers as the centerpiece of photography shoots and television shows. It seemed that

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the trio had everything going for them including solid management, plenty of talent, a strong and viable on stage presence and the ability to select ﬁrstrate material and spin it into gold. By 1963, they had asserted themselves as one of the true powerhouses in the folk idiom and their music had spilled into rock and pop. It all came together nicely on the song “Puff the Magic Dragon.” Essentially a children’s song, their version pleased audiences of all ages. One of the major trademarks of the group was their ability to record any type of song and put a personal stamp on it making it their own. The album Movin’ On enjoyed almost a twoyear run in the charts. Their next single was the Dylan penned “Blowin’ in the Wind.” Although hailed as the messiah of the modern folk movement, Dylan was too political and bluesy to take the song as far as Peter, Paul and Mary did. Also, the charming, chiming harmony of the three voices was much more appealing than Dylan’s ﬂat, nasal, off-key efforts. There was something enchanting about the trio’s version, mainly because it echoed from days past when The Weavers were a prime group; they had not forgotten their roots. The song was a smash hit; but more importantly, it captured a moment in history. The trio appeared at the March on Washington and were visible members of the audience that day. Added to this, was the fact that these folk entertainers had also taken the rock world by storm and ruled the airwaves. Although they had started out singing traditional material, they now appealed to a cross section of the music public. Their third album, In the Wind, was number one in the charts and created renewed interest in their previous releases. In 1964, with the emergence of The Beatles, everything changed for Peter, Paul and Mary, as well as other acts. The British Invasion devastated the American rock and pop scene and many acts faded into obscurity. Although they were up against stiff competition, the trio managed to survive the onslaught of the new rock and roll because they were very well managed and always selected prime material that studio chameleon Milton Okun arranged with sure precision. By 1965, the political and social climate had changed dramatically. The Civil Rights Movement was now a national battle, and the assassination of John F. Kennedy and the escalation of the Vietnam War all provided much fodder for the average folk artist. Peter, Paul and Mary’s catalog contained songs for the times. A good example was “500 Miles,” which was perfectly suited to the number of troops sent to a country so far away to ﬁght in a questionable war. For the rest of the decade they managed to appeal to all factions, including antiwar protesters, the general public and fans interested in more traditional folk. While their singles did not scale the charts as they had in the past,

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their albums continued to sell. Somehow the group found the secret to surviving the change in the public’s musical taste. The ability to record the songs of others and turn them into hits was something that enabled them to continue to enjoy moderate success. They cut versions of Gordon Lightfoot’s “For Lovin’ Me,” Laura Nyro’s “When I Die” and John Denver’s “For Baby (Goes Bobbie).” In order to compete with the emerging rock styles, they added backup musicians without distorting their basic sound. The trio’s multidimensional elements allowed them to continue, while others were not so fortunate or talented. They balanced their careers between recording new songs, such as “I Dig Rock and Roll Music,” with performing numerous concerts including some political appearances. The most notable was the campaign to have Senator Eugene McCarthy elected for president, a bid which failed. In 1969, they scored with the single “Day Is Done.” Also, a song they had previously recorded, “Leaving on a Jet Plane,” reached number one and boosted the album it was taken, Album 1700. It enabled them to enjoy more time on the charts. Another disc that garnered much attention was the Grammy winning Peter, Paul & Mommy, the title a reﬂection of Travers who was in a family way. In 1970, the ﬁrst year of the new decade was symbolic for many reasons in the group’s fortunes. All led complicated and very different lives and decided to take a year off to attend to personal matters. They released Ten Years Together: The Best of Peter, Paul and Mary, fulﬁlled performance contracts and went off on different paths. It was a good time for them to step back and assess their logical place in the music business. As solo artists, they didn’t enjoy the same success they had as a group. Travers recorded folk-pop tunes, Yarrow delved into political and topical songs, and Stookey ventured into hard rock, jazz and Christian-oriented material. They appeared on each other’s albums sparking rumors that the trio would reunite, but they were not in agreement to do so. In 1972, the trio worked together brieﬂy in an effort to have Senator George McGovern win the presidential election, which was another failed attempt. Although Yarrow enjoyed moderate success with “Torn Between Two Lovers,” it was evident that they would do better as a group. In 1978, they reunited to do an album, but it was a commercial failure. However, the trio who had survived so much together weren’t deterred and by the early 1980s forged ahead. They performed at Carnegie Hall at Christmas time and found a whole new bevy of issues to sing about including the antinuclear cause, political strife in a variety of countries, a renewal of civil rights laws and the conservatism of President Ronald Reagan. In 1985, they released two political songs. The ﬁrst was Stookey’s “El Salvador,” written after personally witnessing the suffering in Central Amer-

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ica. The second was Yarrow’s “Light One Candle,” in support of the peace process in Israel. A year later, the song “No Easy Walk to Freedom” was the title track of their new album. The tune, dedicated to the antiapartheid cause, earned them an honor from the Free South Africa movement. They continued their charity work, donating the proceeds from the opening night of a week on Broadway to the homelessness issue. In 1988, Peter, Paul and Mary were the feature of two PBS specials. The ﬁrst marked their 25th Anniversary Concert and became one of the all-time most popular broadcasts in the station’s history. The second featured A Holiday Concert, taped before a live audience in New York City. The New York Choral Society, a 160-member outﬁt, and a 40-piece orchestra backed them. The entire show was captured on the album A Holiday Celebration. While the performance side of their careers gained momentum, it seemed that the recording part was much slower. The group, always an independent trio, formed their own label so they could record new material to their liking. Eventually the trio recorded with a small company, Gold Castle Records, that went bankrupt by the end of the decade. Luckily, they had maintained a solid relationship with Warner Bros., and after some negotiating, they were re-signed to the label. In 1992, they released recorded Peter, Paul & Mommy, Too. The album would be nominated for a Grammy and the ensuing video was taped at the Brooklyn Academy of Music’s Majestic Theater in New York with a live audience of kids and their families. The event was aired on PBS and featured “Puff, the Magic Dragon,” “The Fox,” “The Garden Song,” “Blowin’ in the Wind,” “Inside” and “If I Had a Hammer.” Of special note was the fact that children from Travers’ alma mater participated in the recording. In 1996, they united three generations of folk singers with their TV special and album Lifelines. It enabled them to bring together their mentors, contemporaries, and the new wave of singer-songwriters. The lineup included Ronnie Gilbert and Fred Hellerman from The Weavers, connecting them to their folk music roots. Richie Havens, Tom Paxton, Odetta Holmes, Dave Van Ronk, and John Sebastian were some of their colleagues they shared a stage with back in the day. Buddy Mondlock and Susan Werner represented the young guard. In 1999, Around the Campﬁre was released, an overview album that celebrated the group’s nearly four decades in the entertainment business. The set featured familiar and favorite tunes like “Kumbaya,” “Michael, Row the Boat Ashore,” “Down by the Riverside,” “Goodnight Irene,” “Puff, the Magic Dragon,” “If I Had a Hammer,” “Blowin’ in the Wind,” and “Leaving on a Jet Plane.” The songs were speciﬁcally selected to celebrate harmony, peace and unity, proving that the outﬁt had not lost any of their hippie ideas despite the pressing years.

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In 2004, the box set Carry It On featured many of the magical moments the group had enjoyed for the past forty plus years. It contained unreleased solo recordings by each member made before they had formed as a trio. It also included a bonus DVD with performance footage of them singing some of their greatest hits, including “If I Had a Hammer” during the Civil Rights March on Washington. That same year, Peter, Paul and Mary released In These Times, their ﬁrst all new studio recording in over a decade. In 2006, the trio received another in a long line of honors when they were bestowed with The Songwriters Hall of Fame’s Lifetime Achievement Award. It was a ﬁtting tribute to a group that had endured nearly ﬁfty years, traveled hundreds of thousands of miles and spread the message to four generations of the importance of folk music. Like all those before them, they had passed down the music in a vocal tradition. For over forty years, Peter, Paul and Mary had blended their voices in harmonies that inﬂuenced dozens of other acts. They were a trio who pursued solo projects, but always returned to the fold. They had endured many changes in the long adventure together. Sadly, on September 16, 2009, Mary Travers, with her ﬂowing blond hair and soprano voice, was silenced forever, a victim of leukemia. Peter, Paul and Mary were a folk music treasure. For ﬁve decades they recorded important, timely songs and performed at key events always presenting two faces: one, a serious tool pushing for political and social change; and the other, a light-hearted, happy, sing-along ensemble. The group survived a ﬂuctuation in popularity but persevered, and ﬁfty years after starting out they were still releasing albums and performing at important venues. There was always plenty of talent among the three. Travers possessed a golden soprano vocal delivery, which was the opposite of her two male counterparts, yet complemented each one in a different way. She was able to bring out the best in both Yarrow and Stookey. In return, they blended their rich tenor and baritone voices with her higher octave tone. However, the distinct, natural, rich voices were only part of their deep-seated abilities. The trio always selected material carefully and delivered it at a timely date. Their cover of the Dylan classic “Blowing in the Wind” was released during a period when the folk scene was changing from the traditional appeal to a much heavier social and political agenda. To keep a balance, the trio could turn around and release a children’s song like “Puff, the Magic Dragon.” A general overview of their extensive catalog illustrates this point. “If I Had a Hammer,” “500 Miles,” “Where Have All the Flowers Gone?,” “Morning Train,” “Tell It to the Mountain,” “Motherless Child,” “Talkin’ Candy Bar Blues,” “If I Were Free,” “And When I Die,” “Leaving on a Jet Plane, “I Dig Rock and Roll Music,” “Yuppies in the Sky,” “El Salvador,” “Pastures of

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Plenty,” “Old Coat,” and “No Easy Walk to Freedom” cover a smattering of subject matter. Peter, Paul and Mary have carried the folk ﬂag for nearly ﬁfty years to become one of the most durable acts in the history of the genre. They were a link to past performers such as Pete Seeger, Leadbelly, The Carter Family, Woody Guthrie, Cisco Houston, Jean Ritchie, The Weavers and Josh White. In turn, they inﬂuenced David M. Bailey, The Pines, The Mamas & the Papas, The Westerleys, Kim and Reggie Harris, The Goldbriars, Don Turner, Patty Larkin, Laurie Berkner, Janis Ian, The Weepies, Kenny Rogers & the First Edition, David Buskin and Rachel Bissex, among others. The trio will forever be remembered for many reasons, but ﬁrst and foremost, as a very talented group who were able to crystallize moments in history with a song. They are also important for their contributions on a serious, as well as a more traditional level and the ability to balance the two with delicate precision. But, most importantly, throughout their long, colorful life, they never undermined the deep roots while planting their own.

DISCOGRAPHY: Peter, Paul and Mary, Warner Bros. 1449. In the Wind, Warner Bros. 26224. Moving, Warner Bros. 2-1473. In Concert, Warner Bros. 1555. Song Will Rise, Warner Bros. 2-26225. See What Tomorrow Brings, Warner Bros. 2-26654. The Peter, Paul and Mary Album, Warner Bros. 2-26653. Album 1700, Warner Bros. 1700. Late Again, Warner Bros. 26666. Peter, Paul and Mommy, Warner Bros. 1785. Reunion, Warner Bros. 3231. Such Is Love, Warner Bros. 47084. A Holiday Celebration, Warner Bros. 45070. No Easy Walk to Freedom, Warner Bros. 45071. Flowers and Stones, Warner Bros. 45069. Peter, Paul & Mommy, Too, Warner Bros. 45216. Lifelines, Warner Bros. 45851. Lifelines Live, Warner Bros. 46298. These Times, Warner Bros. 73957. Peter, Paul and Mary with Symphony Orchestra: The Prague Sessions, Warner Bros. R24523477. Ten Years Together: The Best of Peter, Paul and Mary, Warner Bros. 512215. Around the Campﬁre, Warner Bros. 87643. Songs of Conscience & Concern, Warner Bros. 47292.

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Simon and Garfunkel (1964 –1970) The Sounds of Silence In 1965, when Bob Dylan went electric at the Newport Folk Festival, many of the other acts on the circuit followed suit. Those that remained purely acoustic quickly fell behind as audiences wanted a fuller production. One pair of enthusiasts adjusted their music to meet fan’s demands and achieved unmatched success as one of the most celebrated duos with their sounds of silence. The Simon and Garfunkel saga began on the eastern coast of the United States. Paul Frederick Simon was born on October 13, 1941, in Newark, New Jersey, but grew up in Queens, New York. His father was an accomplished bass player, performing on radio and television. The younger Simon took up the guitar and dreamt of being a famous musician. His adolescence coincided with the birth of rock and roll which would have a tremendous inﬂuence on the aspiring entertainer. Arthur Ira Garfunkel was born on November 5, 1942, in New York. At the age of four he was already listening to a variety of records including jazz, rhythm and blues, Tin Pan Alley and folk. But the ﬁrst generation of rock and roll artists would capture his imagination and spark a keener interest in music. The young boy paid particular attention to the vocal deliveries and pronunciation; he was a student of singers. The duo met in grade six and discovered that they could harmonize together, spending countless hours blending their distinct voices into one cohesive powerful unit. They entered talent shows and received enthusiastic attention. Although Elvis was an important inﬂuence, they patterned their sound on the nasal harmonies of the popular Everly Brothers. In 1957, Simon and Garfunkel recorded “Hey Schoolgirl” under the stage name of Tom & Jerry. When the next few singles ﬂopped, they split up. In the late 1950s and early 1960s, Simon continued to record. He was part of a dozen different groups, one of the more notable ones being Tico & the Triumphs who scored with the brief chart hit “Motorcycle.” A year later, he enjoyed a minor hit with “The Lone Teen Ranger” under the pseudonym Jerry Landis. Despite a never quit attitude, the young man was unable to ﬁnd the right combination in order to achieve the stardom that he so desired. However, one thing was clearly evident during these lean times; he was honing his songwriting talents.

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During this frustrating period, the one event which helped him out greatly was meeting singer-songwriter Carole King, who encouraged him not to get discouraged. She found him work in a Broadway recording studio cutting demo records for various companies. He learned much about the music business from the various experiences and ﬁled the knowledge away for future use. Although Garfunkel released several solo singles under the name Artie Garr, the singer didn’t enjoy any success in the intermitting years. He studied architecture in college and fully intended to be an architect. Although the aspiring entertainer stayed away from music and didn’t really have any intentions of returning to the scene, there was a seed inside him that yearned for the spotlight. Everything changed with a chance meeting with his old friend Simon. The duo were still not quite ready for stardom. They spent a great amount of time in Greenwich Village alongside Bob Dylan who raised their social and political conscience. Simon began to write songs reﬂecting his new, more mature outlook on the world. They were also both deeply involved in folk music despite Simon’s penchant for a pop element. They sang on street corners and folk clubs honing their act, but their progress seemed very slow. During these desperate times, they clung to the hope that better days were ahead. By 1964, they signed to Columbia Records and were ready to climb the charts. Their ﬁrst album, Wednesday Morning, 3 A.M., initially ﬂopped. It featured some decent material including “Bleecker Street,” “Benedictus,” “Go Tell It to the Mountain,” “The Sun Is Burning” and an acoustic version of “The Sound of Silence.” By this point, Simon had broadened his writing to ﬁt into the mainstream folk style without losing any individuality. The duo split up again. Garfunkel returned to school to continue his architect studies. Simon left for London, England, where he recorded a solo album, The Paul Simon Songbook, which did nothing in the charts. He played various clubs and connected with some of the British folk singers like Al Stewart and Sandy Denny, the latter of Fairport Convention fame. More importantly, he was still writing songs. When requests for “Sound of Silence” multiplied, the producer of the duo’s ﬁrst album overdubbed a twelve-string guitar, bass and drums to the original track. It was then that it became a number one hit and helped usher in the folk rock era. The success prompted Simon to return to the United States to reform the duo with Garfunkel. They released the album Sounds of Silence, and it would reach the Top Thirty of the charts. Many singles were drawn from this recording including “I Am a Rock,” “Leaves That Are Green,” “April Come She Will,” “Kathy’s Song,” “Scarborough Fair/Canticle,” and “Homeward Bound.” “I Am a Rock,” “Scarborough Fair/Canticle,” and “Homeward Bound” were the songs which

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deﬁned the Simon and Garfunkel million-dollar sound and catapulted the duo to national and international prominence. In 1967, they contributed to the soundtrack of the ﬁlm The Graduate, that included the hit single “Mrs. Robinson,” found on the album Bookends. Other songs were “A Hazy Shade of Winter,” “Old Friends,” “At the Zoo,” and “Save the Life of My Child.” “Mrs. Robinson” was more than just a number one hit, the lyrics captured the mood of the nation mired in the escalating debate of involvement in Southeast Asia and still reeling from the assassination of a president. In 1969, the Simon and Garfunkel team began to unravel. The latter’s entry into acting interrupted recording sessions, which didn’t please his partner much. Their last recorded effort, Bridge Over Troubled Water, featured the self-titled song as well as “Cecilia” and “The Boxer.” Despite their success, the duo, who were considered cool in the hippie era when neither one played psychedelic hard rock guitar or appeared outlandishly dressed or had very long hair, split up after the release of their last album. A year later, they swept the Grammy Awards, winning album, record and song of the year for “Bridge Over Troubled Water.” Simon taught songwriting classes at New York University for a while before returning to the studio to record a self-titled debut album. It would contain two hit singles, “Mother and Child Reunion” and “Me and Julio Down by the School Yard.” The album There Goes Rhymin’ Simon followed and contained three hit singles “Kodachrome,” “Loves Me Like a Rock,” and “Take Me to the Mardi Gras.” He later toured with a gospel choir, the Jesse Dixon Singers, paving the way for such future musical endeavors. Garfunkel had worked with director Mike Nichols on The Graduate soundtrack. Later he would gain roles in Catch-22 and Carnal Knowledge opposite Ann-Margret, Candice Bergen and Jack Nicholson. There would be other movie roles including Bad Timing: A Sensual Obsession, Good to Go and Boxing Helena. In 1973, he released his ﬁrst solo album, Angel Claire, to wide critical and commercial success. It included the smash hits “All I Know” and “Second Avenue.” In 1975, Simon recorded Still Crazy After All These Years, which earned him a Grammy for Album of the Year. It contained the number one single, “Fifty Ways to Leave Your Lover.” Of note, the song “My Little Town” featured a duet with old partner Garfunkel. The pairing of the two raised hope among fans that they would reunite, but for the moment they were too busy pursuing their own agenda. That same year, Garfunkel released Breakaway. It featured the super hit, “I Only Have Eyes for You,” as well as “Looking for the Right One,” “Rag Doll,” “99 Miles from LA,” and “Disney Girls.” David Crosby, Elvin Bishop and Graham Nash provided backing vocals. When the duo had broken up,

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many critics believed that Garfunkel would never be heard of again since it was Simon who was the prime songwriter during the pair’s heyday. Simon remained in the public eye with appearances on Saturday Night Live and in the Woody Allen ﬁlm Annie Hall. When Garfunkel appeared on the Paul Simon Special, which also starred Chevy Chase, Lily Tomlin and Charles Grodin, many wondered if they would get back together again, but the duo were only teasing fans. Meanwhile, their music continued to be played on many radio stations and found its way into popular culture. In 1977, Garfunkel recorded Watermark, an entire album of Jimmy Webb compositions with the sole exception of Sam Cooke’s “What a Wonderful World.” The Muscle Shoals, Alabama, product also featured the vocals of Paul Simon as well as James Taylor. Although there had been animosity between the pair over the years, they retained a certain amount of respect for one another, especially on a professional level. Art later released Fate for Breakfast and the much acclaimed Scissors Cut, which included the hit “A Heart in New York.” In 1980, Paul appeared in the ﬁlm One-Trick Pony, and wrote much of the soundtrack. It was an underrated venture and while some critics thought it was very good, others panned it. The once famous folk duo continued to move in different directions with only half of the success they had enjoyed as a pair. Everything changed when then mayor of New York City, Ed Koch, gave Simon a chance to stage a concert in Central Park. He instantly called his old partner Garfunkel. On September 19, 1981, thousands witnessed history in the making as the once legendary folk rock duo reunited. They played old standards like “Homeward Bound,” “Mrs. Robinson,” and “The Sound of Silence.” They also performed “Me and Julio” and “The Late Great Johnny Ace,” dedicated to their late friend, John Lennon. The concert was so successful that they went on tour for two years. The ensuing album captured them in perfect stride and proved they had not lost any of their power. In 1984, Paul toured as a solo act but was not satisﬁed with the way it went. The earlier release, Hearts and Bones, had not been a smashing success. As well, the failed marriage to actress Carrie Fisher, which lasted less than a year, didn’t do much for his state of mind. Meanwhile, old partner Garfunkel was making a different kind of name for himself with long-distance walking including a tour of America. In 1985, Simon partook in the “We Are the World,” recording, the U.S. effort for African relief. A year later, he released Graceland, which catapulted him back to the top of the charts. He recorded the landmark album with South African musicians including Ladysmith Black Mambazo, guitarist Ray Phiri and his band Stimela, as well as bassist Bakithi Kumalo. It would win Best Album and Best Record. There would be a subsequent world tour that became

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a sensation in Africa. A live concert recording entitled Graceland: The African Concert, featuring Hugh Masekela and Miriam Makeba among others, was released at a later date. In 1984, Garfunkel released his ﬁrst compilation album, The Art Garfunkel Album; it contained the minor hit “Sometimes When I’m Dreaming.” A year later, he met future wife, Kathryn Cermack, and this new love enabled him to survive the depression of losing his father. By 1987, he had been retired for a full seven years from the recording studio, but returned with Lefty, which produced only one interesting single, “So Much in Love.” In 1990, Simon appeared as Simple Simon in the movie Mother Goose Rock ’n’ Rhyme, which also included Art Garfunkel. That same year, the duo recorded and released The Rhythm of the Saints. It contained a large amount of percussion and electric guitar on songs such as “Obvious Child” and “The Coast.” The tour included a concert in Central Park in front of three-quarters of a million people. At the request of the State Department, Garfunkel performed in Soﬁa, Bulgaria, in front of over a million people at an outdoor rally. He later toured Europe, Asia and the United States and continued to record, releasing Up Until Now. It included a touching duet with James Taylor on “Crying in the Rain,” as well as the theme song for the television series Brooklyn Heights. There was also the tune, “Two Sleep People,” from the ﬁlm A League of Their Own. But the greatest triumph was the duo’s induction into the Rock and Roll Hall of Fame, sparking another hopeful chance at a reunion. They sold out twenty-one consecutive concerts at New York’s Paramount Theatre, proving that a great thing never goes stale. Despite the hope of fans from all over the country and on an international level, there was no union planned. It seemed that Simon and Garfunkel were happy to pursue solo careers and join forces at infrequent intervals. In 1992, Simon married Edie Brickell and they would have three children together. Also in that year, it was considered chic to release an unplugged album. Simon did just that and the subsequent video was viewed in a number of countries around the world. A year later, the Paul Simon Box Set— 1964/1993 was made available and contained some previously unreleased material. It was a landmark effort igniting renewed interest in his career. In 1993, Simon and Garfunkel would reunite once again to perform in Los Angeles to beneﬁt the Children’s Health Fun, an organization that Simon had cofounded years earlier. The tension between the two was heavy, and it appeared that an actual permanent reunion would never take place. They went their separate ways and remained cold toward one another for a long period of time. Meanwhile, the songs the pair had recorded during their heyday continued to be played on classic rock stations. Simon remained active. He guested on Carl Perkin’s last album, Go Cat

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Go, and wrote and performed “Rockabilly Music.” The musical The Capeman, an original work, did not have a very successful run and was cancelled after some sixty shows. Although it was a failure, the proliﬁc songwriter continued to go ahead with his career and toured with the enigmatic Bob Dylan. They played old favorites from their vast repertoires and often sang duets to the delight of the audience. In 2000, Simon released You’re the One and was nominated for a Grammy Award for Best Record of the Year. He toured to support the album throughout Europe and the United States with a two-man backup band. The concert in Paris was ﬁlmed and released on DVD. Of note, the record included the longest song of his career to date, “Darling Lorraine.” Simon contributed to the all-star tribute for Brian Wilson, the legendary Beach Boys front man. The latter had suffered from years of depression, paranoia and other maladies, robbing the music industry of one of its greatest creative artists. The pressure was something that Paul could relate to like anyone else in the spotlight. He played a dynamite version of “Surfer Girl.” The vibes were so good that he and Wilson toured the United States together in 2001. Later, he teamed with another legend, Sir Paul McCartney, in the Beneﬁt Gala “Adopt a Mineﬁeld.” Later, Simon participated in the “America: A Tribute to Heroes” telethon in the wake of the 9/11 tragedy. The rendition of a touching “Bridge Over Troubled Water” was haunting, despite the fact that partner Garfunkel’s unmistakable vocals were absent. Perhaps his greatest moment of triumph was induction into the Rock and Roll Hall of Fame as a solo act. In a thank you speech, he reminisced about the early groups like The Crows, The Penguins, The Moonglows, Johnny Ace and Elvis Presley. But the most heartfelt gratitude was to his father and Art Garfunkel; the inductee hoped they could bridge their differences over the troubled waters between them. In 2002, Simon received the Kennedy Center Honor Award. In the spring of 2003, the song “Father and Daughter” was nominated a Golden Globe Award; he sang it at the Academy Awards and received an Oscar nomination for it. A Lifetime Achievement award at the Grammy’s reunited him with his old friend Art Garfunkel and the two decided to organize the Old Friends tour. Meanwhile, Garfunkel released Everything Waits to Be Noticed to critical opinion. The tour was such an unexpected success that they added European dates. In Rome, they played to a crowd of over half a million people. Later, they toured the United States to more enthusiastic reviews. Interestingly, The Everly Brothers, the duo that Simon and Garfunkel had patterned their act on, joined them for the fun. The four performed a quality rendition of “Bye, Bye Love.” A DVD and CD of the Old Friends: Live on Stage was released and included a new track, “My Little Town.”

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In 2003, Garfunkel made his debut as a songwriter on the Everything Waits to Be Noticed album. It was the ﬁrst time that the singer had attempted to compose any material since his teenage years as a member of Tom & Jerry. The new CD featured poems that Maia Sharp and Buddy Mondlock turned into songs. It was an interesting experiment and proved that he was still capable of doing interesting things on a musical level. In 2004, a number of Simon’s recordings were released, including the Paul Simon Studio Recordings 1972 –2000, featuring his solo work after the duo had broken up. There were many bonus tracks, live recordings, outtakes and previously unreleased songs, as well as demos. Also, The Paul Simon Songbook, a rare recording that appeared before his success with Garfunkel, was reissued with a couple of bonus tracks. By this point in time, there was a plethora of product from both, reﬂecting a certain amount of continuous activity over their long, illustrious careers. That same year, Rolling Stone magazine celebrating the 50th anniversary of rock, issued a special copy entitled: The Immortals. Simon and Garfunkel made the distinguished list that included a James Taylor statement praising Garfunkel’s unique singing prowess. For years, his effort on “Bridge Over Troubled Water” had been considered one of the greatest recorded vocals of all time. In 2005, Simon and Garfunkel put aside their differences and reunited again for a concert in support of victims of the Hurricane Katrina devastation. Together, they sang “Mrs. Robinson,” “Homeward Bound,” and “Bridge Over Troubled Water.” They appeared on the DVD entitled From the Big Apple to the Big Easy. Earlier, Simon had appeared solo on a nationally broadcasted Hurricane Katrina Telethon where he performed “Take Me to the Mardi Gras.” In 2006, Simon recorded the album Surprise, which included the songs “Outrageous,” “Wartime Prayers,” and “How Can You Live in the Northeast?” He promoted the numbers as a guest on Saturday Night Live, The Ellen DeGeneres Show, Good Morning America and David Letterman. He later toured the album in selected cities throughout the United States. Garfunkel signed to Rhino Records and the ﬁrst album, Some Enchanted Evening, was released on the label a year later. Dedicated to the pop standards that he enjoyed as a child, it was promoted all over the world and proved to be one of his more interesting adventures. Later, the singer appeared on the HBO television show Flight of the Conchords and continued to tour with various musicians, including his son. Simon continued to record and perform in a variety of roles. He appeared at the New Orleans Jazz Festival and dazzled the audience with a version of “Bridge Over Troubled Water” with Allen Toussaint and Irma Thomas. At the Montreal Jazz Festival, he was honored with the Montreal Jazz Festival

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Spirit Award, as a number of acts including Elvis Costello, Jamie Cullum, Holly Cole and Allen Toussaint, among others, played versions of his songs. A new CD entitled Simon & Garfunkel Live 1969 appeared and featured a good number of songs recorded on their troubled road trip of that year. Even after breaking up nearly forty years before, the duo’s name evoked a mighty strong response from the record buying public. They continued to tease fans with a performance together at the Rock and Roll Hall of Fame 25th Anniversary celebration at New York’s Madison Square Garden where they harmonized on many of their old favorites like “Sound of Silence,” “Mrs. Robinson,” “Cecelia,” “The Boxer,” and “Bridge Over Troubled Water.” They continue to record and perform as solo artists with rumors of reunions always a hot news topic. Simon and Garfunkel were folk music gold. They paid their dues as teenagers harmonizing and blending their developing voices into one cohesive unit, which later brought them international success. Combined with an exciting, but subdued instrumental back up and the excellent, imaginative talent of Simon as songwriter, it is understandable why they were such a successful act. Their sound remains timeless as it continues to fuel popular music to this day. Art Garfunkel possesses one of the most memorable voices in the annals of modern music. A distinct delivery recognizable on the ﬁrst couple of notes, he was a vital reason why they were able to take any material and bring life to it. Simon, an ingenuous songwriter seemed to write speciﬁc parts for his partner knowing only he could reach a certain dizzying high-pitched plateau. Paul Simon has an interesting vocal delivery that was the perfect counterpart to Garfunkel’s immense talent. Although able to meld those singing skills with that of his partner’s, it was only during his solo career that a true vocal maturity was attained. Simon possesses a certain timber in his voice that allowed him to be effective in a group setting as well as a lone performer. Musically, in the beginning, they relied on Simon’s guitar talents, which were more than adequate, but never ﬂashy. However, they experimented with the simple folk-pop style that made them famous and delved into Latin rhythms and gospel-inﬂuenced arrangements. Later, as solo artists, they would continue the path of experimentation that included African beats and backing vocals among other elements. Although purists criticized them for producing the same type of material The Kingston Trio did, there is no denying the wealth of material that Simon and Garfunkel delivered. Their brilliant catalog can stand up to anything else recorded during the era, including the songs of The Beatles, Bob Dylan and all others. A partial list of Simon and Garfunkel classics includes “The Sound of Silence,” “Bridge Over Troubled Water,” “The 59th Street Bridge Song (Feelin’ Groovy),” “El Cóndor Pasa,” “I Am a Rock,” “Home-

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ward Bound,” “A Hazy Shade of Winter,” “Mrs. Robinson,” “The Boxer,” “Cecilia,” “At the Zoo,” and “Scarborough Fair/Canticle.” They enjoyed three number one hits. They have had a huge impact on popular culture. Their song lyrics and names have appeared on a number of TV shows including Rowan & Martin’s Laugh-In, The Partridge Family, Friends, Scrubs, Monk, How I Met Your Mother, The Simpsons, The Graduate, Futurama, Battlestar Galactica, Saturday Night Live and Flight of the Conchords; and on the silver screen, Wayne’s World 2, Rumor Has It..., Almost Famous, Old School and Watchmen. Even today, the duo are well-known and are rediscovered as a new generation encounters their timeless catalog. They single biggest inﬂuence on Simon and Garfunkel was The Everly Brothers. In turn, Simon and Garfunkel have made a mark on the careers of James Taylor, Crosby, Stills & Nash, Carly Simon, John Denver, Harry Chapin, Jim Croce, Neil Young, Songs of Green Pheasant, Big Bam Boo, This Is Ivy League, Tobias Fröberg, Twice as Much, Them, Harpers Bizarre, Kristin Hoffman, Linda Ronstadt, The Eagles, The Commodores, Chicago, Wham, Bill Fox, The Moore Brothers and Sherrié Austin, among others. They would also have an impact on contemporaries like Dave Van Ronk, Elvis Presley (who recorded a version of “Bridge Over Trouble Water”), Bob Dylan, and The Beatles. Although Simon and Garfunkel appeared at the end of the folk revival era, they took the genre into unexplored territory and created something new with their simple, traditional sound. Despite the electric instruments and the forays into Latin rhythms and gospel-ﬂecked material, at heart they were folkies. The ﬁrst album was a totally acoustic affair and throughout their respective careers as solo artists and a duo, they always honored their folk roots. Simon and Garfunkel have won a number of Grammies, remain a point of reference in popular culture, and continue to pop up at various functions with both new solo and reunited material. They proved that two individuals with solid talent could mesh their abilities together to create folk magic. Their sound of silence reverberates decades after it ﬁrst appeared.

DISCOGRAPHY: Wednesday Morning, 3 A.M., Columbia CL 2249. Sound of Silence, Columbia CL 2469. Parsley, Sage, Rosemary and Thyme, Columbia CL 2563. The Graduate, Columbia CK 3180. Bookends, Columbia KCL 2729. Bridge Over Troubled Water, Columbia KCS 9914. The Concert in Central Park, Warner 2SK 3654. Live from New York City, 1967, Columbia/Legacy 61513.

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In Concert, Warner Bros. 48955. Old Friends: Live on Stage, Columbia 5191732. Simon and Garfunkel’s Greatest Hits, Columbia KC 31350. Collected Works, Columbia 37587. The Deﬁnitive Simon and Garfunkel, Columbia 21. Old Friends, Columbia CK 64780.

The Byrds (1964 –1973) Folk Rock Fusion There were a handful of groups and individuals responsible for the transformation of traditional folk to folk rock. While the purists shunned the new musical hybrid, there were many artists who beneﬁted from it, and in some ways extended the revival, albeit in a much different direction. One group led the way to the folk rock fusion and became famous for their efforts. They called themselves The Byrds. The story of The Byrds begins essentially with Roger McGuinn. James Joseph McGuinn was born on July 13, 1942, in Chicago. He developed an early interest in the ﬁrst wave of rock and roll singers, as well as traditional music, and was already considered a folk prodigy by his teens. Eventually, the young man toured with The Limeliters, then jumped to the Chad Mitchell Trio. He would appear on the latter’s Mighty Day on Campus and At the Bitter End. Before going solo, McGuinn worked with Bobby Darin, Hoyt Axton, Judy Collins and Tom & Jerry (who later became Simon and Garfunkel). He traveled throughout much of the country before settling down in the Los Angeles area developing strong ties in the musical community there. There were many aspiring musicians who were folk enthusiasts and shared a similar lot with McGuinn. One of the groups on the scene at the time that the guitarist joined was the Jet Set, which included singer guitarist David Crosby and Gene Clark. David Crosby was born on August 14, 1941, in Los Angeles and boasted an Academy Award–winning cinematographer for a father. But the musical call was overpowering, and the young man, who had already begun to play guitar earnestly, chose music over drama. He was part of Les Baxter’s Balladeers before cutting his ﬁrst solo record. After a bouncing around from one forgotten group to another, he met Gene Clark and they formed Jet Set. Gene Clark was born in 1944 in Tipton, Missouri, into a musical family. His father was an amateur musician who embraced the sounds of Tex Rit-

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ter, Hank Williams, Sr., Patsy Cline and the entire Grand Ole Opry crowd. The inﬂuence had a long lasting effect on the younger Clark who took up the guitar. The music enthusiast added the ﬁrst generation of rock and roll artists Elvis and The Everly Brothers to the list of country heroes that his dad liked so much. All made an impact on him while his style was still evolving. Already a songwriter before his teens, he cut his ﬁrst record with a regional group called Joe Meyers and the Sharks. The emergence of The Kingston Trio sparked an interest in folk and turned his direction down that path. He joined The New Christy Minstrels, but developed a distaste for traveling and settled down in the Los Angeles area. After The Beatles swept through, Clark desired to bring all of the elements — country, rock and traditional folk — together in one style. He received the opportunity by joining forces with Crosby and McGuinn in an outﬁt called The Beefeaters. The trio added Chris Hillman, born on December 4, 1944, in Los Angeles, who cited western swing enthusiast Spade Cooley and country and western torchbearer Clifﬁe Stone as major inﬂuences. The budding young mandolin player, guitarist and, eventually, bassist enjoyed some success in high school with the Scottsville Squirrel Barkers who managed to cut one innocuous album. He would later join the bluegrass outﬁt, The Golden Gate Boys, later renamed The Hillmen. When The Beefeaters cut a single that lacked a fuller sound, they recruited a bass player and drummer. Hillman was to play the bass, although he had never touched the instrument. Michael Clarke was born on June 3, 1946, in Spokane, Washington. He developed into a percussionist and in his teens was on the coffee house tour circuit playing the congas. Eventually the young man moved to the San Francisco Bay area, and it was there that he heard Roger McGuinn. Later, upon meeting Crosby, the latter suggested Clarke become the drummer in the new band they were forming. This was a bold move because traditional folk ruled out the use of such percussion instruments. With the inclusion of a full-time beat keeper in the group, it was evident The Byrds would have a very much different sound than The Kingston Trio. Once the pieces were all in place, the group scrambled around the Los Angeles area trying to make a name for themselves with their new style of folk rock. Although Clark was the major songwriter for the group, it was a Bob Dylan song, “Mr. Tambourine Man,” that catapulted them to the top. They changed some of the verses and added chiming 12-string guitar parts to create one of the greatest cover versions in the annals of music history. The addition of Beatles-like harmonies only enhanced the ﬁnished product and was a key to their successful formula. The album Mr. Tambourine Man was an excellent debut effort and received strong praise from critics. More importantly, the fans accepted the new mixture of folk and rock, which was a big plus. Many shifted their

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allegiance from listening to The Kingston Trio, Chad Mitchell Trio and The Limeliters to the jangling sounds created by The Byrds. Their mixture of interpretative Dylan and Pete Seeger compositions, as well as original material, enabled the group to match up musically with the emerging British Invasion bands like The Beatles, The Rolling Stones, The Yardbirds and The Animals, among others. The group’s next monster single, “Turn, Turn, Turn,” only strengthened their appeal in folk rock circles. The song, taken from the book of Ecclesiastics, was hymn-like and spiritual; it was the perfect encore to “Mr. Tambourine Man.” An old Pete Seeger tune, they managed to make it sound fresh and exciting by combining their classic harmonies and more jangling 12-string guitar mastery. In 1965, The Byrds were one of the top bands on the circuit and had ushered in the folk rock era. In 1966, some time after Dylan had plugged in making it more suitable for folk acts to add electric instruments to their sound, The Byrds released “Eight Miles High,” which was another smash hit for the group. The single pre-staged the psychedelic era and featured the powerful McGuinn guitar solo, setting the benchmark in that musical dimension. Although this was considered rock, there was enough of a folk element to give it a different sound. The band’s commercial future was nearly destroyed when Gene Clark left the band. As the lead singer and, more importantly, their main songwriter, his loss was devastating. But the four remaining members regrouped and released their third album, Fifth Dimension. The highlights included “I See You,” the title track, and “John Riley.” The trio of songs contained the classic Byrds’ trademarks, the chiming lead 12-string guitars and intricate vocal harmonies; but something big was gone from the group. It was nearly impossible to replace someone of Clark’s stature. In 1967, dissension in the band exploded and threatened its continuance. They released Younger Than Yesterday, which featured the hits “So You Want to Be a Rock ‘n’ Roll Star” and “My Back Pages.” By this point Crosby had assumed a greater leadership role in the band, something that McGuinn and Hillman found unacceptable. The conﬂict would not solve itself without some major overhaul in personnel. The once tight outﬁt was quickly splitting apart. By the time The Notorious Byrd Brothers was released, Crosby had been thrown out of the group. Gene Clark had been recruited as a replacement but left soon after, as did Michael Clarke. The album was part folk rock and heavy electric and hinted at a future country music style. The lack of direction hurt the group who had once produced shimmering rhythmic sounds like no one else on the circuit. In order to strengthen the lineup, Hillmen and McGuinn recruited Gram

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Parsons, who assumed a much larger role in the group than anticipated and took them into full-ﬂedged country music. They had recruited drummer Kevin Kelly, and the quartet recorded Sweetheart of the Rodeo, a country rock effort, which displeased many of their longtime fans. In several ways, the golden era of The Byrds had come and passed as the remaining members were clinging to what little was left. In 1968, Hillmen left the group to join Parsons to form The Flying Burrito Brothers. McGuinn would continue to push the band’s name, although it became evident with the musicians that were recruited, it was no more than a back-up band for his musical ideas. Gone were the intense vocal harmonies and the powerful 12-string guitar work that was the trademark of the group and had captivated listeners. However, the group continued to make music for ﬁve more years. During that span of time, Crosby rose to great prominence with Crosby, Stills, Nash & Young. Hillman and Parsons, as well as Clarke for a spell, did quite well with The Flying Burrito Brothers. To many fans, The Byrds were ﬁgures from the past and their lack of direction made them even more of a cast-off group. The days of the folk rock experiment were essentially over. In 1973, the group reunited in order to relive past glories. However, the era of The Byrds was ﬁnished. Each member would continue in the music business, but the heady days when they challenged The Beatles, The Beach Boys, Bob Dylan and The Rolling Stones, and every other musical ﬁgure, for supremacy was over. Sadly, there would be legal wrangling over who owned the name, further diminishing the legend; but the band’s recorded catalog still created excitement and became an integral part of the playlist on many classic rock and oldies stations. After the breakup of The Byrds, McGuinn began a solo career and released a number of albums. He also participated in Bob Dylan’s Rolling Thunder Revue. In 1977, he reunited with Chris Hillman and Gene Clark and scored a Top Ten hit with “Don’t You Write Her Off.” A few years later, he returned to solo performing. In 1987, he opened for Dylan and Tom Petty. In 1989, when Michael Clarke emerged fronting a band named The Byrds, McGuinn reformed the group with Hillman and Crosby. The trio would play a few club dates included a Roy Orbison tribute concert and write new material to include in the box set retrospective. McGuinn later returned to solo performing and released a number of albums. His internet set, Folk Den, allowed him to continue his interest in folk music. Crosby became more famous as a member of the Crosby, Stills, Nash & Young quartet than he ever reached as a member of The Byrds. Despite an uneven history which saw them reunite and then break off to pursue solo efforts, they have continued to record and tour sometimes as a foursome when Neil Young decided to join in. Crosby suffered some health issues and

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skirmishes with the law. In 1997, he would be inducted into the Rock and Roll Hall of Fame for a second time. Chris Hillman left The Byrds to explore the realm of country rock and became one of its most endearing ﬁgures. His stint in The Flying Burrito Brothers was a successful one, and he remained with the group for ﬁve years. He then joined Stephen Stills’ Manassas for some time before leaving to form Souther-Hillman-Furay, with John David Souther and Richie Furay. He recorded a number of solo works before joining the country rock outﬁt, The Desert Rose Band. It was a project that went on and off for the next few years. When Gene Clark left The Byrds, he became a solo artist before hooking up with the Gosdin Brothers. Later, the guitarist joined forces with Doug Dillard, while continuing to release the occasional solo album. In the 1980s, the onetime front man of The Byrds would appear with a new album, Firebyrd. Later, he joined Michael Clarke in a band that appeared on the marquee as The Byrds, prompting a legal battle with the remaining members of the group. In the end, Clark’s excessive drinking led to his demise, and on May 24, 1991, he was found dead. Michael Clarke left the band and found work in a number of groups, as well as doing sessions for former band members. He joined The Flying Burrito Brothers and remained there for a few years before playing drums for the group Firefall. The percussionist would later become part of Jerry Jeff Walker’s group for a brief stint. Sadly, on December 19, 1993, the man who provided the launching path for McGuinn’s inspired solos on the 12-string Rickenbacker guitar died of liver failure. The surviving members continue to record and perform. The Byrds were one of the most important and inﬂuential folk bands of the revival. Although their success came at the tail end of the era, and they indulged in stretching the parameters of the traditional sound to include electric elements, they remain icons. There was something admirable about their ability to take the best elements of folk and blend it with other ingredients to make a different but appealing musical dish. The instrumental prowess and lack of it were key ingredients in The Byrd’s sound. From McGuinn’s excellent 12-string abilities to Clarke’s lack of drumming skills, they boasted the best and the worst. Gene Clark was an adequate bass player who had never played the instrument before joining the group. However what he lacked in technical skill, he made up for with enthusiasm. The addition of Hillman and Crosby, two solid guitarists in their own right, was the cornerstone of the group’s overall projection. The vocal harmonies remain some of the ﬁnest in the annals of all folk and folk-related music. The dual combination of McGuinn and Clark on lead vocals was unique and reminded many of the talent rich Beatles. The addition of a solid supporting cast consisting of Crosby, Hillman and Clarke

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as backup singers only strengthened their sound. They presented a different kind of vocal symmetry than The Kingston Trio, Chad Mitchell Trio and The Limeliters. In some folk circles, The Byrds are looked down upon because of the strong rock element in their sound. Although it was evident that their prime goal was to mesh the two styles together, they did much to help traditional music expand its parameters to make it more commercially successful. Their use of drums and electric instruments was often too much for the traditional purists to accept. However, there are those who comprehended what the group was trying to accomplish. The Byrds were major trendsetters. They ushered in the folk rock era, as well as psychedelia and country rock. For many groups, including Tom Petty and the Heartbreakers, R.E.M., The Flying Burrito Brothers, Asleep at the Wheel and dozens of others, the McGuinn led group was a starting point. The members would create a whole new musical universe that would span a number of very successful acts, including Linda Ronstadt and the Eagles, among others. They would inﬂuence The Reivers, Nick Lowe, Richard Thompson, Crowded House, Big Star, New Riders of the Purple Sage, Blue Rodeo, Jimmy Buffett, Jefferson Airplane, Buffalo Springﬁeld, The Strawbs and The Church. The Byrds were pioneers in the folk music fold. In 1991, they were inducted into the Rock and Roll Hall of Fame for their efforts. Although they didn’t make a huge impact during the revival, they appeared at the end of the folk boom and carried on the style’s popularity by taking it into a whole different realm. While purists dismissed them as traitors, others saw them as pacesetters with their magical folk rock fusion.

DISCOGRAPHY: Mr. Tambourine Man, Columbia CL-2372. Turn! Turn! Turn!, Columbia 09254. Fifth Dimension, Columbia CK-9349. Younger Than Yesterday, Columbia CK-9442. The Notorious Byrd Brothers, Columbia CK-9575. Sweetheart of the Radio, Columbia CK-9670. Dr. Byrds & Mr. Hyde, Columbia 65113. Ballad of Easy Rider, Columbia CK-9942. Untitled, Columbia CGK-30127. Byrdmanix, Columbia/Legacy 65848. Farther Along, Columbia/Legacy 65849. The Byrds {1973}, Vivid Sound 1659. Early Byrds, Columbia 18515. Early Flight ( Jet Set), Together 1001. The Byrds’ Greatest Hits, Columbia CK-9516. The Best of The Byrds: Greatest Hits, Vol. 2, Columbia CK-31795.

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History of The Byrds, CBS Records 68242. The Original Singles 1965 –1967 Vol. 1, Columbia CK-37335. Original Singles, Vol. 2 (1967–1969), CBS Records 32103. In the Beginning, Rhino R2-70244. The Byrds {Box Set}, Columbia/Legacy C4K-46773.

The Lovin’ Spoonful (1965–1968) Good-Time Folk The folk revival inﬂuenced aspiring musicians to combine their talents to form various outﬁts, especially after the success of other groups. Many patterned themselves off The Almanac Singers and The Weavers, while others followed the path The Kingston Trio and the Chad Mitchell Trio had blazed. But, by the mid 1960s, the boom was fading and individuals sought different musical routes. One band combined traditional elements with rock and a tinge of country to create a good-time folk sound. They were The Lovin’ Spoonful. Like other folk-based groups, the members had deep roots in the genre. John Sebastian was born on March 17, 1944, in New York into a musical family. His father was a classical harmonica player and the young boy grew up knowing Burl Ives, Woody Guthrie and enjoying the sounds of Leadbelly and Mississippi John Hurt in his neighborhood. He learned folk music at the foot of the masters. The young boy picked up the guitar and harmonica, honing his skills playing at various venues in Greenwich Village. His ﬁrst recording was on Billy Faier’s The Beast of Billy Faier. A year later, he collaborated with Fred Neil on the album Bleecker & MacDougal. Sebastian became a member of The Even Dozen Jug Band for some time before joining an outﬁt called The Mugwumps. The latter boasted Cass Elliott, Denny Doherty and Zal Yanovsky. Zal Yanovsky was born on December 19, 1944, in Toronto, Ontario, the son of a political cartoonist. The self-taught guitarist began to play the coffee houses in his native city. After a trip to Israel, he returned to Canada and teamed with Denny Doherty to form Halifax Three before moving on to The Mugwumps. Both groups were pure folk outﬁts. Sebastian and Yanovsky split to form The Lovin’ Spoonful and recruited Steve Boone. Steve Boone was born on September 23, 1943, in Camp Lejeune, North Carolina. After a serious car accident, the teenager picked up the guitar while

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recovering from injuries. He joined his brother’s band that also included drummer Joe Butler. After high school, Boone spent the summer exploring parts of Europe before returning to New York, speciﬁcally Greenwich Village, where he met Sebastian and Yanovsky. When the latter two decided to form a folk group, they called on him and the percussionist Butler. Joe Butler was born September 16, 1941, in Long Island, New York. He started to play the drums at an early age and managed to become proﬁcient enough to play in a variety of different outﬁts. However, a stint in the Air Force interrupted his musical career. On the plus side, it was while in the service that he met Steve and Skip Boone; the trio formed The Kingsmen. After the stint in the Uncle Sam’s Army was over, the drummer and singer ventured down to Greenwich Village to perform in clubs and record a few solo albums for the Mercury label. They chose the name The Lovin’ Spoonful, taken from a line in Mississippi John Hurt’s song “Coffee Blues.” The four jammed for a brief period before ﬁnding a residency at the Night Owl in Greenwich Village. Because of their previous, albeit moderate, success and highly visible gigs on the folk scene, they acquired a recording contact rather quickly, signing with Kama Sutra Records. They found immediate success. Their debut album, Do You Believe in Magic?, yielded the substantial hits “Did You Ever Have to Make Up Your Mind?” and the title cut released as singles before the record came out. Sebastian played the autoharp, decorating many of the songs and adding a colorful touch that made the group’s sound different than the others on the circuit. The band’s folkie good-time music approach won them legions of fans on the folk rock circuit. The Lovin’ Spoonful built up a quick and solid reputation. The second effort, Daydream, included the title song — a massive hit — and more original material. The single “You Didn’t Have to Be So Nice” was another chart topper. While they were considered very much a rock outﬁt, there was a strong folk element in their style, as well as a good dose of blues. By the mid–1960s, they had become one of the top American bands, having escaped the small clubs of Greenwich Village to perform in larger halls across the country. The band recorded songs for the romantic comedy You’re a Big Boy Now, which yielded the hit “Darling Be Home Soon.” They also made contributions to Woody Allen’s ﬁlm What’s Up Tiger Lily? By 1967, they were a mainstay on the charts and on the circuit. However, when Yanovsky was busted in San Francisco for marijuana possession and then turned on the source, it smeared the band in the eyes of the counterculture. Soon there was a boycott of their product. Yanovsky left the group and Jerry Yester replaced him. Jerry Yester was born January 9, 1943, in Birmingham, Alabama, but grew up in Burbank, California. He picked up the guitar at an early and became

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a good musician, forming a group with his brother, Jim. The pair performed as the Yester Brothers, playing folk clubs in Los Angeles. Jerry would join The New Christy Minstrels and later the Modern Folk Quartet. In 1965, he played piano on The Lovin’ Spoonful’s “Do You Believe in Magic?” In 1968, they released Everything Playing, which was much less successful than their previous releases. There were minor hits, “She’s Still a Mystery to Me,” “Boredom,” and “Money.” Their last single to hit the charts was “Nashville Cats.” Other songs such as “Darlin’ Be Home Soon,” would make it in the Top Twenty. That same year, John Sebastian left the group and the outﬁt would never be the same again. The Lovin’ Spoonful would continue for some time but ﬁzzled without their chief songwriter and front man. In 1968, they disbanded, a scant three years after formation. In 1980, the original lineup reunited to appear in the Paul Simon movie One Trick Pony. In 1991, Yester, Boone and Butler reformed the group adding Phil Smith on vocals, rhythm and lead guitar and Mike Arturi on drums. The new version toured the United States and other countries bringing back the band’s music to their old fans as well as to a new generation. In 1999, a live album, Live at the Hotel Seville, was released, minus Sebastian. John Sebastian had the most post–Lovin’ Spoonful success. He appeared at the Woodstock Festival and played “Younger Generation,” “Rainbows All Over Your Blues,” “Daring Be Home Soon” and “I Had a Dream.” The talented musician continued to guest on the records of others including The Doors’ Morrison Hotel, for which he was credited under the name of G. Pugliese. Later he would join the group on their live albums Alive, She Cried and Live in Detroit. Sebastian would later hit the top of the charts again with “Welcome Back Kotter,” the theme song to the television show of that name. In 1978, he wrote the music for the animated special The Devil and Daniel Mouse and provided the voice for the main character. In the 1980s, the former front man became involved in more TV projects, particularly for the Nelvana Limited Productions company. They were an animation studio, and he wrote the theme song and narration for the TV pilot The Get Along Gang, as well as for the Care Bears movie trilogy including Care Bears Movie 2: A New Generation and The Care Bears Adventure in Wonderland. He would host the program The Golden Age of Rock and Roll that included the music of his generation. In the 1990s, he made a cameo appearance on the sitcom Married With Children and later appeared on Eels Blinking Lights and Other Revelations. In 2007, Sebastian released a number of guitar instructional DVDs for the Homespun Video Company that included The Lovin’ Spoonful hits “Daydream” and “Nashville Cats.” Later, he teamed with the J Band on a documentary explaining the roots and inﬂuence of jug band music on his own

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career. The movie included Geoff Muldaur, Maria Muldaur, Jim Kweskin and David Grisman. In 2008, Sebastian was inducted in the Songwriters Hall of Fame. Joe Butler would go on to perform in the musical production of Hair, Mahogany and Soon to rave reviews. Later, the actor moved to feature ﬁlms including Born to Win, as well as the previously mentioned One Trick Pony. With the reunion of the group, he left the drum chair and became the lead singer, belting out the old classic hits and new material. His daughter, Yancy Butler, would become an actress and appear on the TV series South Beach and Mann and Machine, as well as the movies Hard Target and Drop Zone. Zal Yanovsky would cut a solo album, Alive and Well in Argentina (and Loving Every Minute of It), but none made a dent in the charts. The song “As Long As You’re Here” was his biggest post–Lovin’ Spoonful hit. Eventually, he left the music business and became a restaurateur in the eastern Ontario region of Canada with a degree of success that also included a number of cookbooks that sold quite well. In December 2002 he died of heart failure. Steve Boone bought a large sailboat and spent three years cruising the Caribbean and writing songs. Later, the one-time bass player became a record producer and enjoyed his ﬁnest hour recording Little Feat’s Feats Don’t Fail Me Now. He leased the studio, then bought it and relocated it to a houseboat in Baltimore’s Inner Harbor and dubbed it Blue Seas Studio. Emmylou Harris, Bonnie Raitt, Robert Palmer, Ricky Skaggs and The Seldom Scene would record there. In 1987, the ex-member of The Lovin’ Spoonful moved to Florida and became an award winning BMI songwriter. He continued to produce albums, most notably Irish Times’ Live at McGuire Hill 16. Eventually, Boone returned to his native North Carolina. The Lovin’ Spoonful were proponents of the good-time side of folk music. Although known as a folk rock outﬁt for their use of electric instruments and hard beat, they were grounded soundly in the traditional music which Sebastian grew up with as a young boy. For a two-year period, the group was one of the most successful on the circuit and produced a steady stream of hit singles. The members of The Lovin’ Spoonful were never master musicians, but they managed to produce a solid wall of sound. They were all adequate instrumentalists and considering that their good-time brand of folk was not very complicated; it wasn’t a necessity that they were incredible virtuosos. Their ability to play harmonica and guitar and keep a solid beat was perfectly suited to Sebastian’s lyrics. Where the band differed from others was the inclusion of sound color utilizing the harpsichord or some other exotic tool to produce something strange and wonderful. Sebastian, the group’s chief songwriter, was able to pen many well-crafted songs that ﬁt the good-time image they attempted to project. Tunes like “Do

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You Believe in Magic?,” “Daydream,” “Summer in the City,” “Rain on the Roof,” “You Didn’t Have to Be So Nice” and “Did You Ever Have to Make Up Your Mind?” were fun to listen to because they contained a memorable melody. To this day, their music is played on many oldies and classic rock stations. Their brief yet powerful impact would inﬂuence a number of artists. A partial list includes the Flamin’ Groovies, the Association, the Critters, NRBQ, America, Holiday, John Keaney, Superﬁne Dandelion, Kensington Market, Richard X. Heyman, Rachel Goodrich, the Low Anthem, the dB’s, Carly Simon, the Magic Numbers, Canned Heat, John Denver, Tom Petty, Badﬁnger and Dr. Hook & the Medicine Show. There was something about the Lovin’ Spoonful’s product that incited others to try their hand at making good-time folk music. Although the Lovin’ Spoonful are not considered one of the major folk revival outﬁts because they appeared at the tail end of the era, they were one of many groups along with the Mamas & the Papas, Beau Brummels, the Turtles, the Grass Roots, Buffalo Springﬁeld, and the Rascals who had deep folk roots. Sebastian led the outﬁt and took the basic style in different directions in order to increase their appeal and reach a wider audience. In many respects, they were soldiers in the folk ﬁeld and interpreted the traditional sound in a different manner than Bob Dylan, Joan Baez, Simon and Garfunkel, the Kingston Trio and the Limeliters. In 2000, the Lovin’ Spoonful was inducted into the Rock and Roll Hall of Fame for their contributions to the spectrum of popular music. They have always been fondly remembered for their projected zany image, wild sense of humor on stage, and unique brand of good-time music that combined traditional folk and blues inﬂuences with the rock and roll of their era.

DISCOGRAPHY: Do You Believe in Magic?, Kama Sutra 8050. Daydream, Kama Sutra 8052. Hums of the Lovin’ Spoonful, Kama Sutra 8054. Everything Playing, Buddha Records 99733. You’re a Big Boy Now, Kama Sutra 8058. Run with You, Kama Sutra 8073. Live at the Hotel Seville, Varese 065995.

PART FIVE

Other Performers The American folk revival reverberated throughout the world, especially in England. Great Britain had enjoyed a renewed interest in traditional music between 1890 and 1920, based on the transcribing of old standards that would later be recorded. Francis James Child was the main ﬁgure in this movement along with Sabine Baring-Gould, Frank Kidson, Lucy Broadwood and Anne Gilchrist. Later Cecil Sharp, Maud Karpeles, Percy Grainger, George Butterworth and Ralph Vaughan Williams would make signiﬁcant contributions. The collection of folk music was part of a nationalistic fever that swept the country. This same attitude was prevalent in the United States in the early part of the 20th-century as folklorists such as John Lomax and his son Alan, Charles and Ruth Seeger, Helen Flanders, John Jacob Niles and Bascom Lamar Lunsford, among others, traveled the country documenting the musical styles traditional to speciﬁc communities. The songs collected both as documents and recordings were a large inspiration to the ’60s folk boom. The second British folk revival ranged from 1945–1969. One of the main ﬁgures was American Alan Lomax who had moved to the U.K. in order to avoid the McCarthy witch hunts that decimated the industry in the United States. Lomax established a club and often jammed with Ewan MacColl and A.L. Lloyd, who were both involved in union and socialist politics. Eventually the traditional sound would give way to a distinctive form of ﬁnger picking that many dubbed folk baroque with Davy Graham, Martin Carthy, John Renbourn and Bert Jansch leading the way. Later, electric folk would assume the mantle. A subculture would be developed around the numerous folk clubs and festivals that had a huge impact on the entire industry. In Canada, the tireless efforts of Edith Fowke established the fact that there was a solid Canadian folk vein that differed from region to region. Her collecting and documentation would enable a host of aspiring musicians to gain a foothold in the music industry in the country, as well as reach international status. Some of her discoveries included O.J. Abbott, Tom Brandon, LaRena Clark, Heather Bishop and Faith Nolan. 241

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Other major contributors in this section from the American folk pool includes those featured in part one, The Revivalists: The Performers. Ramblin’ Jack Elliott and Dave Van Ronk were international stars and toured the planet pushing their special brand of traditional music. John Koerner made folk blues much more respectable by spreading it across many different countries. Doc Watson was also an integral cog as he renewed interest in old-time folk and bluegrass in various foreign centers. Harry Belafonte was a special case. Although born in the United States, the Calypso singer had a huge inﬂuence in bringing the music of his native roots of Jamaica to the international stage. Decades later, the reggae men, Peter Tosh and Bob Marley, would achieve global fame due to the Caribbean singer’s breakthrough efforts in the 1950s. Byron Lee, Hugh Masekela, and Miriam Makeba all beneﬁted from their association with Belafonte. The political folk with their topical and protest songs inspired others to take up causes that were urgent in their own region. Dylan had a huge inﬂuence on hundreds of musicians around the world. Baez performed in every corner of the globe in support of a myriad of causes and made an impact on numerous female singers in the remotest villages on the planet. Tom Paxton’s music reached the world masses as did the magic of Arlo Guthrie and Country Joe McDonald. Groups such as The Kingston Trio, the Limeliters and the Chad Mitchell Trio with their clean-cut college look and ringing harmonies charmed many around the world. The Byrds and The Lovin’ Spoonful with their folk rock fusion would fuel the efforts of similar British outﬁts, the Fairport Convention and Steeleye Span. The Clancy Brothers and Tommy Makem stimulated a great interest in the Irish ballad and sparked a renewed interest in the form, not only in America but also in their homeland of Ireland, as well as other parts of the globe. This section, “Other Performers,” is devoted to those individuals who made signiﬁcant contributions to folk in their own country through American inﬂuence. They include performers from England, Ireland, Canada and South Africa. Miriam Makeba was a South African singer who escaped the unjust apartheid society to make a huge impact on the world folk music stage. Gordon Lightfoot was a Canadian troubadour who managed to carve out a career that was powerful in both his native Canada and the United States. Buffy Sainte-Marie was a Native American folk singer who wrote a lot of songs in support of her people. Martin Carthy is considered by many to be the “Father of the English Folk Revival” and has gone on to inﬂuence dozens of artists, including his daughter Eliza.

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Bert Jansch was one of the greatest instrumentalists to emerge from the entire revival. His inﬂuence spilled over to many different styles. Joni Mitchell was another Canadian folkie to emerge from her prairie home to carve out an intense and interesting global career. Ralph McTell was a British individual who managed to overﬂow the boundaries of the boom in his country to reach others. Donovan Leitch utilized folk as a starting base for explorations into psychedelic rock.

Miriam Makeba (1932–2008) Empress of African Song Every country has its own style of folk music and South Africa is no exception. The deep roots of the various African cultural sounds go back thousands of years and remain an integral part of their life. Despite all of the social and political struggles that have plagued the continent and the challenges that every artist has faced in an attempt to establish a solid career, one ﬁgure emerged from the area to become the empress of African song. Her name is Miriam Makeba. Zenzile Miriam Makeba was born on March 4, 1932, in Johannesburg, South Africa. Her mother was a sangoma, a Swazi mystical traditional healer and her father was from the Xhosa tribe. Zenzile’s mother ran afoul of the accepted norms and spent time in jail. In fact, little Miriam lived in prison for several months during her initial year of life. When the little girl’s father died the struggle became even harder. But Makeba was gifted with a terriﬁc voice. She developed her ample singing abilities at the Kilmerton Training Institute in Pretoria, remaining there nearly a decade. The talented singer ﬁrst toured with an amateur group trying to overcome the many obstacles that impeded a path toward a fullﬂedged musical career. Despite limited opportunities in South Africa, Makeba was able to join the top group in the land, The Manhattan Brothers. The outﬁt had roots that dated as far back as the early 1930s when they attended grammar school together. Joe Magotsi, Rufus Khoza, Ronnie Majola Sehume, and Nathan Mdledle — acknowledged as the group leader — fought hard to establish themselves under the unjust apartheid doctrine. In 1948, they were able to record their ﬁrst singles and became quick favorites throughout the land. However, they were regulated to smaller venues that paid less than the white stars.

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The group was backed by the best musicians, including many noted jazz personalities such as saxophonists Mackay Davashe, Kippie Moeketsi, drummer General Duze, and pianist Sol Klaaste. Later they would also bring in trumpeter Hugh Masakela and arranger Jonas Gwangwa to the fold. The outﬁt was always able to recruit the top musicians from every corner of the continent and managed to blend all of the various talented personalities into one cohesive unit. The ﬁrst song Makeba cut with the band, “Laku Tshona ’Llange,” became a massive hit and provided a further opportunity to record and tour. However, because of apartheid, the group was never able to break out internationally and were regulated to the conﬁnes of second tier status as entertainers. Despite some triumphs, it was a frustrating period of time for the talented singer and the rest of the group. In 1958, she left The Manhattan Brothers and formed the all-female group, The Skylarks. They blended pop, gospel and jazz along with South African tribal rhythms and vocal harmony styles to create a sound that was uniquely their own. Despite the promise of the outﬁt, there were many personnel changes; but the lineup eventually settled around Makeba, Mary Rabotapi, Abigail Kubeka, and Mummy Girl Nketle. During her tenure with the ensemble, they would release two albums, Miriam Makeba & the Skylarks, Volume 1 and Volume 2. Later that year, she reunited with members of The Manhattan Brothers and snared the lead female role in a musical version of the tragic story of black African boxer, Ezekiel “King Kong” Dlamani. The play, entitled King Kong, was a huge success and enabled Makeba to enhance her reputation as one of the top performers in the land. However, once again due to apartheid, the skillful actress was restrained from gaining a higher level. It was apparent that if she was going to break out internationally, that Makeba would have to leave her homeland. In 1959, she joined Alf Herbert’s tour package entitled African Jazz and Variety. Despite receiving solid reviews, the entire production was stalled in its efforts to break out on an international basis. For a longtime, Makeba had wanted to expand her career but had been held back. Finally, the singeractress managed to ﬁnd an escape route when called upon to perform in the antiapartheid documentary Come Back, Africa, which helped her gain a visa to leave South Africa and travel to Europe. Once in Europe, she managed to gain a visa to the United States and attained freedom there. However, it came with a heavy price. In 1960, the South African government revoked her citizenship for the outspoken viewpoint of apartheid, which greatly saddened Makeba because it meant that she was barred from her homeland. This disappointment was balanced with a fourweek stint at the Village Vanguard and as a special guest of Harry Belafonte

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at the Carnegie Hall concerts that were recorded. The double album would win a Grammy. She forged ahead with her career. After garnering ﬂattering press for the excitement from the nightclub appearances, RCA Victor quickly signed the singer to the label. The debut effort, Miriam Makeba, included versions of “House of the Rising Sun,” “Wimoweh,” a tune The Weavers turned into a hit and The Tokens re-recorded as “The Lion Sleeps Tonight.” There were also a number of songs cut in the native tongue of Xhosa. The Belafonte Folk Singers, the Chad Mitchell Trio and Charles Coleman backed her on different tracks. For her next effort, The Many Voices of Miriam Makeba, a large content of the material was derived from African roots. There were several highlights that included “Zenizenabo,” “Ntjilo Ntjilo,” “Umqokozo,” “Ngola Kurila,” “Thanayi,” and “Nagula” often sung in a South African dialect. A strict opponent to apartheid, although banned from South Africa, the heartfelt singer never forgot the struggles of her people and continued to push for reforms from her safe American haven. The album The World of Miriam Makeba was Makeba’s ﬁrst genuine commercial success in the United States. It included an orchestra with future husband, the jazz trumpeter Hugh Masekela, who conducted the ensemble. Some of the songs featured were sung in her native African native tongue, as well as “Tonados de Media Noche” in Spanish and “Vamos Chamar Ovento” in Portuguese. There were English tunes such as “Little Boy,” “Forbidden Games,” and “Where Can I Go?,” an obvious reference to the fact that the entertainer, banned from her homeland, was a musical gypsy and called the rest of the planet home. Her concerts became events as the experienced singer captivated audiences utilizing multi-linguistic abilities. She was a visible performer at civil rights gatherings, understanding the personal struggle for freedom reigned all over the world even in a free country like the United States of America. Her political voice added a much different dimension than the topical songs of Bob Dylan, Phil Ochs, Joan Baez and the rest of the political folk crowd. In the 1950s, she had recorded “Pata Pata,” which had been a huge hit across the African continent. In 1967, Makeba included it on a release and it reached the top of the charts in the United States. Although known as a wonderful singer of traditional song and African music, the determined lady balanced an entertainment career with keen political awareness. In 1968, she received the Dag Hammerskjold Peace Prize. She married Hugh Masekela but the union did not work out. Later Makeba wed radical Trinidadian black activist Stokely Carmicheal, which created a host of problems as many concerts were cancelled and the contract with RCA was terminated. Eventually, the singer relocated to Guinea and

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became their delegate to the United Nations. On two different occasions she addressed the assembly on the horrors of apartheid. It was an issue that other countries were only starting to take an interest in. Although, Makeba had enjoyed a degree of fame with some releases, there was a lack of overall acceptance of songs performed in different languages. In 1970, Keep Me in Mind was an effort to reach across a broader scope of the listening audience with a soul, pop feel to it. The talented singer covered Buffalo Springﬁeld’s “For What It’s Worth,” Creedence Clearwater Revival’s “Down on the Corner, and the Beatles’ “In My Life.” The experiment was only partially successful. In 1972, the now acknowledged queen of African folk songs teamed up with Harry Belafonte to record Belafonte & Miriam Makeba. In 1973, she separated from Carmichael. A year later, Makeba entertained the crowds at the Rumble in the Jungle boxing match between legendary heavyweight ﬁghters Muhammad Ali and George Foreman. In 1975, she recorded A Promise, which included contributions from Joe Sample, Stix Hooper, Arthur Adams and David T. Walker, a member of the Crusaders. Makeba’s career continued to be marked by special projects. She was a member of Paul Simon’s Grammy winning Graceland tour. The album had utilized South African singers and musicians, proving to the world that there was a great amount of talent in the country still struggling under the unjust apartheid social structure. Two years later, she joined another outspoken female folk singer, Odetta, and along with jazz stalwart Nina Simone, they embarked on the One Nation tour. In 1988, Makeba published her autobiography, Miriam: My Story. Although it ﬁrst appeared in English, it would later be translated into German, French, Dutch, Italian, Spanish and Japanese. Although this was a great triumph for the celebrated singer, there was an even greater one. That same year she released a comeback album of sorts, it was her ﬁrst U.S. release in nearly a decade and included her powerful vocals as well as her back to the South African roots material. But the greatest triumph was still awaiting her. When jailed leader Nelson Mandela was released from prison, Makeba was allowed to return to South Africa. In 1991, the singer performed her ﬁrst concert there in more than thirty years. A year later, she appeared in the award-winning musical Saroﬁna as the mother. The vocalist, activist, actress and author continued to possess an incredible following and power. In 1994, she reunited with her ﬁrst husband, trumpeter Hugh Masekela, for the Tour of Hope. The concerts marked a return to the roots of African jazz and the great singer proved that she had not lost any of the prowess that had dazzled crowds nearly forty years before. The scheduled performances helped raise awareness for the beauty of African music around the globe.

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In 1995, Makeba formed a charity organization to raise funds to help protect the women of South Africa. An appearance at the Vatican’s Nevi Hall was a worldwide broadcast, which produced the album Christmas at the Vatican. Although her politics had rubbed some the wrong way, the determined lady continued to ﬁght social inequality and injustice in every corner of the globe. Her outspokenness was not just for the people of her homeland but for all those suffering on the planet. The universality of the overall vision elevated the golden singer to a much different plateau than others. In 1999, she was nominated Goodwill Ambassador of the Food and Agriculture Organization of the United Nations. In 2000, Makeba, who had never abandoned music, concentrated once again on the career as a singer with the release of the ﬁrst studio album in a decade entitled Homeland. In 2001, she received the Polar Music Prize honoring those who have displayed exceptional achievements, sharing it with Soﬁa Gubaidulina. In 2005, Makeba embarked on a worldwide farewell tour visiting the many places where she had performed and called home over the years, including the United States, New Guinea, England, France and, of course, South Africa. It was an emotional journey and proved that as a singer she had touched millions. Despite the activism that had hurt her career, it was apparent that there was a strong sense of righteousness in her music. On November 9, 2008, after taking part in a political concert in Castel Volturno, Italy, where she sang her most famous hit, “Pata Pata,” Makeba collapsed from a heart attack. The South African musical community and the world at large was greatly saddened when the empress of African folk died a few hours later. Miriam Makeba was a folk anomaly. Like Harry Belafonte, she was a black singer with an exotic, folk-based repertoire who was able to bring the songs to the international stage and deliver a sophisticated set of material that left the audience always wanting more. A stern political and social commentator on topics such as apartheid, the Civil Rights Movement and woman’s issues, there was no subject that the gutsy entertainer wouldn’t tackle. Makeba possessed a golden expression. It was a vocal delivery with great range that consisted of a special timbre enabling her to reach every different audience. The fact that she was talented enough to sing in a number of languages allowed the crafty artist to turn the strange songs of Africa into a product with international appeal. In any setting, her voice ached for freedom and justice that reverberated throughout the musical community. Makeba sang many songs, including “Pata Pata,” “Sabelani,” “Kilimanjaro,” “Thanayi,” “Congas,” “Tonados de Media Noche,” “Malcolm X,” “U. Shaka,” “Ngoma Kurila,” “I Phin Dlela,” “Suliram,” “The Retreat Song,” “Mbube,” “Where Does It Lead,” “Olilili,” “Lakutshn Ilanga,” “The Click Song,” “Nomeva,” “House of the Rising Sun,” “Quit It,” “We Got to Make

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It,” “Ndibanga Hamba,” “Iyaguduza,” “Murtala” and “Chicken (Kikirkiki).” Many of the tunes were in a different language, but it didn’t matter because she was able to break through all barriers to present them as something magical and real. Like Harry Belafonte, Makeba brought an international ﬂavor to the folk revival. While she did sing some American traditional folk material, the African queen also brought many of the native songs of her homeland into the folk catalog. The best example is “Pata Pata,” a song she learned as a child back in South Africa. It was one that many would record because of the international allure. The political and social commentator on many different issues, Miriam utilized music to push her message across. Because of this she had a large inﬂuence on a number of singers. A short list includes Dionne Warwick, Diana Ross and the Supremes, Jackie DeShannon, Aretha Franklin, Whitney Houston, Linda Ronstadt, Beyoncé, Helen Reddy, Destiny’s Child, Nina Simone, Irma Thomas, Abbey Lincoln, Tracy Chapman, Cicely Tyson, and many others. Makeba was the ﬁrst South African woman to win an award. She also developed an international reputation and blazed the path for others including the Jamaican Bob Marley and the Nigerian singer Fela to follow. They were talented individuals who overcame many obstacles to gain the fame that they enjoyed after great struggle. The entire concept of world music is something that owes a debt to the prejudices Makeba overcame in her determination to prove that song is a universal language. Miriam Makeba was an international singer who managed to carve out a career with her South African traditional roots folk and bring it to the world. She had a very accessible voice that allowed her to bring social and political issues to the forefront through song. Although she is called the empress of African song, in many ways the gifted chanteuse belonged to the entire planet.

DISCOGRAPHY: Miriam Makeba, RCA LSP2267. The Many Voices of Miriam Makeba, Kapp KL1274. The World of Miriam Makeba, RCA LSP2750. Makeba, RCA LSP2845. Makeba Sings, RCA LSP3321. An Evening with Belafonte/Makeba (with Harry Belafonte), RCA LSP3420. The Magic of Makeba, RCA LSP3512. The Magniﬁcent Miriam Makeba, Mercury 134016. All About Miriam, Mercury 134029. Miriam Makeba in Concert!, Reprise RS6253. Pata Pata, Reprise RS6274. Makeba!, Reprise RS6310.

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Live in Tokyo, Reprise SJET8082. Keep Me in Mind, Reprise RS6381. A Promise, RCA YSPL1-544. Live au Palais du Peuple de Conakry, Sonodisc SLP22. Miriam Makeba & Bongi, Sonodisc SLP48. Pata Pata, Vol. 1, Sonodisc 1901. Click Song, Vol. 1, Sonodisc 1907. Malaisha, Goya 72702. Le Monde de Miriam Makeba, Sonodisc 5563. Country Girl, Sonodisc ESP165518. Comme une Symphonie d’Amour, Sonodisc 7501. Sangoma, Warner Bros. 25673. Welela, Gallo CDGSP3084. Eyes on Tomorrow, Gallo CDGSP3086. Take Me at the River, Goya 72712. Pata Pata: Live in Paris, Goya 4400932. Sing Me a Song, Sonodisc CDS12702. Country Girl, Sonodisc 6518. Folk Songs from Africa, A World of Music 12514. Homeland, Putumayo PUTU1642. Live at Berns Salonger, Stockholm, Sweden 1966, Gallo Music GWVCD-49. Reﬂecting, Gallo Music GWVCD-51. Makeba Forever, Gallo Music CDGURB-082. Miriam Makeba & The Skylarks, Vol. 1, Gallo 2303. Miriam Makeba & The Skylarks, Vol. 2, Gallo 2315. Mother Africa, BMG/Arista 74321599352. World Legends, Sonodisc 2. Mama Africa: The Very Best of Miriam Makeba, Manteca 14. The Guinea Years, Sterns Africa 3017. The Deﬁnitive Collection, Wrasse 62.

Gordon Lightfoot (1938– ) Canadian Troubadour Although Canada is a vast country, it didn’t produce many national or international folk artists for the longest time, only regional ones. However, during the revival, a crop of young, heartfelt singers emerged from the Great White North and began to assert themselves, not only in their native regions but on a global level. One of the best was the Canadian troubadour, Gordon Lightfoot. Lightfoot was born November 17, 1938, in Orillia, Ontario. His ﬁrst musical experiences center around singing in a church where he learned how to express himself emotionally. It also gave him a sense of the power of music

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and how it moved people, an energy and mystique which he found fascinating and wanted to be part of. The young tenor also appeared on radio and in local productions, as well as performing at music festivals. He won at the Toronto Kiwanis Festival with a performance of “Who is Sylvia?” It was the second year in a row that the aspiring singer had entered the contest, also winning the previous time, and it was clear that young Lightfoot was destined for a successful musical career. In 1954, he made his network radio debut singing with a group called the Teen Timers. At this point, he had not yet discovered folk; it would happen a couple of years later while listening to Bob Gibson and The Weavers. An engaging individual, he studied piano and taught himself drums and other percussion instruments. He had not yet begun to write songs, but had developed a keen appreciation for the rhyming words in lyrics. While acquiring a strong musical foundation in his Ontario hometown, Lightfoot realized that greater opportunities existed in far away centers. Added to that was the fact that he possessed a traveling foot in the grand tradition of folkies like Woody Guthrie, Pete Seeger and Cisco Houston. He moved to California where he studied jazz composition and orchestration at Westlake College of Music for two years. During this time the folk revival exploded and had a deep effect on his songwriting. Once he had completed his education, Lightfoot returned to Canada and found work with the group The Swinging Eight. By this time the guitar had become his instrument of choice, starting on a 4-string model before moving on to 6 and 12string versions. The Swinging Eight was a group that performed in a variety of styles on the TV show Country Hoedown. Often, they teamed up with the Gino Silvi Singers to create an interesting mixture and wall of sound. Lightfoot was leading a double life as a musician around this time because he often moonlighted on the Toronto folk scene trying to make a name for himself in an industry that was just coming into its own. The burgeoning folk scene needed a leader, a spokesperson, who would put the industry on the map. Lightfoot developed a solid, unspectacular guitar beat that blended well with his unique vocal delivery. He found a singing partner in Terry Whelan and the two called themselves Two Tones. In 1962, a live effort Two Tones at the Village Corner was released and caused regional excitement. Despite the promise of this duo, the Canadian troubadour left for England and found work as host of the TV program Country and Western Show. In 1964, Lightfoot returned to Canada and appeared at the Mariposa Folk Festival, which was a major turning point in his career. It all started to come together because the talented songwriter had penned “For Lovin’ Me” and “Early Morning Rain.” Ian and Silvia Tyson, a Canadian duo covered

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the former, as did Peter, Paul and Mary who had a hit with it. Later, Chad & Jeremy and the Johnny Mann Singers also recorded a version. The interesting point about other artists recording Lightfoot’s songs was the variety of performers. Country singers Marty Robbins and Leroy Van Dyke cut versions of “Ribbon of Darkness” and “I’m Not Saying” respectively. Naturally there were folk singers who scored hits with the Canadian songwriter’s material including Judy Collins, Richie Havens, The Kingston Trio and Harry Belafonte. In 1965, he performed at the Newport Folk Festival and witnessed Bob Dylan, who had been a strong inﬂuence on his writing, go electric. It had a profound impact on Lightfoot who realized that the time for the solo acoustic performer had come and gone; a blend of traditional music with electric was the next movement. Later that year, he moved to Detroit and lived with Joni and Chuck Mitchell, performing at area clubs like the ﬁrst-rate Chess Mate. In 1966, Lightfoot released his self-titled debut album, which featured the songs “For Lovin’ Me,” “Early Mornin’ Rain,” “Steel Rail Blues,” and “Ribbon of Darkness.” It was a landmark record for many reasons. When Marty Robbins recorded a version of “Ribbons of Darkness,” it spent seven months on the Country and Western charts, eventually reaching number one. It would later win the ASCAP writer-publisher award. This type of exposure enabled him to become one of the most noted Canadian singers on a national level and slowly gain fame on the international scene. In 1966, he starred at Toronto’s Riverboat coffee house, a landmark appearance in his live career. Although a solid interpreter of his own material, Lightfoot’s popularity was based on songwriting as some of the biggest names in music covered his songs, including Bob Dylan, Johnny Cash and Elvis Presley. The troubadour propelled his fame with numerous concert appearances and the release of a steady stream of albums that always contained at least one or two gems. A proliﬁc writer, he would pen over four hundred songs. One of the top tunes he wrote was the commissioned “Canadian Railroad Trilogy” for the country’s centennial honor of the building of the coastto-coast railway. In 1967, the relentless individual launched his ﬁrst cross Canada tour. Later, he would play concerts in the United States, Europe and Australia, a major feat for a Canadian artist at the time. Of the many ﬁgures on the circuit, Lightfoot was clearly one of the best and had become the singersongwriter many aspiring artists looked up to. The ever growing catalog that others drew from generated excitement for his own career. By 1968, the troubadour was one of the most noted performers in Canada and had a strong foothold in the United States appearing in San Francisco for the ﬁrst time, extending his name on the West Coast. He returned to the city to play the Fillmore and moved on to perform at the Troubadour Club

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in Los Angeles. Once again, he appeared at New York’s Town Hall, this time as the headline act. About the same time, the song, “Did She Mention My Name?,” was released and became a hit. Although a keen folkie during the revival while many faded from the scene in the latter part of the decade, Lightfoot was just beginning to gain momentum. A year later, he continued to steamroll his way to fame by appearing as a solo act at London’s famed Royal Festival Hall. He switched record labels from United Artists to Warner Brothers, and it was with the latter company that the troubadour would enjoy his greatest hits. The next decade beckoned to be a great one for the folk musician and the prediction was quickly fulﬁlled. In 1971, “If You Could Read My Mind” became a Top Five hit and accelerated a rise to the top. Not only was Lightfoot a noted folk attraction but also quickly becoming a musical brand name. In 1972, he contracted Bell’s Palsy, a condition that left his face partially paralyzed. From this point on, Lightfoot concentrated more on the recording side of the career, but would never abandon the writing or touring side of his musical career. For years, others had enjoyed hits with his material, but in the early 1970s, he began to score with his own songs. Later, a chance meeting with a girl out west would turn into the well-known “Alberta Bound.” In 1974, the album Sundown and the song of the same name appeared with the single reaching number one on the American charts. “Carefree Highway,” the next offering, also made it to the Top Ten. In 1975, he toured Europe including stops in Amsterdam, Hamburg, Munich, Frankfurt and London at the Royal Albert Hall. Since dozens of artists had covered his songs, he was conﬁdent enough to begin writing material that was much different than previous stuff. A good example was the haunting “Wreck of the Edmund Fitzgerald.” An ambitious project, it was a throwback to the days of old when artists covered the disasters of the day. The large ship had been lost in a severe November storm in Lake Superior and provided a perfect vehicle for Lightfoot’s straightforward guitar and vocal delivery. The song became a radio staple along with “Sundown,” “Carefree Highway” and a handful of other tunes. He would score yet another Top Forty hit with “The Circle Is Small (I Can See It in Your Eyes).” At the end of the year, he appeared in Bob Dylan’s Rolling Thunder Revue when it came to Toronto. In 1976, “The Wreck of the Edmund Fitzgerald” became the number two song on the Billboard charts, and would be a perennial favorite in November as a reminder of the tragedy where twenty-nine men lost their lives. He was invited to The Band’s Farewell Concert, along with Bob Dylan, Neil Young and a host of others, but never performed. In an unusual situation, the folkie made an appearance at the Montreux Jazz Festival in Switzerland,

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usually reserved for jazz and blues artists. At the end of the year, Summertime Dream reached platinum status. For the rest of the decade, he remained on the road and continued to release new material. By this time there were awards coming his way after being in the business for more than a decade. A good example was “Gordon Lightfoot Day” in Toronto. He continued performing for charities in such assembles as the beneﬁt for local ballets and symphonies at the Nassau County Coliseum in Long Island. In the spirit of past folk artists, Lightfoot donated time to humanitarian causes. Lightfoot started the 1980s being declared the male singer of the last decade. In 1981, he appeared in the ﬁlm Harry Tracy Desperado, adding yet another dimension to his long, creative career. By this point, he had established certain annual rituals like his concert at Massey Hall; it was considered an event. As a performer he went electric, while still playing acoustic six and twelve-string guitar. He also added keyboards to a stage show that was never the same twice because of the ever growing material in the proliﬁc songwriter’s repertoire. Always a humanitarian, he performed many charity concerts to help out victims of natural disasters, as well as supporting Canadian athletes needing money to compete in the Olympics. In 1985, he was at the forefront in recording “Tears Are Not Enough,” the Canadian version in the campaign to aid in the USA for Africa relief effort. The event also included Neil Young, Joni Mitchell and Bryan Adams among others. In 1986, Bob Dylan hosted the night that Lightfoot was inducted into the Canadian Music Hall of Fame. Also, for the ﬁrst time in his career, he did not tour, and instead poured all energies into the next studio effort, East of Midnight. The following year, the troubadour made up for lack of live performances from the year before criss-crossing the continent several times over. With the advent of the CD, much of his music was digitally remastered and sales increased. Environmental causes became a prominent concert venue. In 1988, he teamed up with Sting in Brazil to protect the rain forests from being destroyed by loggers and dam builders. Later in the year, he performed at two concerts for the World Wildlife Fund. In 1989, he appeared in various Canadian venues, including Toronto, Alberta, and British Columbia, to bring attention to different causes devoted to saving the planet. This balance between a musical career and concern for the environment added depth to his name and character. By the 1990s, Lightfoot was one of the premiere veterans of the Canadian music scene and was awarded the William Harold Moon award for contributions to the industry in his native country. He continued to appear at a variety of festivals and venues for different causes and concerns. For instance,

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on the twentieth anniversary of the sinking of the Edmund Fitzgerald, he attended the ceremony at Whiteﬁsh Point, Michigan, to ring the ship’s bell. Although the studio production had dropped off from the steady pace of the previous years, Lightfoot eventually recorded A Painter Passing Through. In 1999, a box set of nearly a hundred songs was issued that included previously rare and unreleased tracks in retrospect of his career. He began the new year, decade, century and millennium playing a beneﬁt at the Air Canada Center in Toronto to assist farm families in crisis. He continued his short tours, a Lightfoot trademark, usually totaling no more than forty dates through a certain area of the North American continent. In 2002, Lightfoot suffered an abdominal hemorrhage that proved to be nearly fatal. The ill singer went into a coma to emerge only a few weeks later. It was the ﬁrst time that the annual Massey Hall stance was cancelled. Despite the medical setback, the troubadour recovered to record his 20th album, Harmony, released in 2004. In 2003, he was the inaugural member inducted into the Canadian Folk Music Walk of Fame. He still suffered from his abdominal injuries, limiting touring and work on the new album. At the end of the year, he was inducted into the Canadian Songwriter Hall of Fame. In 2005, he undertook his ﬁrst concert tour since becoming ill three years before. He was able to make a triumphant return to Massey Hall with four sold-out shows. The man who began in a church choir had come a long way to achieve a level of success few Canadian artists enjoyed. For the rest of the decade, he continued to tour on a reduced scale due to health problems. Gordon Lightfoot is a Canadian folk icon. He has survived a lull in his career, health concerns, an infant industry that had to catch up to him and other challenges to make a huge impact in Canada and on an international level. While his strongest suit has always been the songwriting, he does possess an inimitable style and has been an active humanitarian for dozens of causes and charities. Lightfoot has a burr of a voice. It is a unique delivery and instantly recognizable in two or three notes. The almost ﬂat, nasal sound has always ﬁt perfectly for the songs that the proliﬁc artist has written. As well, it is durable and able to framework any style of song including rock and roll, blues, jazz and country. It is one of the most distinct if not the most solitary vocals in the annals of Canadian music. Although often portrayed as a solo artist, for much of his career Lightfoot utilized accompanists very effectively. Most notably Red Shea has done an excellent job with the lead guitar work adding an expertise to many of the troubadour’s best known songs. Others, such as bassist John Stockﬁsh and Rick Haynes, have also made large contributions to the recorded studio material and live experience.

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Lightfoot has been handsomely rewarded for his major contribution to the Canadian folk and music scene in general. In 1986, he was inducted into the Canadian Music Hall of Fame. Two years later, he was admitted to Canada’s Walk of Fame. In 2001, he became a member of the Canadian Country Music Hall of Fame. In 2003, he was made a Companion of the Order of Canada. He is also a member of the Order of Ontario. A winner of ﬁfteen Juno Awards, Canada’s version of the Grammy’s, he has also collected ﬁve of the latter awards. Lightfoot has left his mark on popular culture in many different ways. His song “Beautiful” was featured in the motion picture The Brown Bunny. The chanteuse Nico covered “I’m Not Sayin’” which featured Jimmy Page, later of Led Zeppelin, on 12-string acoustic guitar. To date, Bob Dylan and Elvis Presley have produced studio and concert cover versions of “Early Mornin’ Rain.” Olivia Newton-John, Barbra Streisand and Glen Campbell had hits with “If You Could Read My Mind.” Canadians Anne Murray, the Rheostatics, Sarah McLachlan have recorded some of the master’s compositions. The Canadian prairie rockers, The Guess Who, wrote the song “Lightfoot.” In 2003, a tribute album, Beautiful: A Tribute to Gordon Lightfoot, included The Tragically Hip, Blue Rodeo, Cowboy Junkies, Ron Sexsmith, Jesse Winchester and Aengus Finnan performing Lightfoot material in appreciation of the vast impact he had on all of their careers. A proliﬁc songwriter, he has composed over ﬁve hundred songs. A partial list includes “Alberta Bound,” “Beautiful,” “Bitter Green,” “Canadian Railroad Trilogy,” “Carefree Highway,” “Cotton Jenny,” “Did She Mention My Name,” “Does Your Mother Know,” “Don Quixote,” “Early Morning Rain,” “Ghosts of Cape Horn,” “If You Could Read My Mind,” “I’m Not Supposed to Care,” “In My Fashion,” “Protocol,” “Rainy Day People,” “Shadows,” “Steel Rail Blues,” “Song for a Winter’s Night,” “Sundown,” “The Wreck of the Edmund Fitzgerald,” “The Pony Man” and “For My Lovin’.” Lightfoot would take many of these songs into the charts, as would dozens of other artists. Lightfoot was one of the warriors who carried on after the folk revival ended. Armed with his guitar and voice, the troubadour managed to create an excitement for the genre when other styles were much more popular. However, the countless tours and large recorded catalog undergirds a never quit attitude and determination. He has consistently tweaked the music in order to keep it fresh and exciting by adding a drummer, keyboards, and a pedal steel guitar player, among other adjustments. Gordon Lightfoot is one of the most celebrated folk singers of the revival period. Although he didn’t have a direct impact on the early years, the celebrated singer certainly inﬂuenced a number of artists both Canadian and

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international, and continues to do so. The man who ﬁrst started singing in a church choir has come a long way and the carefree highway that the Canadian troubadour traveled was one paved with gold.

DISCOGRAPHY: Lightfoot, EMI Music Distribution UAS-6487. The Way I Feel, Beat Goes On UAS-6587. Did She Mention My Name?, Emi Music Distribution UAS-6649. Back Here on Earth, Emi Music Distribution UAS-6672. Sunday Concert, EMI-Capitol Special Market UAS-6714. If You Could Read My Mind, Reprise R56392. Sit Down Young Stranger, Wounded Bird Records WOU6392. Summer Side of My Life, Wounded Bird Records M52037. Don Quixote, Wounded Bird Records M52056. Old Dan’s Records, Wounded Bird Records M52116. Sundown, Reprise M52177. Cold on the Shoulder, Wounded Bird Records M52206. Summertime Dream, Wounded Bird Records M52246. Endless Wire, Wounded Bird Records BSK3149. Dream Street Rose, Wounded Bird Records HS53426. Shadows, Wounded Bird Records WBK56970. Salute, Wounded Bird Records 92-3901-1. East of Midnight, Warner Bros. 9-25482-2. Waiting for You, Reprise 9-45208-2. A Painter Passing Through, Reprise 9-45208-2. Harmony, Spin Art 801442-2. Gord’s Gold, Reprise 2237-2. Gord’s Gold, Vol. 2, Warner Bros. 9-25784-2. The Best of Gordon Lightfoot, Curb 471209-2. Songbook, Pair R2-75802. The Complete Greatest Hits, Rhino R2-78287.

Buffy Sainte-Marie (1941– ) Canadian Native Folk In the late 1950s and early 1960s dozens of folk singers ﬂocked to the coffee houses in Greenwich Village. Although many hailed from the United States, they arrived from all over the continent and the globe. Ian & Sylvia, the Canadian folk duo, thrived in the place as did the prairie singer with her Canadian native folk music. Her name was Buffy Sainte-Marie. Buffy Sainte-Marie was born on February 20, 1941, on the Piapot Cree Indian reserve Saskatchewan’s Qu’Appelle valley. She was adopted by a white

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family and grew up in Maine, far away from her native land. She found solace in music. The aspiring entertainer learned how to play guitar and honed her musical skills until proﬁcient enough to sing in front of an audience. However her path to a musical career was interrupted by school. She attended the University of Amherst and earned a teaching and Oriental philosophy degree. At this point, the artist was also learning traditional material and writing introspective, topical songs such as “Ananias,” “Now That the Buffalo’s Gone,” and “Mayoo Sto Hoon.” All were part of SainteMarie’s repertoire as she played coffee houses and clubs around the Boston area in order to pick up some spending money. Eventually, the hobby turned into a more serious intention and the young musician drifted to New York determined to carve out a music career. In 1962, she made enormous strides toward achieving her goal. The devoted folkie played at various concert halls, folk music festivals and Native American reservations across the United States, Canada and other countries. She was a regular performer at Greenwich Village and Toronto’s old Yorkville district boasted a growing catalog consisting of “Until It’s Time for You to Go” and “Piney Wood Hills,” all songs that other artists were eager to record. It was while singing in a New York coffee house that a Vanguard Record producer discovered her and was intrigued by Sainte Marie’s projection, choice of material and unique vocal delivery. In 1964, It’s My Way was released and included the classic “The Universal Soldier,” a tune written when she witnessed wounded soldiers returning from Vietnam. A controversial song, it gained her immediate attention in folk circles, which was bolstered when English folkie Donovan and country picker Glen Campbell reached the charts with their cover versions. Sainte-Marie forged on recording albums that, although contained a heavy dose of folk, were also infused with rock, classical, orchestral and Native American strains. The effort was strong enough for her to earn Billboard Magazine’s Best New Artist. The promise was also built on the fact that she was overtly political, especially when it came to her own people, with songs like “My Country ’Tis of Thy People You’re Dying,” which separated her from the many other folk singers on the circuit. Sainte-Marie spread her talents to include different mediums. She appeared on TV, playing herself on the show To Tell the Truth and Pete Seeger’s Rainbow Quest with Pete Seeger, the educational folk music program devoted to promoting the style. Later, she sang the “Circle Game,” in the ﬁlm The Strawberry Statement. In 1967, Fire and Fleet and Candlelight was released, which contained an interpretation of the traditional “Lyke Wake Dirge,” an old English tune. In the 1970s, Sainte-Marie remained a proliﬁc recording artist and

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performed at a variety of venues both small and large. Her albums She Wanted to Be a Ballerina, Moonshot, Quiet Places, Buffy, Changing Woman, and Sweet America contained mostly original material with covers of songs ranging from fellow Canadian folkie Joni Mitchell to blues-R&B master Arthur “Big Boy” Crudup. She possessed the talent as a musician and singer to bring any tune to life, and the proof was scattered throughout the healthy catalog that continued to grow. In 1976, she began an association with the popular children’s show Sesame Street. It was good exposure for the artist who managed to create excitement on the program and bring a Native American angle to the popular hit. One of the episodes was even broadcast from her home in Hawaii. In 1979, she wrote the musical score to the movie Spirit in the Wind, which would be shown on cable TV and released overseas to general positive reviews. The folk singer continued to assert herself politically through her music, written and performed for Where the Spirit Lives, a ﬁlm about native children being abducted and forced into residential schools. She penned “Up Where We Belong,” co-written with Will Jennings and Jack Nitzsche. Joe Cocker and Jennifer Warnes performed the song, and it became the soundtrack for the very successful An Ofﬁcer and a Gentleman. The tune would win an Academy Award for Best Song. Her music would later be utilized in a Canadian TV series Spirit Bay. Sainte-Marie, the actress, appeared in the teleﬁlm, The Broken Chain. Sainte-Marie became involved with ﬁlms, writing the scores for a few movies including Solider Blue and Attla. One of her main activities was to sing, speak and do charity work for her people. She founded the Nihewan Foundation for Native North American scholarships. The determined vocalist was one of the prime forces in bringing the plight of the Native American to the attention of the world. A true ﬁghter, Sainte-Marie pushed for a category in Music of Aboriginal Canada to be handed out at the annual Juno Awards, the country’s answer to the Grammys. In 1992, she released Coincidence and Likely Stories, her ﬁrst studio album in a decade and a half. It was a triumphant comeback featuring strong material; “The Big Ones Get Away,” “Fallen Angels,” “The Priests of the Golden Bull,” “Starwalker” and “Bury My Heart at Wounded Knee,” another dedication to her people. In 1996, Up Where We Belong, an acoustic album of her greatest hits, was issued and included a re-release of “The Universal Soldier.” In the following decade Sainte-Marie continued her political and social work through songs. She performed at the Kennedy Space Center for Commander John Hennington, a Chickasaw and the ﬁrst Native American astronaut. In 2003, the activist became a spokesperson for the UNESCO Associated Schools Project Network in Canada. In 2008, Running for the Drum was

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released and recorded in her home studio in Hawaii. It contained many gems, including “Little Wheel Spin and Spin,” “No No Keshagesh,” “Cho Cho Fire,” “Easy Like the Snow Falls Down” and “To the Ends of the World.” The talented and outspoken poet, painter, singer, songwriter and activist continues to record and perform. Buffy Sainte-Marie is a unique folk artist for many different reasons. Her music was an inspiration to a number of artists and also managed to raise awareness of the plight of her Native American people. An educated woman, the clever lady was able to forge a career that ﬂourished in both Canada and in the United States, and extended it to other international centers, particularly in France where she has appeared on TV and recorded some of her work. Sainte-Marie has an interesting voice. There is a calmness, a peaceful approach to her singing in even her most social and politically overt songs. Her ability to transport a song to the listener about a deep cause that has an emotional weight attached without forcing the lyrics is a tribute to her balance as a chanteuse. The subtle element in her vocal delivery has been one of the more remarkable trademarks throughout a long career. Her voice is instantly recognizable and the soothing element enables the listener to concentrate on the lyrics. There is a quality timbre that has entertained audiences around the world for decades. The one element that separated Sainte-Marie from every other folk singers — including the Greenwich Village crowd — was the expert use of vibrato; it became her trademark sound. It was particularly effective on the dozens of songs recorded including “The Universal Soldier” and the many pieces dedicated to the Native American people. She was a prime songwriter and penned some very interesting material. For example, the tune “Until It’s Time for You to Go” was a minor hit for Elvis Presley. A slew of big name acts, including Cher, Barbra Streisand, Neil Diamond, Claude Gauthier, Robert Goulet, Cleo Laine, Vera Lynn, Carmen McRae, Odetta and Ginette Reno, cut their own version. There were also protest numbers like “The Universal Soldier,” which would be inducted into the Canadian Songwriters Hall of Fame. However, it is the songs about the native folk for which she is best remembered. A short list includes “Native North American,” “Now That the Buffalo’s Gone,” “Soldier Blue,” and “My Country ’Tis of Thy People You’re Dying.” A champion of many social causes, it is understandable that she would reserve some the best writing for those songs written to bring to light the plight of the First Nations people. But there was also a universal appeal to this material because it spoke for all of the downtrodden around the globe, making the folk singer an international spokeswoman. Although best remembered as a folk artist, Sainte-Marie recorded songs

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in different styles. For example, the tune “I’m Gonna Be a Country Girl Again” was a country song displaying wider range then she was given credit. A later album, Illuminations, demonstrated an experimentation with electronics, an element included in her stage act with the use of synthesizers — an unheard of process in folk music. Her performances around the world are interesting. In Canada, she often toured First Nations reserves and towns in the Western provinces, as well as Ontario. In the United States, the folk singer with a message played at numerous centers where native people lived. Sainte-Marie also performed at festivals in her native country, as well as Sweden, Denmark and France. One of her more interesting musical adventures was a collaboration with the Regina Symphony Orchestra. Sainte-Marie was also a gifted teacher. She taught art and music at the Saskatchewan Federated Indian College, York University, Evergreen State College in Washington and at the Institute for American Indian Arts in New Mexico. In 1969, the activist founded the Nihewan Foundation for Native American Education. Later, utilizing modern technology, she connected classes of aboriginal with non-aboriginal children via the Internet. Sainte-Marie is a celebrated artist who has received a number of awards throughout her career for many different reasons. In 1992, after a lengthy absence from recording because she was concentrating on other projects, the singer returned with Coincidence and Likely Stories, which boasted electronic and traditional aboriginal chant backing. It would win a European Best International Artist award. In 1996, Up Where We Belong, a new collection of previously recorded material performed unplugged, combining elements of pop and native rhythms, and won her a Juno. Because of her tireless work for humanitarian causes and undeniable talent, it is understandable that she would be recognized with a plethora of awards. In 1997, she was named the Native American Philanthropist of the Year. That same year the Canadian folkie was made an ofﬁcer of the Order of Canada. In 2002, she was awarded the Queen’s Jubilee Medal. She was bestowed with lifetime achievement awards from a variety of sources, including the Saskatchewan Recording Industry Association, Juno Awards, The American Indian College Fund and the National Aboriginal Achievement Foundation. Another dimension of Sainte-Marie’s artistic gifts is found in her wonderful, imaginative painting. Most of the work is abstract and focuses on native issues. Her precious product has been exhibited in galleries all over Canada, including the cities of Vancouver, Calgary, Regina and Toronto, as well as in Santa Fe, New Mexico. She has aided many aboriginal artists in their quest to ﬁnd equality in an unjust society. The Native American folkie was an integral cog in the revival because she

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was able to bring a much different dimension due to her native background. A talented musician, the wide range of political and social material rivaled many others in the ﬁeld. While a love of traditional tunes was also important, it was the singer’s much different interpretation of them that separated her from other artist on the scene. During the revival, Sainte-Marie was not the only native folk singer. Peter La Forge, born on April 30, 1931, in Fountain, Colorado, was a devoted fan of Cisco Houston. Although he was the creator of a small catalog, La Forge penned the tune “Ballad of Ira Hayes” that Johnny Cash turned into a hit. The First Nations’ singer would go on to record six albums and perform at the Newport Folk Festival before being found dead in his apartment under mysterious circumstances. While he didn’t enjoy the same longevity as the Canadian folkie, the American folk artist made a similar, brief impact. Buffy Sainte-Marie has been an important folkie for decades. In that time, the multidimensional talent has delivered a solid body of work, entertained tens of thousands with that distinguished vibrato voice across the planet, and has helped raise the spirits and awareness of the plight of the First Nations people. She helped put Canada on the international folk map with her native folk.

DISCOGRAPHY: It’s My Way!, Vanguard VMD 79142. Many a Mile, Vanguard VSD 79171. Little Wheel Spin and Spin, Vanguard VMD 79211. Fire & Fleet & Candlelight, Vanguard VSD 79250. I’m Gonna Be a Country Girl Again, Vanguard VMD 79280. Illuminations, Vanguard VSD 79300. The Best of Buffy Sainte-Marie, Vanguard VMD 3/4. The Best of Buffy Sainte-Marie, Vol. 2, Vanguard VMD 33/34. She Used to Wanna Be a Ballerina, Vanguard VMD 79311. Moonshot, Vanguard VMD 79312. Quiet Places, Vanguard VMD 79330. Native North American Child, Vanguard VSD 79340. Buffy, MCA 405. Changing Woman, MCA 451. Sweet America, ABC 929. Coincidence and Likely Stories, Chrysalis/EMI 9463-21920-2. Up Where We Belong, Angel 35059. The Best of the Vanguard Years, Vanguard VMD 3/4. Live at Carnegie Hall, Vanguard 79728. Spotlight on Buffy Sainte-Marie, PRT 1018. Running for the Drum, Gypsy Boy 21475. Golden Hour, Pye 825. Vanguard Visionaries, Vanguard 73167.

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Martin Carthy (1941– ) Father of the English Folk Revival The modern British folk revival from 1945 to 1969 produced many strong instrumentalists and vocalists. It was a great period of excitement that also included various musical styles like skifﬂe, traditional jazz, rock and roll, a blues craze and psychedelic rock. However, during the rock period one voice stood out in the folk world staying true to the traditional style. It earned him the moniker as father of the English revival. Martin Carthy was born on May 21, 1941, in Hatﬁeld, but grew up in Hampstead, North London. Although he would have a huge inﬂuence on British traditional music, the guitarist didn’t start off to become a musician. It took the skifﬂe craze brought on by the ﬁrst wave of American rock and roll artists like Elvis, Bill Haley and The Comets, Chuck Berry, Little Richard, Jerry Lee Lewis, Eddie Cochran, and later on Buddy Holly to entice Carthy to decide on a musical career. He picked up the guitar but didn’t become proﬁcient on the instrument for some time. After leaving school, Carthy worked as a prompter behind the scenes at the open air theater at Regent’s Park. He would move on to become an assistant stage manager with a production of The Merry Widow and toured through England gaining invaluable experience of what it was like to be on the road. Further employment found him performing various duties at Theatre in the Round in Scarborough. It seemed that the world of acting was his ﬁrst choice of careers. In 1958, the American folk revival exploded and swept through England, catching the attention of many including Carthy. It was at this point that he began to sing in coffee bars. Because the aspiring musician was able to harness his tremendous talents quickly, the promising guitarist found a residency at the Troubadour folk club in Earls Court. In 1961, he joined Redd Sullivan’s Thameside Four, which included the leader as well as Martin Gray and Pete Maynard. Mainly a skifﬂe outﬁt, they would record one album, Hootenanny, during a performance at a midnight concert. After three years, the folkie left the group to begin a solo career. In 1965, he cut an initial self-titled album that raised a lot of interest. The traditional songs included “The Queen of Hearts,” “Lovely Joan” and “Two Magicians” that the folk rock band Steeleye covered. There was also a take on “Scarborough Fair,” a number Paul Simon, then residing in England, heard and liked very much. The two — Carthy and Simon — struck up a friendship and the former taught the latter the chords and changes. The Amer-

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ican folkie returned to the United States in order to re-form the duo with Art Garfunkel. The pair would cut a slightly different version of “Scarborough Fair” that became a number one hit. It was clear from the very ﬁrst album that Carthy was something special in the traditional ﬁeld. When Bob Dylan came through England on tour, he heard Carthy’s effort, “Lord Franklin,” and transformed the melody into “Bob Dylan’s Dream,” a track found on the Freewheelin’ album. The English folkie appeared on the liner notes and developed a small, but dedicated cult following as someone connected to Dylan. On Carthy’s ﬁrst studio release, Dave Swarbrick provided background support on the ﬁddle and, more importantly, as an arranger. The two formed a partnership and performed together on stages all over England, meshing their various skills together into one cohesive unit. Since Swarbrick played such an important role in the early part of Carthy’s career, it is necessary to provide a brief biographical sketch. David Cyril Eric Swarbrick was born on April 5, 1947, in New Malden, Surrey, England. Initially a piano player, he became proﬁcient enough to perform in front of an audience as a solo artist before joining various outﬁts. His ﬁrst major group was the Ian Campbell Folk Group, and later he accompanied famed British folklorist A. L. Lloyd. Later, he would cut one solo album, Rags, Reels & Airs. The talented individual guested on a Fairport Convention album, then joined the group as a full-ﬂedged member near the end of the decade with a reputation as one of the prime ﬁddlers in all of Great Britain. Carthy had a much different approach than the average folk artist because he appreciated the original version of a piece of music. The guitarist spent hours tracing a particular song back to its earliest existence, using that as a starting point for any possible adaptation. Another of his skills was to ﬁnd fragments and partials of tunes and combining and completing them. In an effort to ﬁnd the primitive, sometimes underdeveloped state of the material in question, the meticulous artist was able to pick up nuances that only added to the strength of the recording. With his strong guitar skills and Swarbrick backing him up in the studio, Carthy was able to explore different musical areas. For example, he managed to take the sacred traditional songs and give them a special treatment. This was evident on the effort Second Album, which included many old gems such as “Lord Franklin,” “Sailor’s Life, “Ramblin’ Sailor,” and “Lowlands of Holland.” Although the songs were solid acoustic numbers, the talented instrumentalist was able to bridge the gap between the very basic approach and that of the folk rock that was taking hold in England at the time, best represented by bands like Steeleye Span and Fairport Convention. He was a unique performer and one that remained as pure as possible without compromising his artistic vision.

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In 1967, the album Byker Hill was an interesting effort because it boasted two professionals reaching a much higher plateau, combining their vocals and instrumental abilities to create something that no one else was doing in the folk ﬁeld at the time. There were outstanding takes including “Brigg Fair,” “The Bloody Gardener,” “The Man of Burnham Town” and “Gentleman Soldier.” At a time when psychedelic rock blues bands like Cream, the Jeff Beck Group, as well as The Beatles and The Rolling Stones, were all the rage in England; Carthy with his traditional folk was a breath of different air. Carthy and Swarbrick played many concerts at a variety of venues mostly suited for acoustic folk music. They balanced their recorded output with a stream of powerful albums that showcased their incredible talents. A good example was But Two Came By. Both had grown as musicians and often the simplicity of Carthy’s guitar and his voice on songs such as “Jack Orion,” “Creeping Jane,” and “Lord Lankin” was pure poetry. With his partner providing more than adequate support, their studio work was outstanding. The album Prince Heathen was an excellent example of the duo’s ability to take simple traditional material, sometimes pasting several fragments together, to create pure folk music enjoyment. Outstanding cuts included “Salisbury Plain,” “Seven Yellow Gypsies,” “Little Musgrave” and “Arthur McBride and the Sergeant.” At this point, they had both grown as musicians doing a lot more with a lot less and created an interesting musical universe of their own. In 1969, Swarbrick left to join Fairport Convention. A year later, Carthy left to become part of Steeleye Span, which included Ashley Hutchings, Tim Hart and Maddy Prior. The group played traditional folk with a mix of electric and acoustic instruments but without a drummer. During his brief time with the group, he appeared on the Please to See the King, a strong effort with many highlights including “Female Drummer, “Boys of Bedlam, “The Blacksmith, “Cold Holy, Windy Night.” Despite the promise of the recording and the fact that they were one of the top groups playing folk rock material at the time, Carthy preferred to be a solo artist — although that venture wouldn’t last very long. By 1972, he had joined The Watersons, after marrying Norma Waterson. The family originated from Hull, a city in East Yorkshire County. They were orphaned at an early age and their Irish-Gypsy grandmother raised them teaching the three children — Norma, Elaine, Mike — traditional songs. A clever clan, they operated the Folk Union Hall, providing them with a place to woodshed. They added their cousin John Harrison to make it a quartet, and after going through a few name changes, they experienced some success before disbanding. Norma went on to host a radio show.

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In the early 1970s, the outﬁt known for their strong harmonizing regrouped. They recorded Bright Phoebus, an album that featured a strong backup band consisting of Tim Hart, Maddy Prior, Ashley Hutchings and Richard Thompson, who teamed with Carthy to give the album dual acoustic guitar power. Although one foot was ﬁrmly planted in folk, they also delivered psychedelic tunes like “Magical Man” and country-tinged material such as “Danny Rose.” The group continued to tour and record on a regular basis. They released For Pence and Spicy Ale, Sound, Sound Your Instrument of Joy and Green Fields before cutting their last album, Yorkshire Christmas. The quartet became a duo when Lal (Elaine) and Mike had enough of the road and quit. While still a member of The Watersons, Carthy continued to record solo albums. Landfall was a good piece and was released soon after his departure from Steeleye Span. On this work “Here’s Adieu to All Judges and Juries,” “Dust to Dust,” “My Name Is Andrew,” and “Cruel Other,” were the outstanding tracks. Unfortunately, it would be a longtime before he would record new material because the group commitment and other projects took up much of his time. In 1973, he lent his talents to The Albion Band, a project Ashley Hutchings of Steeleye Span had created in order to help out his wife Shirley Collins record her ﬁrst solo effort. The band would break up and reform with Carthy, John Kirkpatrick, Roger Swallow, Sue Harris and Simon Nicol. They released one album Battle of the Field before breaking up again. However, there would be many versions of this group over the years under different names. The 1980s remained a productive decade for Carthy. He reunited with old friend Dave Swarbrick, and they performed together and cut Skin & Bone, a work that sounded much like the selections from their past. The collaboration featured songs from A.L. Lloyd’s catalog, as well as Turlough O’Carolan’s, “Mrs. Birmingham/No. 178/Blind Mary.” His skills as an interpreter and careful preserver of the old songs enabled him to render a version of the ancient harp master’s original material with deﬁnite precision. In 1971, he had joined a group called Brass Monkey that included himself on guitar, mandolin and vocals, John Kirkpatrick on squeezebox and vocals, Howard Evans on trumpet, ﬂugelhorn and vocals, Martin Brinsford on saxophone, mouth-organ and percussion and Roger Williams or Richard Cheetham on trombone. They released their self titled debut album and the outﬁt showed much promise. However, it would be another ﬁfteen years before they cut their sophomore effort, See How It Runs. Unfortunately, the musicians were all very busy and it was difﬁcult for them to get together. Eventually, they would release three more albums, Going & Staying, Flame of Fire and Head of Steam, over a long span of time.

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In the 1980s, when he wasn’t recording with his wife, Brass Monkeys or mate Dave Swarbrick, the crafty guitarist was releasing solo work including Right of Passage. It contained the usual amount of traditional songs including “Eggs in Her Basket,” “A Cornish Young Man,” “The Banks of the Nile,” and “Bill Norrie,” as well as a smattering of original material, “The Dominion of the Sword,” “The Sleepwalker,” “McVeagh,” and “Company Policy.” It was a solid offering and demonstrated that he had not abandoned the simple acoustic format. His next effort was a duet with longtime collaborator Dave Swarbrick entitled Life and Limb. The material included “The Pepperpot,” “Sailing into Walpole’s Marsh,” “Bunker Hill,” “Oh Dear Oh,” “The Begging Song” and “Lochmaben Harper.” The guitarist and ﬁddler complimented one another and were able to weave a magical spell with their ability to meld the two individual styles into one cohesive package. He returned with the solo album Signs of Life later in the decade. It was a solid collection and featured Elvis Presley’s “Heartbreak Hotel,” Hoagy Carmichael’s “Hong Kong Blues,” the Bee Gees, “New York Mining Disaster,” Bob Dylan’s “The Lonesome Death of Hattie Carroll,” and traditional material like “Prince Heathen,” and “Sir Patrick Spens.” There was something simply irresistible about the man with the acoustic guitar plucking out traditional songs or doing cover versions of others interoperating them in his own inimitable style. In 1995, Carthy embarked on a new venture when he joined Band of Hope that included Roy Bailey on lead vocals, Stáfán Hannigan on uilleann pipes, half long pipes, whistle, percussion and an assortment of other string instruments, John Kirkpatrick on vocals, button accordion and melodeon and Dave Swarbrick on ﬁddle and mandolin. The acoustic outﬁt recorded the album Rhythm & Reds charged with political material. It was another of his side projects that was interspersed with other commitments. In 1996, after years of collaborating with his wife, the skillful guitarist backed her on the latter’s debut solo effort. The work included song material from Elvis Costello, Jerry Garcia, Richard Thompson, Billy Bragg and Ben Harper, among others. The band included Richard Thompson on guitar, Danny Thompson bass, Roger Swallow on drums, husband, Carthy, on guitar and daughter, Eliza, on violin. By this point the group had metamorphosed into Waterson-Carthy and included their daughter, Eliza, a spirited ﬁddler. In 2004, Waiting for Angels was released by Carthy. Despite the fact that he didn’t produce a regular body of solo work, when Carthy did release something it was of usually high quality. The new CD was no exception. From the song “Famous Flower of Serving Men” to the title cut and other gems like “The Foggy Dew” and “The Royal Lament,” it was a very satisfactory effort

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from someone who had not abandoned the acoustic folk format that was his bread and butter. In 2006, he teamed up with Swarbrick to deliver a strong set entitled Straws in the Wind. It featured more traditional songs and skillful interplay between two of Britain’s top musicians. The guitar and ﬁddle never competed for attention but challenged one another to reach dizzying heights. They added the second guitar of Kevin Dempsey for depth, and the trio exploded on such songs as “Ship in Distress,” “Death of Queen Jane,” “Bold Benjamin,” “Lord Thomas and Fair Eleanor,” and “Unfortunate Tailor.” In recent years, Carthy has concentrated his time on his wife and daughter, Eliza. The trio have released a number of albums including their ﬁrst selftitled debut that was a work of pure British folk. They were able to create an interesting three way harmony. There would be ﬁve family collaborations including Common Tongue, Broken Ground, (which featured son-in-law, Saul Rose, on melodeon for the ﬁrst time), A Dark Light, Fishes & Fine Yellow Sand and Holy Heathens and the Old Green Man. He continues to record and perform as a solo artist, with sidekick Swarbrick as part of interesting projects as well as with his wife and daughter. Martin Carthy has been called the father of the English folk revival and with good reason. He has been a guiding spirit and an inﬂuence for decades as an extremely talented acoustic guitarist, mandolinist and multi-instrumentalist. He was also a good singer and an excellent arranger and editor of lost songs. The care and dedication toward the preservation of the old tunes was a remarkable trait. Carthy is one of the greatest instrumentalists on the English folk scene. The beauty and power of his guitar ability is scattered throughout solo work and every other project that he has participated in. This includes Steeleye Span, The Albion Band, Brass Monkey, The Watersons, his duets with Dave Swarbrick and the group with his wife and daughter. Also, the distinctive style was derived from the use of alternative tunings and a strong percussive picking style that emphasizes melody more than virtuoso. Carthy has a solid folk voice that allows him to bring to life the notes and songs of the past, as well as his own creations. There is no pretension or affectation in the vocal delivery, just a genuine ability to provide an equal balance to the instrumental might. As well, he has been able to blend his voice with that of others in the many side projects that have dotted a very long, distinguished career. Carthy was also a protector of traditional songs, and ensured that all of the work that came before him would never be destroyed, but preserved. He managed to bring to the modern audience a number of these old numbers, often piecing together fragments of two or three tunes into an acceptable package. He was a prime tunesmith with a keen air for the nuances of a

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particular note or passage from the folk songs books of such people as Percy Grainger, A. L. Lloyd, Turlough O’Carolan and many others in the British pantheon of song creators and collectors. He has inﬂuenced a number of artists. A short list includes Dave Swarbrick, Maddy Prior, Richard Thompson, Ashley Hutchings, Simon Nicol, Dave Mattacks, Norma Mattacks, Norma Waterson, Joan Baez, Donovan, Jethro Tull, Ralph McTell, Paul Simon, Bob Dylan, Michael Hedges, James Raynard, Robin Allender, Seth Lakeman, Pentangle, Al Stewart, Bert Jansch, Sandy Denny, Linda Thompson, Rory Gallagher, Mary Black and Maura O’Connell. That Carthy was able to meld his talents with so many others is a tribute to him as an instrumentalist. Martin Carthy is one of the most vital of the United Kingdom revivalist ﬁgures. His work as a solo artist and collaborator in a number of side projects is immense, widespread and very rich. There were many important characters during the second British folk wave, but few, if any, deserved the title of father of the English revival.

DISCOGRAPHY: The Thamesiders and Davy Graham, Decca DFE 8538. Martin Carthy, Fontana STL 5269. Second Album, Fontana STL 5362. Landfall, Philips 6308 049. Shearwater, Pegasus PEG 12. Crown of Horn, Topic 12TS300. Sweet Wivelsﬁeld, Deram SML 1111. Because It’s There, Topic 12TS389. Right of Passage, Topic 12TS452. Out of the Cut, Topic 12TS426. The Collection, Green Linnet GLCD 1136. Rigs of the Time, Music Club MCCD 145. The Kershaw Sessions, ROOT CD2. Signs of Life, Topic TSCD503. A Collection, Topic TSCD750. Waiting for Angels, Topic TSCD527. Martin Carthy at Ruskin Mill, Musical Tradition MTCD403-4. Shearwater, Castle CMQCD1096. The Carthy Chronicles, Free Reed FRQCD-60. • With Dave Swarbrick Byker Hill, Fontana STL 5434. No Songs, Fontana TE 17490. Rags, Reels and Airs, Bounty BY 6030. But Two Came By, Fontana STL 5477. Prince Heathen, Fontana STL 5529. Selections, Transatlantic/Festival TRA 206/STAL 934485. Life and Limb, Special Delivery SPDCD 1030.

Martin Carthy Skin and Bone, Special Delivery SPCD 1046. Both Ears and the Tail, Atrax ATRAX RECS. Instrumental Album, Topic TSCD527. The Deﬁnitive Collection, Highpoint HPO6001. Straws in the Wind, Topic TSCD556. • With Steeleye Span Martin Carthy, This Is ... Martin Carthy: The Bonny Rave On, B&C CB 164. Ten Man Mop or Mr. Reservoir Butler Rides Again, Pegasus PEG 9. Individually and Collectively, Charisma CS 5. Almanack, Charisma CS 12. Live at Last!, Chrysalis CHR 1199. Storm Force Ten, Chrysalis CHR 1151. Recollections, Chrysalis L 37753. A Rare Collection 1972 –1996, Raven RVCD 90. The Journey, Park Records PRKCD 52. Please to See the King, Castle Music CMQDD 1253. • With the Watersons For Pence and Spicy Ale, Topic 12TS265. Sound, Sound Your Instruments of Joy, Topic 12TS346. Green Fields, Topic 12TS415. For Pence and Spicy Ale, Topic TSCD462. A Yorkshire Christmas, Witchwood Media WMCD 2029. • With the Albion Country Band Battle of the Field, Island HELP 25. Rise Up Like the Sun, Harvest SHSP 4092. The BBC Sessions, Strange Fruit SFSCD 050. • With Brass Monkey Brass Monkey, Topic 12TS431. See How It Runs, Topic 12TS442. The Complete Brass Monkey, Topic TSCD467. Sound & Rumor, Topic TSCD501. Going & Staying, Topic TSCD531. Flame of Fire, Topic TSCD550. The Deﬁnitive Collection, Highpoint HPO6011. Head of Steam, Topic TSCD575. • Band of Hope Rhythm & Reds, Musikfolk MFCD512. • Waterson:Carthy Waterson:Carthy, Topic TSCD475. Common Tongue, Topic TSCD488. Broken Ground, Topic TSCD509. A Dark Light, Topic TSCD536. Fishes and Fine Yellow Sand, Topic TSCD542. Mighty River of Song, Topic TSFCD4002. The Deﬁnitive Collection, Highpoint HPO6012.

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Bert Jansch (1943– ) English Finger Picker From the very beginning and throughout its history, folk music has boasted some skilled musicians. The harp players of the Irish tradition, Turlough O’Carolan and Denis O’Hampsey are classic examples. Niel Gow, the famed Scottish ﬁddler also stands out as a noted virtuoso. During the second British folk revival, the English ﬁnger picker inﬂuenced many of his contemporaries with incredible skill and precision. His name was Bert Jansch. Bert Jansch was born November 3, 1943, in Glasgow, Scotland, but was raised in Edinburgh. An ordinary boy who enjoyed the normal activities, it was as a teen that his life was changed forever when he acquired a guitar. In his hands, the simple instrument became a magical possession that could produce every emotion of the human spectrum, as well as every natural sound if the ﬁngers were placed in the right position. He set about learning this secret alphabet. He honed his skills quickly and was soon frequenting local folk club where he met others with similar interests. Archie Fisher and Jill Doyle introduced him to the blues and folk of the American guard that included Big Bill Broonzy, Pete Seeger, Brownie McGhee and Woody Guthrie. A further inﬂuence was his roommate, Robin Williamson. The two often traveled together on long hitchhiking journeys, always armed with their guitars, to discover the world through music. He became a full-time musician and served his apprenticeship playing around the numerous British folk clubs that had opened in the wake of the skifﬂe craze. Throughout his travels he met and astonished Martin Carthy, Ian Campbell, The Watersons, Davy Graham, Ashley Hutchings, Ewan MacColl, John Martyn, Ralph McTell, John Renbourn and many others. Jansch also began to write songs, and two of the ﬁrst compositions were “Blackwaterside” and “Reynardine.” Although it was a tough struggle busking from one town to another throughout Europe, Jansch reveled in it because he was acquiring and increasing his encyclopedic knowledge of not only traditional folk music but also blues, jazz, country and rock. He performed in an unforgettable number of small clubs that allowed him to work on material and develop a ﬁnger picking style that impressed many. Unfortunately, his nomadic ways came to an end in Tangiers when he contracted dysentery and returned home. After recovering from the malady, Jansch, who had married before leaving Glasgow, traveled with his young teenage bride until the relationship fell

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apart. Upon returning to England, the young man recorded his ﬁrst self titled album, which sold quite well. The effort included the protest song “Do You Hear Me Now,” which was quite popular on its own but gained greater attention when Donovan, an emerging counterculture hero, covered the tune on the Universal Soldier EP. The song would go to number one on the UK charts. From the very ﬁrst album, Jansch made it clear that his music was instrumentally driven and not lyrically based like that of Bob Dylan. Because of this the great ﬁnger picker introduced a whole different concept in folk, since many of the guitarists were adequate but not true virtuosos. As a result, he would be a distinct and direct inﬂuence on a number of the rock contingents that emerged in England, as well as all over the world. He would record two more albums in quick succession, It Don’t Bother Me and Jack Orion. The latter included a strong version of “Blackwaterside,” which Jimmy Page of Led Zeppelin would later re-record as “Black Mountain Side.” The ﬂashy, heavy metal guitarist who would dazzle the world with his globally popular band, would always cite Jansch as one of his favorite guitarists, which in turn helped out the English ﬁnger picker gain serious attention. Jansch developed a solid reputation among other acoustic guitarists, including John Renbourn, Davey Graham and Paul Simon. They often crossed paths at the various clubs, such as the Troubadour and Les Cousins, each frequented on a regular basis. In England, an artist performed at designated venues without any real fanfare, since playing guitar was considered a labor no different than driving a bus. Of all his contemporaries, it was Renbourn with whom he formed the closest association. The two lived together and practiced developing an intricate musical interplay that would eventually be dubbed Baroque folk. This sweeping, dazzling display of virtuoso would be recorded on the Bert & John album. Eventually, they landed a residency at the Horseshoe Pub, which quickly became the “in” club to frequent as notables Sandy Denny and Jimmy Page were often present absorbing the magic that Jansch and Renbourn created every night. For a time, the duo was the hottest act in the British Isles. A singer, Jacqui McShee, sang a few numbers with the pair, and when they added Danny Thompson, a string bass player and Terry Cox, a drummer, the group Pentangle was formed. The interesting outﬁt eventually left the Horseshoe pub and performed in different venues all across England. About this time, Jansch married Heather Sewell, an art student who would gain fame as a noted sculptor. Most importantly, she would inspire Jansch’s songwriting. In 1968, Pentangle made its initial concert debut at the Royal Festival Hall. The success of the group put an incredible amount of pressure on Jansch, who was forced to abandon his solo career. In 1971, he managed to release the

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record Rosemary Lane. But for ﬁve years, the expert guitar player dedicated the entire time and effort to the group as they toured all over the world and recorded proliﬁcally. Pentangle was one of the top bands on the circuit, and it was during this time that the English ﬁnger picker established a global reputation. Pentangle was a very different group for many reasons. They were classiﬁed as a straight folk outﬁt. Although they didn’t utilize electric instruments, often they were ﬁrmly planted in the style. However, there were few folk bands that were built around two virtuoso guitarists; it was an unheard of practice. Their experimentation on such albums as The Pentangle, Sweet Child and Basket of Light further clouded their categorization but made it clear that they were leaders in the British revival. In 1973, Pentangle disbanded. Jansch and his wife bought a farm in Wales and the special ﬁnger picker retired from music for the next couple of years. In his absence many artists who had beneﬁted from listening to the band’s recordings received much attention. After a two year withdrawal, the guitarist realized that he was not suited to the life of a farmer and left his wife to revive his career. The musical climate had changed drastically as the advent of the punk rock movement with its smashing riffs and over-the-top stage presence didn’t cater to the English ﬁnger picker. In 1977, he teamed up with guitarist and violinist Mike Piggott, guitarist and vocalist Rod Clements, drummer Pick Withers, violinist Martin Jenkins and bassist Nigel Smith to record the album A Rare Conundrum, which featured traditional songs such as “Pretty Saro,” “The Curragh of Kildare, and the Rev. Gary Davis’ “Candyman.” The rest of the effort featured mostly Jansch written material including “Daybreak,” “If You See My Love,” “Three Chord Trick” and “Lost Love,” among others. This outﬁt performed in the United States, Australia and Japan; but despite the deep talent pool and exciting promise, they disbanded after the tour. Jansch recorded an album with Albert Lee in the United States. Upon his return to England, he formed the Bert Jansch Conundrum that included multi-instrumentalists Martin Jenkins and Nigel Portman Smith, as well as drummer Luce Langridge to record the album Thirteen Down. Jacqui McShee, the vocalist from Pentangle, guested on a few cuts, most notably “If I Had a Lover.” His next project involved Jenkins once again and included a tour of Scandinavia. The album Avocet, an ambitious effort, was derived from the ideas of both creative partners. In the past, Jansch like most other artists, had experienced problems with the various labels he had recorded with, usually due to a difference of artistic vision. In the late 1970s, the man decided to operate his own guitar shop that specialized in acoustic guitars. However, the business venture was a failure, and he was lured into reforming the original Pentangle lineup. It

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consisted of Jansch, Mike Piggott on violin and guitars, McShee on vocals and the rhythm section of drummer Cox and double bassist Thompson. Renbourn had decided to stay out of the project. They recorded a new album, Open the Door, proving that they still possessed the power displayed on their ﬁrst releases more than a decade earlier. Jansch played sterling, melodic guitar lines, Piggott added more than adequate support, McShee sang like an angel and the rhythm section provided some jazz swing with power. However, when Cox was injured in an accident, the other four debuted in England as a quartet. Later, in Italy, they performed as a quintet with Cox drumming from a wheelchair. They also toured in Australia. The group would release more new material. The album In the Round included the efforts of new member multi-instrumentalist Nigel Portman Smith, who had been a member of the short lived Bert Jansch Conundrum. Despite the promise, there were many more personnel changes and McShee and Jansch remained as the only original members. In 1987, his hard drinking ways eventually caught up to him and the guitarist was forced to give up alcoholism or die. He recovered and a year later returned partnering with Rod Clements on the recording Leather Launderette. For the rest of his career, Jansch would lead a double musical life. He recorded solo albums, but never left the Pentangle fold. In 1990, the group released So Early in the Spring, which featured Jansch and McShee, as well as Rod Clements on electric guitar and mandolin, Gerry Conway, a Fairport Convention alumni, on drums, and Nigel Portman Smith on bass and keyboards. The same group would return minus Clements to record Think of Tomorrow. Peter Kirtley played electric guitar and shared in the vocal duties. As a solo artist Jansch recorded the traditional Ornament Tree proving that he remained an integral part of the British contemporary folk scene. It featured many gems, including “The Dreamers,” “The Rambling Boys of Pleasure,” “The Mountain Streams,” “Lady Fair” and “The Rocky Road to Dublin,” among others. It boasted the services of ﬁddler Peter Boyle and the expert whistle of Maggie Boyle. On occasion, Jansch would perform in clubs, treating fans to his solid voice and excellent guitar work without any back up musicians. In 1995, the bluesy When the Circus Comes to Town was released, a modern collection of folk based songs from one of the best artists on the circuit. The album featured the numbers “The Lady Doctor from Ashington,” “Living in the Shadows,” “Walk Quietly By,” and “No One Around.” Although known for his work with Pentangle as well as a smattering of English musicians, there was still a lot of life in the solo work. His tours remained events and continued to be recorded, including the bootleg Live at the 12 Bar, a hot club where many of the folk people frequented

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on a regular basis. It was always a treat to hear the magical guitarist perform standards, such as “Curragh of Kildare,” “Blackwaterside,” “Morning Brings Peace of Mind,” “Just a Dream,” “Strolling Down the Highway,” and “Let Me Sing,” in a live setting. Although he was in his ﬁfties when this effort was recorded, there was no denying the fact that the ﬁnger picker could still deliver music at a high standard. In 1998, he would form a different project with Albert Lee on guitar, Luce Langridge on drums and Nigel Portman Smith on bass. They were dubbed Conundrum II and released the album Conundrum. It was an interesting collection of musical personalities and songs that included Tim Hardin’s “If I Were a Carpenter” and Elvis Presley’s “Heartbreak Hotel.” There were the standard Jansch tunes, “Kingﬁsher,” “Let Me Sing,” and “Love Is Lost,” that rounded out the album. It demonstrated that either as a solo artist or in a group setting, the ﬁnger picker excelled. Another good example of his solo work was the effort Toy Balloon. It featured such beautiful songs as “She Moved Through the Fair,” “All I Got,” the title cut and “Paper Houses.” Pick Withers backed him on drums, and Pee Wee Ellis added his expertise on saxophone particularly on the cut “Just a Simple Soul.” The work was another in a series of thoughtful, strong and imaginative efforts that continued to rank him among the best of the British folk artists, if not at the very top of the list. In 2000, Crimson Moon appeared and was another top-notch effort from the dazzling acoustic guitarist. It featured such classics as “Singing the Blues,” the title cut, “Caledonia,” “October Song” and “Neptune’s Daughter.” It was a family affair with son, Adam, playing bass on a few tracks and daughter, Loren, handling lead vocal chores on the song “My Donald.” As well, Johnny Marr, from the group The Smiths, and Bernard Butler of the British poppioneers Suede added their ringing guitars to the set. The fact that these two were willing to back him displayed the deep respect they had for Jansch. In 2002, he collaborated with Bernard Butler once again, as well as Johnny “Guitar” Hodge, in a live setting at the famed Jazz Cafe in London, to record Edge of a Dream. It seemed that a venue with an adoring audience was the best place to hear Jansch enthrall everyone with his wild-eyed licks. The next effort, Live in Australia, was another good example. It featured classics such as “Angie,” “Paper Houses,” “Toy Balloon,” “My Donald,” “Strolling Down the Highway,” “Downunder” and “How It All Came Down.” In 2003, Jansch celebrated a sixtieth birthday party with a concert at the Queen Elizabeth Hall that included Johnny Marr, Ralph McTell, Hope Sandoval, David Roback and Colm Ó’Ciosóig. The turnout illustrated the great respect that he commanded throughout the English folk and music world. His recorded catalog as a member of Pentangle, plus the solo efforts provided a solid learning base for many aspiring musician.

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In 2005, he teamed up with Davy Graham and performed a handful of concerts at selected venues in England and Scotland. However, a major heart operation sidelined him for some time before he was able to recover. The long awaited Black Swan was ﬁnally released and featured new artists Beth Orton, Devendra Banhart, Noah Georgeson and Helena Espvall, as well as son, Adam. He continues to record and perform as a solo artist and as a member of the unsinkable Pentangle. Bert Jansch is a folk instrumental jewel. As one of the most respected individuals in the annals of British folk, rock and blues music, he captured the imagination of many with an innovative approach to playing the guitar. A prime mover during the British revival and one of its most important ﬁgures, in a long, distinguished career the ﬁnger picker created an excitement between Pentangle and his solo act. The longevity is as much a part of his trademark as the sharp guitar skills. Jansch is a prime instrumentalist and there are many elements to his style. His basic attack consists of the clawhammer style of right-hand playing, but is much more complicated. He has always thrown in chord voicing, or supplemented the structure with inventive chords and well-placed, important notes. His singular use of ninths added a different dimension to the overall sound that was copied by a number of ﬁgures. Another characteristic of his playing was the ability to hold a chord in the lower strings while bending an upper string, sometimes as much as a semitone below the chord note. The strength in bending notes to create dimensions of sounds was one of his major traits. While countless other guitarists force the strings to embellish their sound, Jansch did so with a personal ﬂair creating tonality, harmony and ﬂatness. His multiple use of rhythm only enhanced a reputation among guitarists. He managed to ﬁt bends, chord voicings and off-notes within the natural beat of all compositions. Jansch often switched from one time signature to another within the context of the same song. This sudden shift in beats added another unique characteristic to an already highly personalized style. The approach to playing the guitar like a horn also added a different dimension. When one considers that he took the same technique to the banjo, Appalachian dulcimer, recorder and concertino, and the rarely played electric guitar, it is understandable why he is considered such a huge inﬂuence on a number of great musicians. Despite the multi-instrumental ability, it was the intricate and excellent manipulation of the acoustic guitar that set him apart from all other musicians. Many have called him the Jimi Hendrix of the acoustic instrument. He has used a number of different acoustic guitars throughout his career. He began with a Zenith. In England, it was called the “Lonnie Donegan guitar” best utilized in skifﬂe. Later on, Jansch moved to a Martin and then an

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Epiphone. During his days with Pentangle, he had one custom-built for himself that enabled him to use all of the elements of an intricate style. Eventually, Jansch and Yamaha teamed up and they provided him with many of the classic guitars that he performed with in concert and in the recording studio. Jansch had a huge inﬂuence on a variety of musicians. Jimmy Page, the guitar wizard of Led Zeppelin, was obsessed with the English ﬁnger picker and the inﬂuence can be heard on the many acoustic drenched songs that the band recorded during their brilliant career. A classic example is “Black Mountain Side” from Led Zeppelin I. The heavy metal kings proved that they could do an incredible string thing as well as blast hard rock. Neil Young, the Canadian folkie who is credited as the Godfather of grunge was another devotee. Mike Oldﬁeld, the English multi-instrumentalist who blended styles of progressive rock, folk, world classical electronic and New Age, cited Jansch as a favorite. Bernard Butler, Noel Gallagher, Jarvis Cocker, Johnny Marr, Nick Drake, Donovan, Elton John, Bernie Taupin, Dave Ellis, Gordon Giltrap, Tsuneo Imahori and Julian Beam were all part of the master’s sphere of inﬂuence. Jansch has been recognized for his musical achievements. He received a Lifetime Achievement Award at the BBC Radio 2 Folk Awards. In 2006, he was given the Mojo Merit Award, based on his inspirational career. But, most of all, fellow musicians, contemporaries and the new school acknowledged his prowess on the guitar by backing him in the studio and on live sets. But no matter who the additional musicians were, they always played around Jansch’s incredible guitar work. Bert Jansch in one of the most important ﬁgures in the British revival. He was instrumental in fueling the later guitarists who played in all styles of folk, blues and rock music. Although there have been many inﬂuential instrumentalist in the history of folk, few match the imagination, dexterity and style of the English ﬁnger picker.

DISCOGRAPHY: Bert Jansch, Transatlantic TRA 125. It Don’t Bother Me, Transatlantic TRA 132. Jack Orion, Transatlantic TRA 143. Bert & John, Transatlantic TRA 144. Nicola, Transatlantic TRA 157. Birthday Blues, Transatlantic TRA 179. Lucky Thirteen, Vanguard 79212. Sampler, Transatlantic Records 10. Stepping Stones, Vanguard 6506. Rosemary Lane, Transatlantic TRA 235. Moonshine, Reprise K44225. L.A. Turnaround, Charisma CAS 1090.

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Santa Barbara Honeymoon, Charisma CAS 1107. A Rare Conundrum, Charisma CAS 1127. Avocet, Charisma CLASS 6. Thirteen Down, Sonet SNTF 162. Heartbreak, Logo GOL 1035. From the Outside, Konnexion KOMA 788006. Leather Launderette, Black Crow CRO 218. The Ornament Tree, Run River RRA 0012. Sketches, Temple TP 035. BBC Radio 1 in Concert, Windsong 093. When the Circus Comes to Town, Cooking Vinyl COOK 092. Live at the 12 Bar: An Authorized Bootleg, Jansch Records BUCD002. Toy Balloon, Cooking Vinyl COOK 138. Crimson Moon, Castle Communications WENCD211. Downunder: Live in Australia, Castle Music CMRCD022. Dazzling Stranger: The Bert Jansch Antholog y, Castle Music CMEDD009. Edge of a Dream, Sanctuary SANCD136. River Sessions, River Records 006. The Black Swan, Drag City 325. Strolling Down the Highway, Transatlantic Records 604. The Gardener: Essential Bert Jansch, Transatlantic Records 9. Three Chord Trick, Charisma 9024. Blackwater Side, Snapper 153.

Joni Mitchell (1943– ) Canadian Prairie Folk The American folk revival was signiﬁcant for many different reasons, including a marked increase in gender balance. In the early years of North American traditional music, with the exception of a very few artists, male performers dominated the industry. During the boom, more females emerged to play a larger role in deﬁning the style. One of the most inﬂuential arrived from the vast expanse of the Canadian Prairies with her own down-home sound. She was Joni Mitchell. Roberta Joan Anderson was born on November 7, 1943, in Fort McLeod, Alberta. Her life took an interesting turn when at nine she was stricken with polio. It was a stroke of good luck, because while recuperating at the children’s hospital she sang to the teachers and discovered a love of music. It was also evident that the young girl possessed genuine talent. Later, Anderson learned how to play guitar from a Pete Seeger instruction booklet proving that even at an early age, determination, independence and ﬁre were already prevalent.

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By the time she went off to art college, Anderson was writing her own material and had performed at various venues, mostly small clubs. The shimmering voice had greatly developed and the guitar skills, while not spectacular, were solid. In Alberta, the young artist had established a name as a promising artist on the blossoming coffee house circuit. Performances consisted of a mixture between traditional folk and personal introspective pieces. At this point, her songwriting was strong but still needed polish. Although she would always retain a free prairie spirit and the beauty, vastness and splendor of her homeland would be a motif scattered throughout a deep, expressive catalog, it was evident that greater opportunities existed in other parts of the country. With a heavy heart, but a strong determination, Anderson moved to Toronto, which boasted a much stronger coffee house circuit and a big city chance to make it in the music business. In Toronto, she made her mark quickly. Although barely twenty years old, Anderson turned heads with songs, a unique voice and stern independence that was as expansive as the province of Alberta itself. The Canadian music industry, which was just beginning to blossom, needed someone to give it direction and energy; the chanteuse was the right person. From 1965 to 1969 would be dubbed the breakthrough period of her career. In 1965, she married folk singer Chuck Mitchell and began performing as Joni Mitchell. Very much the hippy, the young woman embraced the bohemian lifestyle with an appreciation for art, folk music and traveling. The couple relocated to Detroit where the marriage disintegrated. At the time, the Motor City was deep in the grips of Motown, the wonderful R&B groove and soundtrack of a generation. On the horizon, was the pile-driving Detroit rock and roll sound, a scene that would produce Bob Seger, Ted Nugent, Alice Cooper, Grand Funk Railroad, Iggy Pop, and dozens more. Many would emerge from their regional Michigan centers and gain international reputations. Although Detroit was not much of a folk music town, Mitchell made the most of it and began to impress those of the small traditional colony with her unique vocal stylings and superior material. The delicate ﬂower had grown as a songwriter, honing the skills until they were of a professional level. The Motor City was just a stepping stone to greater things because, eventually, she moved to the Big Apple. New York City embraced the Canadian folk singer as one of their own. In Greenwich Village, she made an immediate and deep impact on a number of important people. Mitchell was quickly signed to a recording contract and released her ﬁrst effort, Song to a Seagull, an acoustic collection of material that impressed everyone for its sophistication and depth. Although it was the tail end of the revival, the era of the singer-songwriter was just beginning.

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Although Mitchell was a wonderful interpreter of her own material, receiving praise for a singular voice and stage persona that was very distinct, it wasn’t until others began to record her songs and place them high in the charts that she received proper attention. The fact that noted performers such as Judy Collins (“Both Sides Now”), Fairport Convention (“Eastern Rain”), and Tom Rush (“The Circle Game”) were willing to delve into the young songwriter’s songbook only enhanced her appeal. Mitchell’s sophomore effort, Clouds, endeared her to a wider audience of folk enthusiasts, as well as pop and rock fans. At a time when the psychedelic rock of Jimi Hendrix and others was fading fast and the introspective singer-songwriter had become all the rage, La Michelle made a huge impact, simply because of her undeniable talent. The enterprising artist continued to write new material at a furious pace and impressed many at various concert venues. Although Mitchell was very much a child of the 1960s, she enjoyed her greatest commercial and mainstream success in the following decade. It began in 1970 with the release of Ladies of the Canyon. At this point she was living in Laurel Canyon in California, a hippy community known as the abode of many important musicians. This third effort contained several gems including “Big Yellow Taxi” and “Woodstock,” a song which Crosby, Stills, Nash & Young turned into a huge hit. In 1971, the album Blue, written during a European tour, catapulted her to the top of the folk-pop mountain. It was a commercial and critical success and handsomely displayed the singer’s immense talents. She was a North American and international star inﬂuencing dozens of acts including heavy metal trend-setters Led Zeppelin. Both Jimmy Page and Robert Plant cited Mitchell as one of their biggest inﬂuences, especially with the number of ethereal, acoustic pieces scattered across their catalog. However, her 1972 release, For the Roses, marked a major turning point in musical styles. She started to shed the folk facade and began to ﬂirt with rock jazz, stunning the folk world. It was evident that someone with such expansive talents would not be content to remain in one narrow musical slot for an entire career. Backed by Tom Scott, the ﬁrst hit of the new perspective, “You Turn Me On (I’m a Radio),” proved that Mitchell was capable of handling any type of material. The years 1975 to 1980 were dubbed the jazz experimentation phase of her career. She continued the trend with For the Roses and the next release, the excellent Court and Spark. A successful, strong jazz-oriented collection of songs, it yielded three major hit singles; “Help Me,” “Free Man in Paris,” and “Raised on Robbery.” Although it appeared that Mitchell had abandoned the folk idiom, the singer would eventually return to the fold. As well, in concert she played many of the acoustic songs that were her trademark.

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The live effort, Miles of Aisles, was sandwiched in between the jazz speckled albums and her new direction. The avant-garde The Hissing of Summer Lawns proved she was willing to experiment even further, stretching out as an artist. The complex material was jazz-inspired and featured the rhythms of African Burundi drums ushering in a taste for world music a decade ahead of the trend. While it gained some attention, many beckoned a return to the folk songs that had made Mitchell famous. Her next release, Hejira, boasted the services of jazz pacesetter Jaco Pastorius on bass. His incredible virtuoso technique enabled the album to gain a smoother sound without losing any of its ﬁery edge. One of the tracks, “Coyote,” was performed at The Band’s ﬁnale concert, The Last Waltz. By this point in her career, Mitchell was a respected artist and considered a singer, not melded to any individual style. Her concerts were peppered with a smattering of an ever expanding song catalog. In 1977, she returned with Don Juan’s Reckless Daughter, another ambitious, improvisational jazz piece. Larry Carlton, Wayne Shorter, Chaka Khan, and a large contingent of Latin percussionists backed her. Because of her interest in the style, Charles Mingus, the ﬁery bassist composer invited Mitchell to work on an album of poet T.S. Elliott’s work, Four Quartets. Sadly, he died before the project was completed, and she was forced to ﬁnish it on her own. The ﬁnal product was titled Mingus, a tribute to the independent musician that many considered a genius, despite a reputation as someone extremely difﬁcult with an abrasive personality. The years from 1981 to 1993 marked a different phase in the singer’s career. After a live collection, Shadows and Light, she recorded the more pop oriented effort, Wild Things Run Fast. One of the highlights of the album was an Elvis cover “(You’re So Square) Baby I Don’t Care.” In 1982, her life took another interesting turn when she married Larry Klein, a bass player and sound engineer who would make signiﬁcant contributions to subsequent studio releases. In 1983, she began a world tour that included Japan, Australia, Ireland, the United Kingdom, Belgium, France, Germany, Italy, Scandinavia and the United States. The tour was videotaped and released as Refuge of the Roads. The album Dog Eat Dog featured British performer and producer Thomas Dolby who added synthesizers to Mitchell’s sound. To many this diluted the once clear product. One of the songs, “Tax Free,” attacked the televangelists and created a major backlash against Mitchell. In 1988, her next effort, Chalk Mark in Rain Storm, was also synthdriven, as the once traditional musician experimented with drum machines and digital elements. The effort, including a strange mixture of different musical guests such as the brilliant Peter Gabriel, country icon Willie Nelson, pop dynamo Tom Petty and punk artist, Billy Idol, Don Henley and Wendy &

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Lisa. Two songs, “My Secret Place” and “Lakota,” the latter being a very political tune, enabled Mitchell to make a better showing than the previous record. In 1990, the almost reclusive singer joined Roger Waters’ The Wall Concert in Berlin. At the event, she performed the song “Goodbye Blue Sky” and participated in the ﬁnale, “The Tide Is Turning,” which also included Waters, Cyndi Lauper, Bryan Adams, Van Morrison and Paul Carrack. It was a good experience and proved that the celebrated Canadian singer hadn’t lost any of the ﬁre and passion on stage. In 1991, with the release of Night Ride Home, she returned closer to her folk roots. This was a much simpler collection of songs that featured the bare necessities of voice and acoustic guitar. The effort gained her back a number of fans who had little interest in the jazz and avant-garde musical adventures of the past. It was a much better received work from a critical perspective. In 1994, there was a resurgence in her career. It began with the Grammy award winning Turbulent Indigo that Klein produced even though the couple had split up after twelve years of marriage. There were many highlights including “Sex Kills,” “Sunny Sunday,” “Borderline,” and “The Magdalene Laundries.” It was a guitar driven, melodic effort which catapulted Mitchell back into the spotlight, as a host of new singer-songwriters acknowledged her inﬂuence on them. In 1996, two anthologies appeared, Hits and Misses. The former contained some unreleased material, such as “Urge for Going,” that dated back from before the ﬁrst album. In 1998, Taming the Tiger, the ﬁrst work of original new material in nearly a decade, appeared and she supported the work with a regular tour co-headlining with Bob Dylan and Van Morrison. Of note, Mitchell turned in her acoustic instrument for a guitar synthesizer, forcing the talented musician to relearn many of the songs and complex tunings all over again. Arguably, after 2001, the resurgence ended for a couple of reasons. The ﬁrst was that her voice was undergoing changes that were blamed on vocal modules, a compressed larynx and the lingering effects of polio, not a heavy smoking habit like some critics thought. In 2002, Mitchell shocked fans and the music industry when after the release of Travelogue, she announced that it would be the last. A strong commentator of the music business, it was her way of lashing out at the powers in the ﬁeld. However, once and forever a musical artist, the artist returned with new material near the end of the decade. From 2002 to 2005, she was in self-imposed retirement. During this time, the box set The Complete Geffen Recordings, which included notes by Mitchell and some unreleased tracks, appeared. In 2004, the ﬁrst in a series of themed compilations were released: The Beginning of Survival, Dreamland and Songs of a Prairie Girl, the last a collection of tunes that depicted her

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Canadian upbringing. The celebrated singer also performed at the Saskatchewan Centennial concert and it was well received. In 2006, she began a successful comeback. In 2007, Shine was released that focused on political and environmental concerns, most notably the Iraq War. That same year, Mitchell returned to Calgary where she worked on behalf of the Alberta Ballet Company. When Herbie Hancock emerged with River: The Joni Letters, which featured the contributions of Norah Jones, Tina Turner, Leonard Cohen and Mitchell, it underlined the respect that she still commanded in the music business. Later, at the 2008 Grammy Awards, the recording won Album of the Year. She continues to record and perform. Joni Mitchell is one of the most unique folk artists to emerge during the revival for many different reasons. Her ﬁerce determination, incredible talent, attitude, will to experiment and personal opinions are all part of the package. The vitality of her music has not been lost on subsequent generations as new fans “discover” the music of a folkie at heart. Undoubtedly, she remains one of the most celebrated and controversial music icons in Canada and around the world. Any appreciation of Mitchell begins with her voice. A clear, high pitched delivery, but with an accessible edge, it is immediately recognizable in just a few notes. However, throughout the career, her vocal timbre has changed. Once the spokeswoman for all that was hippy, the ability to develop a more urban, sophisticated sound proved the depth of her talent and an ability to change in order to strike the right note. As well, certain physical ailments have altered the pitch of the vocal delivery. Mitchell had a much different take than the average folkie. The use of different guitar tunings fueled the songs with weird chords giving them a much different sound. This open tuning allowed the artist to utilize varied and complex harmonies without difﬁcult chord shapes. Her personalized picking and strumming style has been copied, but never fully duplicated, and sets the unique guitarist apart from other folk artists. Her musical abilities are wide and deep. A formidable songwriter, Mitchell has penned a number of classics that have survived the test of time. The most famous songs clearly indicate the breadth of a far reaching perspective. A partial list includes “Big Yellow Taxi,” “Coyote,” “Carey,” “You Turn Me on I’m a Radio,” “Help Me,” “Both Sides Now,” “Free Man in Paris,” “Why Do Fools Fall in Love?,” “Good Friends” and “Come In from the Cold.” However, she will forever hold a special place as the composer of “Woodstock,” which captured the counterculture’s aspirations, dreams and goals crystallized in the famous words. Her skill in arranging songs of all types only demonstrated a unique versatility. Mitchell’s music continues to gain radio airplay on the classic rock and oldies station throughout North American and Europe.

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Mitchell’s inﬂuence on contemporary music is immeasurable. A partial list includes Tori Amos, Led Zeppelin, Alanis Morissette, Counting Crows, Stevie Nicks, Kate Bush, Jeff Buckley, Shawn Colvin, Elvis Costello, Dan Fogelberg, Janet Jackson, Maynard James Keenan (Tool), Cyndi Lauper, Annie Lennox, Madonna, Frank Turner, Chan Marshall (Cat Power), George Michael, Morrissey, Juice Newton, Conor Oberst, Prince, The Roots, Roxette, The Sundays, Sonic Youth, Fiona Apple, Holly Brook, KT Tunstall, Seal, Keith Green, Spank Rock and Schuyler Fisk, among others. The variety of artists who have covered Mitchell’s songs only emphasizes her stature in the musical universe. Judy Collins reached the Top Ten of the charts with her rendition of “Both Sides Now.” Nearly six hundred artists have covered that song. A pop group, The Neighborhood, and Amy Grant both enjoyed success with a version of “Big Yellow Taxi.” They are just two of over two hundred covers. Annie Lennox cut her own perception of “Ladies of the Canyon,” Mandy Moore released a personal interpretation of “Help Me,” while Sarah McLaughlin waxed a version of “Blue.” Her most famous song, “Woodstock,” was a hit for the band Matthews Southern Comfort. In 2002, Mitchell received the Grammy Lifetime Achievement Award. Throughout her long, distinguished career, she has won nine Grammy Awards stretching from 1969 to 2008. In Canada, she was inducted into the Canadian Music Hall of Fame and received a star on Canada’s Walk of Fame. The celebrity was appointed a Companion of the Order of Canada and received a doctorate from McGill University. As well, Mitchell became a member of the Canadian Songwriters Hall of Fame. In 2007, she was featured on a postage stamp. As a viable artist and noted songwriter, she has always placed well in the annual polls of important female recording artists, greatest albums and songs. Joni Mitchell is a Canadian and international folk music jewel. In a career that has seen its share of ﬂuctuation, and that spans from the edge of the folk revival through the hippie days into the 1970s and the contemporary era, the talented performer has survived to continue battling. Despite a natural need for experimentation, she always returned to her Canadian prairie folk roots.

DISCOGRAPHY: Song to a Seagull, Reprieve 6293. Clouds, Reprise 6341. Ladies of the Canyon, Reprise 6376. Blue, Reprise 2038. For the Roses, Asylum 5057. Court and Spark, Asylum 1001. Miles of Aisles, Asylum 202.

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The Hissing of Summer Lawns, Asylum 1051. Hejira, Asylum 1087. Don Juan’s Reckless Daughter, Asylum 701. Mingus, Asylum 505. Shadows and Light, Asylum 704. Wild Things Run Fast, Geffen 19129. Dog Eat Dog, Geffen 19198. Chalk Mark in a Rain Storm, Geffen 24172. Night Ride Home, Geffen 24302. Turbulent Indigo, Reprise 45786. Taming the Tiger, Reprise 46451. Both Sides Now, Reprise 47640. Travelogue, Warner Bros. 47965. Artist’s Choice: Join Mitchell, Hear Music 6275. Shine, Hear Music 30457. Hits, Reprise 46326. Misses, Reprise 46358. Greatest Hits, Experience 96025. Girls in the Valley, Poptoones 5311. The Complete Geffen Recordings, Geffen 000081902. The Beginning of Survival, Geffen 000283602. Dreamland, Rhino 76520. Songs of a Prairie Girl, Asylum/Reprise/Nonesuch/Rhino 74634. 3 for 1 Box Set, Warner Music 0362480422.

Ralph McTell (1944 – ) Streets of London There were many English performers during the British revival who had a large inﬂuence on a number of different artists from their homeland as well as on an international basis. Some, like Bert Jansch, did it with their instrumental skills, while others touched the folk community with a song including the man who appeared on the scene singing the “Streets of London.” His name was Ralph McTell. Ralph May was born on December 3, 1944, in Fanborough, Kent, England. After May’s father left when he was just two, his mother, younger brother and he struggled to survive in post–World War II London. At seven, Ralph discovered music and started to play harmonica. A few years later, he was caught up in the skifﬂe craze which swept through England and learned how to play the ukulele and then took up the guitar, both instruments featured in the many outﬁts that the aspiring musician formed and joined. One night at the College Jazz Club, May heard Ramblin’ Jack Elliott for

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the ﬁrst time, and it became a life changing experience. What followed was an intense musical education as he delved into the song catalogs of Woody Guthrie, Elliott, Leadbelly, Blind Boy Fuller, Blind Blake, Robert Johnson and Blind Willie McTell, among others. The special universe that he had discovered sent him on a path that would last for the next ﬁfty years. In an effort to get away from school, the young rebel enlisted in the Junior Leaders Battalion of the Queen’s Surrey Regiment. However, in a short time, he realized that Army life was even worse than academia, so the youth escaped from the military and returned to continue a formal education. But even the best of intentions were not going to get the troubled student very far in the scholastic world. May was truant often, since it was apparent by this time that the aspiring musician was heading toward a career in music. He began to write songs. The inspirations were drawn from a variety of sources, but were based on the work of Jack Kerouac, the beat generation writer who had shocked the world with the hitchhiking tale, On the Road, and John Steinbeck, the American novelist who was a socialist. During this formative period of struggle, he frequented the Soho jazz clubs and through his travels met Jacqui McShee, the singer who later sang in Pentangle with Martin Carthy and Wizz Jones. Eventually, the young man joined the Hickory Nuts, a bluegrass inﬂuenced outﬁt, and jammed with them. There were also stints working in factories, laundries and hotels in order to support himself. Eventually, May left England to travel through Europe. The sojourn took him to France, Belgium, Germany, Italy, Yugoslavia and Greece. In Paris, the busker survived a bitterly cold winter. The only bright light in this escapade was a chance meeting with an American named Gary Petersen who had learned his guitar skills at the feet of Piedmont blues legend the Rev. Gary Davis. The two young musicians jammed together and learned from one another. It was also in Europe that May met his future wife, and they returned to England together. The couple had a son, and due to ﬁnancial responsibilities, the man returned to school to become a teacher in order to support his family. At night and on weekends, the aspiring musician continued to perform in folk clubs around London. It was at one of these sessions where a fellow folkie suggested that he adopt the stage name McTell, in honor of legendary Blind Willie McTell, the father of Atlanta blues. Ralph McTell continued to hone his singing and vocal talents, but also developed a songwriting aspect. A wealth of ﬁrst-rate material propelled him to the forefront of the folk club and festival circuit. But, it was a stint at Les Cousins in Soho where the struggling musician began to gain attention that eventually led to a recording deal with Transatlantic Records. It was near the

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tail end of the British folk revival and the new crop of English traditional singers were ready to make their mark. In 1968, his ﬁrst album, 8 Frames a Second, was released. It was a solid debut that showcased his gentle, admirable voice and strong guitar skills that had been honed from years of busking through Europe and club dates in London. The record caught the attention of the BBC and was featured on radio programs like Country Meets Folk and Top Gear. As a much in demand live attraction, he began to include more original work into a repertoire of traditional fare. The year 1969 was a good one. He appeared at the Cambridge Folk Festival where he received accolades for the set of traditional music. There was a deﬁnite power in the performance that caught the attention of the audience; McTell was the star of the event. Later that year, the folk ﬁgure headlined at Hornsey Town Hall, which was a prime concert venue and a major step towards gaining a strong foothold in the British music scene. From this point on, he would be considered one of the top folk artists in England. McTell released more products in quick succession. The second album, Spiral Staircase, included the number “Streets of London,” a song that would gain him much respect and attention in British folk circles, as well as from others on an international basis. The third effort, My Side of Your Window, would be named the Folk Album of the Month. Both sides of his career were equally vibrant and the talented individual looked forward to the next decade. In 1970, McTell sold out the Royal Festival Hall and played the Isle of Wright where such legends as Jimi Hendrix, Bob Dylan, Joan Baez and Leonard Cohen had performed in the past. He also managed to release another album, Revisited, aimed at the American market. Despite the signiﬁcant impression made in his homeland, he had yet to break out in other areas, particularly over the Atlantic. Finally, in 1972, he toured the United States to enthusiastic reviews. In 1971, You Well-Meaning Brought Me Here was released and featured a loose concept with the ﬁrst song, “Genesis 1 Verse 20” being creation, “First and Last Man” primitive man, and “Pick Up a Gun” war. “The Ferryman” was inspired by the Herman Hesse novel Siddhartha. In the studio, Caleb Quaye and Roger Pope on guitar and Davey Johnston on mandolin were brought in to augment the basic sound of McTell’s voice and acoustic guitar. The sessions also featured an unknown Rick Wakeman, the keyboardist who would make a name for himself with the progressive rock band Yes. McTell connected with Fairport Convention, the folk rock band that included the bell soprano Sandy Denny, forming a lifelong relationship with the group. The two would appear in concert together and guest on one another’s albums providing support and musical abilities. The folk community in

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England was not the largest, but it was in some ways very tight-knit. He would also be friends with Martin Carthy, Bert Jansch, Donovan and other British traditional singers. In 1973, McTell survived two major tours. The spring version included a sellout at the Royal Festival Hall. The winter gigs boasted a full house at the Royal Albert Hall. There was fresh product. Easy, which won critical acclaim, became the ﬁrst effort to place high in the charts. There were always more concerts across Great Britain, parts of Europe and Northern Ireland where Danny Thompson and Mike Piggott backed him. In 1974, “Streets of London” was re-recorded so it could be put out as a single. Rod Clements and the vocal group Prelude provided adequate support on this second take. Since its release, the song had taken on a life of its own and managed to boost his career in many different ways. The international attention it received catapulted him to world acclaim. While the folk ﬂag was waning during the middle of the decade, McTell did his best to hold it up with his impressive talents. Unlike others, he had not ventured into different styles, but remained true to the traditional sound. The new version of his most famous song would win an Ivor Novello award and became a million seller internationally. The momentum continued to build. In 1975, Streets was released with Clements, Dave Pegg and Jerry Donahue (Fairport Convention) and Maddy Prior (Steeleye Span) backing him. Unfortunately, the tour was a disaster. Perhaps due to the fact that stardom had arrived so quickly after years of struggling or shyness overcame him, McTell stunned the industry announcing that he had quit. He traveled to the United States and remained there a year working up material before eventually returning to England to continue as a performer. The sabbatical year was the right tonic. After playing a beneﬁt concert in Belfast, Ireland, starring at the Montreux Jazz Festival and selling out the Royal Albert Hall, a tour of Australia followed, including a gig at the Sydney Opera House. He was also ready to record again. The album Right Side Up was a solid effort that enabled him to rebuild any lost momentum from the layoff. The live Ralph, Albert & Sydney, referring to the venues — The Albert Hall and Sydney Opera House — featured many of his best known, including “Michael in the Garden, “Zimmerman Blues,” “First Song,” and the signature “Streets of London.” At the end of the 1970s, he toured the United States and Great Britain including an annual appearance at the Cambridge Folk Festival. Slide Away the Screen was the next album and included Richard Thompson, Dave Pegg and Simon Nicol in the studio. It was also the last with Warner Bros. McTell and his brother created Mays Records, and a number of his future works would be found on the family label. There was another concert at the Royal

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Albert Hall where Pegg, Piggott, Nigel Smith and Dave Mattacks of Fairport Convention backed him. In 1981, he formed a group called the BP’s with Pegg, Mattacks and Richard Thompson. It was an ill-fated project. The ﬁrst single, “England,” was released on Mays Records, followed by the complete album, Water of Dreams, which included the song “Bentley & Craig.” It seemed that one of the leading folk ﬁgures in England would continue on this path forever. But, in 1982, his career took an unexpected turn when Granada TV commissioned Alphabet Zoo, a series of children’s programs built around songs he had written and performed. In 1983, the ﬁrst telecast aired and was a big success. A second series followed and two albums, Songs from Alphabet Zoo and Best of Alphabet Zoo were released on Mays Records and were well received. That same year, McTell hosted a music show on BBC Radio 2 with guests Billy Connolly, Georgie Fame, Simon Nicol, Dave Swarbrick and Mike Harding. Since the initial kid’s show was so good, another venture was put together entitled Tickle on the Tum. Guests included John Wells, Willie Rushton, Kenny Lynch, Penelope Keith and Nerys Hughes. In 1984, he toured Canada and the United States. McTell also turned down further television work in order to concentrate on his career. The album At the End of Perfect Day was a commercial venture that mixed his own material with classic songs “Penny Lane,” “Morning Has Broken” and “Scarborough Fair.” McTell rebounded with Bridge of Sighs that included “The Girl from the Hiring Fair” and “The Setting.” In 1987, he opened shows on the UK tour for The Everly Brothers, always among his musical heroes. There were more concerts through Europe, the USA and Australia as a solo artist. The well received set Blue Skies Black Heroes paid homage to the blues and ragtime musicians that had been such an important part of his musical education. He ﬁnished out the decade with A Collection of His Love Songs, which featured a compilation of his most heartfelt tunes. In the 1990s, McTell’s inﬂuence on other artists began to manifest itself. Nanci Grifﬁth recorded “From Clare to Here,” appearing on her Grammy winning Other Voice, Other Rooms album. Stealin’ Back, another collection of McTell’s blues and jug band numbers was released. On a tour of Germany, he shared the bill with one-time ﬂower child Donovan. As well, a rash of CD compilations were issued of the back catalogue from past recordings. In 1992, The Boy with a Note, an ambitious project about the life and times of the poet Dylan Thomas, contained some noteworthy songs like “Summer Girls,” complete with narrations and introductions. A year later, McTell toured the Far East and returned home to play at the Royal Albert Hall in honor of the founder of the Cambridge Folk Festival. The singer assembled a band, Good Men in the Jungle, to play at the summer venue. One of the

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best performances was material from The Boy with a Note at the Year of Literature Festival. In 1995, the album Sand in Your Shoes would be the ﬁrst work of new and original material in a long period and featured some of his best, thoughtful writing. “I Don’t Think About You,” the title track, “Fear of Flying,” “An Irish Blessing” and “Care in the Community” were all songs that worked well together. More importantly, McTell had proven that despite the long layoff, he had not lost his touch and was still a vital force in the British folk music universe. In 1996, he continued to record and toured England, Europe and the United States at various venues like the Sidmouth Festival. An album of live material taken from the second phase of his career, 1976 to 1995, was released as Songs for Six Strings Vol. 2. A concert effort at Croydon Town Hall was ﬁlmed and appeared on videocassette. He was also featured on television and in the print media. While many of his contemporaries had faded from the scene, McTell continued to record and perform. At the end of the decade, a two–CD set Travelling Man was released from a concert appearance at London’s Purcell Hall. In 2000, Red Sky, was released. That same year an autobiography appeared entitled Angel Laughter. In order to promote the book, McTell toured a series of bookshops and libraries. In 2001, the folk singer toured the United Kingdom and the concerts were recorded and released on the Leola label entitled National Treasure. A year later, the second volume of his autobiography, Summer Lightning, was released. At the BBC Radio 2 Folk Awards, the celebrated entertainer was presented with the Lifetime Achievement Award for Songwriting. In 2004, after a break from touring the previous year, McTell resumed going on the road with Steeleye Span. They performed in Australia and New Zealand, as well as the United Kingdom, Ireland and continental Europe. Once again, he played the Cambridge Folk Festival and the Sidmouth Festival. These were friendly venues where he was very well received and it was broadcast on BBC TV. In 2004, to celebrate his sixtieth birthday, the popular singer performed at the Royal Festival Hall. The show was recorded and appeared on DVD as The London Show. In 2005, Time’s Poems —The Song Lyrics of Ralph McTell dedicated to Woody Guthries appeared. In 2006, on the Up Close Tour through England, McTell relied heavily on material derived from the catalog of Guthrie, Dylan, Blind Willie McTell, Big Bill Broonzy, Blind Lemon Jefferson and a host of others. The ensuing album, Gates of Eden, was released, as was a box set featuring a retrospect of his work. Later, McTell would embark on the “Journey” tours, which would include more taped live shows including one he performed at the Institute of Contemporary Arts.

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In 2007, the audio book As Far As I Can Tell, a three CD compilation, included readings from the autobiography and new songs. In 2008, he appeared on BBC1-TV to broadcast the magazine program The One Show. This would lead to two internet videos being released. In 2009, Streets of London and Other Story Songs was issued. He would support the new work with festival appearances where he joined members of Fairport Convention on stage. In 2010, a four box set of love songs, Affairs of the Heart, was made available to the public. He also recorded Somewhere Down the Road. McTell, the working artist, continues to write and perform in the folk vein to the delight of his fans from around the world. Ralph McTell is a British folk professional. He has stretched out a career that began during the country’s second revival and has outlasted the ﬂuctuation of popularity the style has undergone. A noteworthy singer and semiproliﬁc writer, he has produced an elegant and impressive body of work over the years that has garnered attention from every corner of the folk community. He has been a constant touring performer with many of the concerts available on DVD. McTell is an engaging singer, delivering a mournful, yet melodic effort that has enabled him to enjoy a long, successful career. There was an accessibility in a voice that pleased listeners and allowed him to tell tales of love, friendship, and the working class, as well as deﬁne characters of all walks of society. There has always been a sincerity in the vocal delivery, and it was one of the key elements in being accepted on such a wide level, both at home and internationally. Like most folk musicians, he was not a great instrumentalist, but his acoustic abilities were always more than adequate. As a solo artist in concert, McTell was able to hold his own and didn’t dazzle the audience with ﬂashy guitar work. In the studio, much of the released material boasted a backup band who were often there to only supplement and not overshadow. In many ways, the soft unplugged six-string attack was perfect for the material that he sang and wrote. Although he is known for the hit “Streets of London,” McTell has managed to create a solid catalog. Some of his better known songs include “Summer Girls,” “The Girl from the Hiring Fair,” “Barges,” “Michael in the Garden,” “Tequila Sunset,” “Bridge of Sighs,” “Song for Martin,” “Throw Out a Line and Dream,” “The Setting,” “From Clare to Here,” “Mr. Connaughton,” “Hands of Joseph,” “Stranger to the Seasons,” “Weather the Storm” and “The Ferryman.” He has also covered the songs of Woody Guthrie, Big Bill Broonzy, Blind Willie McTell, Bob Dylan and a host of others. McTell has had an inﬂuence on a number of artists including contemporaries such as members of Steeleye Span, Fairport Convention, Jerry Donahue, Dave Pegg, Rod Clements, Mary Hopkin, Dave Mattacks, Mike Piggott,

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Graham Preskett, Tony Visconti, Danny Thompson, Martin Simpson, David Gray, Nanci Grifﬁth and Anne Briggs among others. He passed on the lessons from those that inspired him including many of the American blues singers, as well as the folk people like Ramblin’ Jack Elliott, Dave Van Ronk, Eric Andersen, Fred Neil, Bob Dylan and Phil Ochs. Ralph McTell was an interesting character who emerged out of the British revival and managed to carve out a distinguished career. The entertainer was honored in a special award ceremony in the House of Commons celebrating his lifetime contribution to folk music. He remains one of the leading lights of the traditional movement in his native United Kingdom and has also garnered an international reputation as a solid performer. Throughout the English countryside and in the great metropolises, the haunting words and music to the streets of London can be heard.

DISCOGRAPHY: Eight Frames a Second, Transatlantic TRA165. Spiral Staircase, Transatlantic TRA177. My Side of Your Window, Transatlantic TRA209. Revisited, Transatlantic TRA227. You Well-Meaning Brought Me Here, Famous SFMA5753. Not Till Tomorrow, Reprise K44210. Picture Rags, Transatlantic TRASAM26. Easy, Reprise K54013. Streets..., Warner Bros K56105. Streets of London, Transatlantic TRASAM34. The Ralph McTell Collection, Vol. 2, Transatlantic TRASAM39. Right Side Up, Warner Bros K56296. Ralph, Albert & Sydney, Warner Bros K56399. The Ralph McTell Collection, Pickwick PDA040. Moments to Remember, Lotus WH5002. Slide Away the Screen, Warner Bros K56599. Water of Dreams, Mays TG005. At His Best, Cambra CR057. Songs from Alphabet Zoo, Mays ING3. Best of Alphabet Zoo, Mays AZ123. At the End of a Perfect Day, Telstar STAR2263. The Best of Tickle on the Tum, Mays TPG008. Bridge of Sighs, Mays TPG009. The Very Best of Ralph McTell, Start STL17/SCD17. Blue Skies Black Heroes. Leola TPG10 / TPGCD10. A Collection of His Love Songs — Affairs of the Heart, Castle CCSLP219 / CCSCD219. The Singer and the Song, Stylus SMR975 / SMD975. Stealin’ Back, Essential ESSCD137. Silver Celebration, Castle CCSCD329. Saturday Rolling Around, Woodworm WRCD014. The Boy with a Note, Leola TPGCD11.

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Sand in Your Shoes, Transatlantic TRACD119. Songs for Six Strings Vol. II, Leola OLA15B2CD. The Deﬁnitive Transatlantic Collection, Essential ESMCD527. Live at the Town Hall, Leola OLA26VID. Traveling Man the Journey of the Songs, Leola TPGCD16. The Best of Ralph McTell, Essential ESACD880. Red Sky, Leola TPGCD18. National Treasure, Leola TPGCD21. The London Show Live at the Royal Festival Hall, Leola TPGDVD25. The Journey Recordings 1965 –2006, Leola OLABOX60. As Far as I Can Tell, Leola TPGCD28. The Deﬁnitive Collection, Highpoint HPO6016. The Essential Ralph McTell, Union Square METRDCD640. Affairs of the Heart, Leola TPGCD30. Somewhere Down the Road, Leola TPGCD31.

Donovan Leitch (1946– ) Sunshine Superman Like the American revival, the British model featured an array of eccentric characters. Many took the traditional elements and combined them with other styles to create something refreshing that appealed to a folk crowd enamored with rock and roll. One of these ﬁgures burst upon the scene and earned the title of sunshine superman. His name was Donovan. Donovan Philips Leitch was born on May 10, 1946, in Glasgow, Scotland, but was raised outside of London. At ten years old, the future musician survived a bout of polio. As a youth, the skifﬂe craze greatly affected his musical vision. Later, he turned to the sounds of Scottish and English folk music. As a teenager, Donovan learned how to play guitar and began to imitate the songs that had affected him the most. He enrolled in art school but dropped out to ﬁnd the answer to the meaning of the universe and other earthly questions. Already heavily into the beatnik scene, Donovan traveled to the English seaside to pursue the bohemian lifestyle. It was here that he began to absorb the traits of the counterculture, a movement that the young singer would fully embrace and one that would greatly support him. In 1963, he returned to Hatﬁeld, England, and began to play in the clubs, learning skills from others, including a cross picking technique that Mac MacLeod and Mick Softley taught him. The poetic sketches and dreams of life on the English seaside were slowly carved into performable songs.

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Although he had made great strides, Leitch had a long way to go before being able to fulﬁll the ambition to be a noted musical power. In 1964, he continued his musical education, travelling to Manchester where he busked on the streets. Donovan would also play at clubs on occasion absorbing the folk and blues tunes from those who performed the songs of a variety of inﬂuences including Woody Guthrie, Ramblin’ Jack Elliott, Jesse Fuller and Bob Dylan. Finally after some long paying dues, he was signed to Pye Records and cut a ten track demo tape that included some of the material he had been honing on the streets and in clubs for the past couple of years. Although “Catch the Wind” and “Josie” were a little rough, the inﬂuences of Guthrie, Fuller and Elliott were present. But, it was also very apparent that he possessed a unique vision. It was about this time that he met Linda Lawrence, a good friend to Brian Jones of The Rolling Stones. For the next few years, Donovan pursued the lovely lady, who rebuffed all advances. The rejection fueled a desire to be with her even more and found their way in the lyrics of some of his greatest hits including “Sunshine Superman.” Already a minor celebrity, Leitch was ready to embark on a solo career that would take him to the top of the British charts. It was almost magic time. From the beginning, England had been looking for someone to rival America’s Bob Dylan. Many believed that Donovan was that answer, but he was a very different musical personality despite channeling through the same inﬂuences of Guthrie, Fuller and Elliott. In 1965, they met while Dylan was on tour and Leitch appeared in the latter’s ﬁlm Don’t Look Back. The connection between the two was a private one, but publicly broadcasted. When it was over, it was evident that the English singer was not the answer to the American folk troubadour. In 1965, Donovan collaborated with producer Mickie Most, who at the time was one of the most successful personalities in English pop music. He had guided the records of The Animals, Lulu and Herman’s Hermits. The result would be an incredible partnership, producing major hit singles and albums. In the studio, Big Jim Sullivan, Jack Bruce, Danny Thompson, John Paul Jones and Jimmy Page provided backup on the sessions. Later on, Donovan preferred to use John Cameron on piano, Thompson on upright bass, Tony Carr on drums and congas and Harold McNair on saxophone and ﬂute to augment the sound. By 1966, Donovan had shed his folk trappings to adopt ﬂower power in all of its splendid glory. He was now a serious student of jazz, blues, Eastern music and West Coast bands. It was about this time that “Sunshine Superman” was recorded, the song that catapulted him to fame. The overt psychedelic pop standard nearly didn’t get released because of record company squabbles; but once it did, he became the new musical icon on the scene.

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While his American and British releases greatly differed, the music was distributed for all to enjoy. A tour of the United States included an appearance on Pete Seeger’s TV series Rainbow Quest that also featured Shawn Phillips and the Rev. Gary Davis, one of Leitch’s musical heroes. In June 1966, “Sunshine Superman” was released in the United States as a single. It would reach number one on the charts and earn him a gold disc in a relatively short period of time. The album of the same name also went gold. It was a strange blend of folk with a tinge of jazz, and to create the unique sound, an acoustic bass, sitar, saxophone, tablas and congas, harpsichord, strings and oboe were utilized. The effort also contained “The Fat Angel” (a tribute to Mama Cass Elliott), “Bert’s Blues” (an acknowledgment to British guitar hero Bert Jansch), “Guinevere,” and “Legend of a Girl Child Linda” (a reference to Linda Lawrence). The single “Season of the Witch” was the next big hit and prompted varied artists, such as Brian Auger, Al Kooper and Stephen Stills, to cover the song. Later, the tune appeared in the ﬁlm To Die For. At the end of the year, “Mellow Yellow” was released and earned him another gold record. He combined the chart success with a series of concerts in the United States and Great Britain. Although there was a deﬁnite psychedelic feel to “Sunshine Superman,” “Season of the Witch” and “Mellow Yellow,” each composition contained the trappings of folk. In the middle of the year, he became the ﬁrst high-proﬁle pop star to be arrested for possession of marijuana. It only served to heighten his acceptance in the eyes of the counterculture. Despite the bust, it did not stop the momentum on record. However, because of running afoul of the law, the singer, who was at the top of his creative powers, was unable to perform at the Monterey International Pop Festival because he was refused entry into the United States. Sadly, the venue was tailor-made for someone like Donovan. In 1967, he released A Gift from a Flower to a Garden, a rock music box set. The ﬁrst half was entitled Wear Your Love Like Heaven, committed to contemporaries, while the other was subtitled For Little Ones, dedicated to the future generation. The album would eventually reach gold status in the United States, but didn’t contain the same power as some of the earlier recordings. From 1967 to 1969, he would enjoy international success. The single “There Is a Mountain” was solid, but lacked the imagination and ﬁre of previous singles. The fact that he was allowed to enter the United States once again enabled him to tour, backed by a small jazz group. In 1968, in accompaniment of The Beatles, as well as Mike Love of The Beach Boys and Mia Farrow, the group traveled to India to meet the Maharishi Mahesh Yogi. Donovan provided music for the ﬁlm Poor Cow; the B side of the release “Poor Love” was “Jennifer Juniper,” which became a Top 40 hit in the United States. In

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1968, he released “Hurdy Gurdy Man.” The ensuing album of the same title would reach the Top 20 on the charts. His next single was “Atlantis,” complete with an interesting spoken introduction. It would be his last major hit, and it seemed that the creative Leitch had run out of fresh ideas. A tour of the United States followed where the folk-ﬂower child was still very popular. Other examples of his fame included Mary Hopkin, a Welsh singer whose album Post Card featured three Donovan compositions; “Lord of the Reedy River,” “Happiness Runs,” and “Voyage of the Moon.” Donovan was a stern member of the hippie counterculture movement and was everywhere during the era. He also released the antiwar tune “To Susan on the West Coast Waiting” on the B side of “Atlantis.” Other singles were released on a greatest hits packages, including “Epistle to Dippy,” “There Is a Mountain,” and “Lalena.” Another song that deﬁned the Donovan sound at the time was “Barabajagal (Love Is Hot).” Interestingly, members of the Jeff Beck Group backed him including Ronnie Wood on bass, Beck on guitar, Nicky Hopkins on piano, and Mickey Waller on drums. Later that year, he split from Mickey Most. Donovan went on to produce his own record, the disappointing Open Road, which featured a trio format and a sound called Celtic Rock. This began a decline in his fortunes and the popularity, and the commercial success he once enjoyed began to evaporate, as well as the number of concert appearances. The hippie era was quickly fading and the public’s musical tastes were changing, while Donovan wasn’t. In the early 1970s, HMS Donovan, Cosmic Wheels and Essence to Essence were released but only Cosmic Wheels, which featured a reunion with producer Mickie Most, placed on the charts. He would sing on the Alice Cooper creepy tune, “Billion Dollar Babies,” as well as produce songs for the ﬁlm The Pied Pier and Brother Sun, Sister Moon. Although the heady days of the 1960s were over Donovan still commanded respect in certain musical circles. Donovan continued to record albums including 7-Tease, Slow Down World, Neutronica, Love Is Only Feeling and Lady of the Stars, but none had the power of earlier efforts. The ﬂower power era was ﬁnished, and in the punk era, hippie ideas were scorned at and Donovan suffered the results. He would prove his mettle, however, as a member of the Amnesty International beneﬁt show The Secret Policeman’s Other Ball that included Sting, Phil Collins, Bob Geldof, Eric Clapton and Jeff Beck. In 1982, the album Live in Concert was released and it featured rerecordings of his classic hits such as “Sunshine Superman,” “Jennifer Juniper,” “Season of the Witch,” “The Hurdy Gurdy Man,” “Universal Soldier,” “Cosmic Wheels,” “Wear Your Love Like Heaven,” and “Young Girl Blues,” among others. The record buoyed his career for a brief period, but it was evident that the heyday was over. The problem was that the new material he penned could

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not match the previous releases in power and imagination. Therefore, Donovan was dubbed as an artist of a previous era. The only material that truly sparked any sales was the songs that he was associated with during the ﬂower power period. An example was Four Donovan Originals, a re-release of four of his best albums on CD. During Donovan’s heyday, it seemed that the hurdy gurdy man was everywhere, a true celebrity. But in the latter part of his career, appearances were rare. However, despite this, the new generation of folk musicians in England and the United States acknowledged Donovan as one of their greatest inspirations. Donovan continued to record. In 2004, Beat Cafe was released in an attempt to return to his earlier jazz sound of the style that made him famous. He would later tour the United Kingdom to support the album, backed by Tom Mansi on double bass, Rat Scabies on drums and Joe Atkinson on keyboards. Ever the hippie, he would play concerts at the Kennedy Center in support of a presentation to ﬁlm maker David Lynch to promote the David Lynch Foundation for Consciousness-Based Education and World Peace. There were occasional concert appearances, including a festival in Texas. Ritual Groove, an album of new material, appeared recently. He continues to record and perform. Donovan Leitch was a British folk explosion. For a four year period he dominated the charts, despite stiff competition, with his traditional based materials of ﬂowers, love and peace. His brand of music provided a much different dimension to the offerings from others on the scene at the time. The burst of creativity and sensationalism would deﬁne the musical personality and frame him for the rest of his career. Donovan’s vocals were dream-like, spacey and very rhythmic. Even without the music, there was a deﬁnitive groove and march to each song, a pattern that was delivered with a concise expertise that was a purely individual style. With the wisdom of a prophet, he was keen to spread the message of unity, humanity and harmony throughout his music. There was an accessibility in the words that inspired many to enjoy the nonsensical lyrics. There were many instruments that were utilized to create the Donovan sound. The acoustic guitar was always part of the overall structure, but the harpsichord, sitar, double bass, saxophone, and whistles — unusual elements found in folk music — were properly meshed together to create magic. As an arranger and musician, Donovan proved that he had listened carefully to all of the blues and folk inﬂuences. The mystical and psychedelic overtones of songs, such as “Sunshine Superman,” “Mellow Yellow,” “Hurdy Gurdy Man,” “Jennifer Juniper,” “There Is a Mountain,” “Isle of Islay,” “Wear Your Love Like Heaven,” “Colours,” and “Epistle to Dippy,” were all expertly fashioned to set a tone and mood. Many have been covered by others and also utilized for TV com-

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mercials throughout the past forty years. The aforementioned tunes were written in a quick, compact period of time when his imagination seemed to be in overdrive. The inﬂuences on Donovan have been well documented. In turn, he had an impact on the careers of Jeff Beck, Harold McNair, Candy John Carr, Tony Carr, Matt Costa, T. Rex, Vashti Bunyan, World Party, A Band of Bees, Sondre Lerche, Doll, Virgineers, Mark Fry, Simple Kid, Belle & Sebastian, Dana Gillespie, Chris de Burgh, Marc Bolan, Andy Burrows, Danielson Famile, Susan Raven, Fazzini and Lesser Gonzalez Alvarez. But he also was able to shadow the music of Cat Stevens, Al Stewart, The Incredible String Band, Harry Chapin, Jim Croce, Joni Mitchell and Anne Briggs. Donovan provided a different dimension to the British as well as the American folk revival. He was very unique, and there was no one quite like him on either side of the Atlantic or anywhere else in the world. His special take on traditional sound and songs enabled the celebrated visionary to create a universe that could be copied, but never precisely duplicated. Donovan was the right person at the right time with right type of folkspeckled material. There was a childlike wonder and innocence to his songs with the imaginative, crazy lyrics and a tempo that was somewhere between traditional folk and soft rock. Many labels have been attached to his music, but under all of the layers there was a deﬁnite sense of tradition. Undoubtedly, the tunes he delivered were derived from his own mystical vision. There is no denying the sunshine superman’s integral role in the British folk revival.

DISCOGRAPHY: Sunshine Superman, Epic BN 26217. Mellow Yellow, Epic BN 26239. Wear Your Love Like Heaven, Epic BN 26349. For Little Ones, Epic BN 26350. A Gift from a Flower to a Garden, Epic BN 171. Donovan in Concert, Epic BN 26386. The Hurdy Gurdy Man, Epic BN 26420. Donovan’s Greatest Hits, Epic BN 26439. Barabajagal, Epic BN 26481. Open Road, Repertoire 4480. HMS Donovan, Beat Goes On 372. The Very Best of Donovan, Artful Audio ARTFULCD 5. What’s Bin Did and What’s Bin Hid, Castle Music Ltd., 36032. Catch the Wind, Castle Music Ltd. 1005. Fairytale, Castle Music Ltd. 226. Four Shades, Pye 102. Cosmic Wheels, Sony Music Distribution 4773782. Essence to Essence, Sony Music Distribution 489443. 7-Tease, Repertoire 2315.

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Part Five. Other Performers

Slow Down World, Epic 33945. Donovan, Beat Goes On, 375. Troubadour, Prism Platinum 435. Love Is Only Feeling, RRA Records 28472. Lady of the Stars, Allegiance Records ST-72857. Live in Concert, QED 063. Sutras, American Recordings 65661. Donovan in Concert, Going For a Song 130. Pied Piper, Rhino 76290. Beat Cafe, Appleseed Records 1081.

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Index Numbers in bold indicate main entries

ABBA 183 Abbot, O. J. 241 Ace, Johnny 226 Acuff, Roy 115 Adams, Arthur 246 Adams, Bryan 252, 281 Adams, Derroll 59, 173 A La Berry, Terry 172 Albert, Stew 141 Albin, Peter 164, 183 The Albion Band 265, 267 Ali, Muhammad 246 Alice’s Restaurant 170 The All-Star Band 165 Allen, Woody 224, 237 Allende, Salvadore 141, 164 Allender, Robin 268 Allison, Jerry 133 The Almanac Singers 10, 37, 193, 209, 236 Alvarez, Fazzini 297 Alvarez, Lesser Gonzalez 297 Alvin, Dave 61 America 240 American Folksay Group 20 Amos, Tori 283 Amram, David 113 Ander, David “Juke” 196 Ander, Jacob 196 Andersen, Bill 127 Andersen, Eric 11, 38, 88, 102–106, 113, 130, 142, 291 Anderson, Marian 109 Andrews, Julie 51 Angelou, Maya 113 The Animals 154, 176, 232 Ann-Margret 223 Apple, Fiona 283 Arkin, Alan 40

Armstrong, Frankie 75 Armstrong, Louis 76 Armstrong, Paul 163 Arnold, Kokomo 96 Arthur, Bea 49 The Arthur Godfrey Show 193 Arturi, Mike 238 Asch, Moses 21, 30 Asher, Peter 142 Ashley, Clarence 3, 29, 30, 37, 199, 201, 202; String Band 44 Asleep at the Wheel 235 The Association 240 Atkins, Chet 46, 127 Atkinson, Joe 296 Atlas, Jim 196 Atwood, George 133 Au Go Go Singers 127, 176 Auger, Brian 294 Austin, Sherrie 229 Autry, Gene 115 Axton, Hoyt 130, 173, 230 Bach, Johann Sebastian 212 Badﬁnger 240 Baez, Joan 2, 4, 14, 15, 16, 18, 23, 28, 41, 55, 57, 59, 61, 64, 71, 84, 86, 88, 90, 95, 98, 100, 102, 103, 104, 105, 108, 110, 111, 113, 114, 116, 127, 130, 133, 134, 136, 139, 141, 142, 144 –151, 153, 154, 156, 171, 180, 240, 245, 268, 286 Bailey, David M. 220 Bailey, Mark 212, 213 Bailey, Roy 266

303

Baker, Bob 198 Baker, Earl 50 The Balfa Brothers 29, 30 Balin, Marty 92, 183 The Band 64, 69, 100, 104, 146, 154, 155, 159, 175, 252, 280 A Band of Bees 297 Band of Hope 266 Banhart, Devendra 275 Bare, Bobby 205 Baring-Gould, Sabine 241 Barrett, Syd 159 Barthol, Bruce 163, 165, 166 Bastro 142 Bates, Kenneth 50 The Battleﬁeld Band 191 Baxter’s Len Balladeers 230 The Beach Boys 42, 183, 226, 233, 294 Beam, Julia 276 The Beatles 35, 85, 87, 92, 111, 127, 134, 140, 159, 176, 180, 199, 216, 228, 229, 231, 232, 233, 246, 264, 294 The Beau Brummels 176, 240 Beaver, Father Reinard 193 Beck, Jeff (group) 264, 295, 297 The Bee Gees 266 The Beefeaters 231 Beethoven, Ludwig van 212 Belafonte, Harry 4, 14, 16, 17, 19, 38, 40, 48–54, 94, 100, 110, 113, 127, 130, 141, 192, 193, 242, 244, 246, 248, 251

304 Belafonte Folk Singers 17, 50, 245 Belle & Sebastian 297 Benno, Mark 102 Bergen, Candice 223 Berkeley, Roy 201 The Berkeley String Quartet 163 Berkney, Laurie 220 Berlin, Betty 201 Berlin, Irving 13 Berry, Chuck 67, 152, 262 Bessinger, Harry 50 Beyoncé 248 Biafra, Jello 143 Bibb, Leon 17 The Bickelodore 15, 42 The Big 3 183, 213 Big Bam Boo 229 Big Brother and the Holding Company 164, 165, 183 Big Star 235 The Birds of Paradise 215 Bishop, Elvin 223 Bishop, Heather 241 Bissex, Rachel 150, 220 Black 47 142 Black, Celia 142 Black, Mary 268 Blaine, Hal 135 Blake, Blind 76, 285 Blake, Nancy 200 Blake, Norman 46, 200 Block, Rory 83, 148 Bloomﬁeld, Mike 69 Blue, David 77 Blue Rodeo 235, 255 The Blue Sky Boys 46 The Blue Velvet Band 65 Blume, David 134, 135 Blur 157 Bobbitt, John 130 Bobbitt, Lorena 130 Boggs, Dock 3, 27, 37, 199, 201, 202 Bogguss, Suzy 105 Bogue, Barbara 178 Bogue, Laurence 50 Boguslav, Ray 50 Boise, David 195 Bono 159 Boone, Skip 237 Boone, Steve 236, 239 Boston Symphony 147, 171 Bowie, David 159 Boyle, Maggie 273

Index The BP’s 288 Bragg, Billy 142, 143, 149, 266 Bramlett, Bonnie 97 Brand, Oscar 15, 63, 113 Brando, Marlon 49 Brandon, Tom 241 The Brandywine Singes 19, 176 Brass Monkey 265, 266, 267 Brecht, Bertolt 72, 75, 76 Brel, Jacques 14, 15, 85, 87 Brickell, Edie 225 Briggs, Anne 291, 297 Brinsford, Martin 265 Broadside 11, 21, 32, 125, 139 Broadwood, Linda 241 Bromberg, David 35, 98, 102, 131 Brook, Holly 283 Brooklyn Technical High School Chamber Chorus 114 Brooks, Garth 98 Brooks, Lonnie 35 Broonzy, Big Bill 33, 34, 111, 270, 289 Brothers Four 8, 18, 19, 42, 176, 182, 213 Brown, Flemming 34 Brown, Herb 131 Browne, Jackson 70, 96, 98, 102, 147 Bruce, Jack 293 Bruce, Lenny 68, 101 Brunner, John 12 Bryan, James 200 Buchanan, Jim 29 Buckingham, Lindsey 181, 183, 202 Buckley, Jeff 283 Buckley, Tim 68, 70, 183 Bud & Travis 183 Buffalo Springﬁeld 85, 176, 183, 235, 240, 246 Buffet, Jimmy 183, 235 The Bulletin 32 Bunyan, Vashti 297 Burgan, Jerry 183 The Burns Sisters 172 Burrell, John “Mr. Bones” 81 Burrows, Andy 297 Bush, George W. 143 Bush, Kate 283 Buskin, David 220 Butler, Bernard 274, 276

Butler, Joe 237, 239 Butler, Yancy 239 Butterﬁeld, Paul 69 Butterﬂy, Julia 148 Butterworth, George 241 The Byrds 5, 34, 36, 85, 127, 134, 154, 159, 175, 176, 183, 194, 196, 206, 208, 230–236, 242 Cage, Buddy 206 Cajun Trio 202 The Cambridge Harmonica Orchestra 98 Cameron, John 293 Camp, Bob Hamilton 34, 36, 56, 57 Campbell, Glen 127, 255, 257 Campbell, Mike 158 Canned Heat 240 Cannon, Gus and His Jug Stompers 41, 201 Cannon’s Jug Stompers 37 Carawan, Candie 4, 32, 33 Carawan, Guy 4, 31, 32, 33, 36 Carey, Bob 39, 40, 68 Carlton, Carl 39, 40 Carlton, Gaither 44 Carlton, Larry 280 Carmichael, Hoagy 63, 81, 266 Carmichael, Stokely 245 Carnovsky, Morris 23 The Carolina Tar Heels 38 Carolyn Hester Coalition 134 Carpenter, Mary Chapin 102, 105, 136, 147, 148, 150, 174 The Carpenters 208 Carr, Candy John 297 Carr, Tony 293, 297 Carrack, Paul 281 Carter, A. P. 29, 32 Carter, Anita 19 Carter, Rubin 156 The Carter Family 3, 27, 32, 37, 46, 131, 202, 220 Carthy, Eliza 266, 267 Carthy, Martin 241, 242, 262–269, 270, 285, 287 Cash, Johnny 14, 69, 70, 105, 131, 138, 155, 251, 261 Cassidy, Jack 164

Index Cat Power 157 Cave, Nick 159 Celtic Thunder 191 Cermack, Kathryn 225 Chad & Jeremy 251 Chadbourne, Eugene 46, 142 Chapin, Harry 57, 101, 102, 183, 229, 297 Chapin, Tom 113, 114 Chapman, Tracy 61, 113, 150, 248 Chandler, Dillard 201 Chandler, Len 68 Charles, Ray 68 The Charles River Valley Boys 98 Charters, Sam 72 Chase, Chevy 224 Cheetham, Richard 265 Cher 142, 259 Chicago 229 The Chieftains 191 Child, Francis J. 30, 241 Childs, Peter 68 Chopin, Frederick 212 Christophersen, Bill 201 The Church 235 Church, Cindy 207 Clancy, Aolfe 190 Clancy, Bobby 185, 187, 188, 189, 190 Clancy, Donal 189 Clancy, Finbarr 189 Clancy, Liam 112, 185, 186, 188, 189, 190 Clancy, Paddy 185, 186, 188, 189 Clancy, Tom 185, 186, 188, 189 Clancy Brothers 15, 133, 176, 184 –192, 213, 242 Clapton, Eric 295 Clark, Gene 142, 183, 230, 231, 232, 233, 234 Clark, Guy 60 Clark, Petula 51, 52 Clarke, LaRena 241 Clarke, Michael 231, 232, 233, 234 The Clash 143 Clayton, Paul 8 Clements, Rod 272, 273, 287, 290 Clifford, Linda 65 Cline, Patsy 231 Clinton, Bill 86, 92, 113

Cochran, Eddie 152, 262 Cocker, Jarvis 276 Cocker, Joe 258 Cohen, David Bennett 163, 166 Cohen, John 198, 199, 200, 202 Cohen, Leonard 77, 85, 87, 101, 208, 282, 286 Cohn, Mark 97 Cohn, Rolf 64 Cole, Holly 228 Coleman, Charles 50, 245 Coleman, Michael T. 45 Collins, Clark 86 Collins, Dennis 196 Collins, Judy 14, 15, 16, 38, 41, 42, 57, 61, 77, 84 –89, 90, 98, 105, 113, 127, 130, 133, 134, 136, 142, 149, 150, 205, 230, 251, 279, 283 Collins, Phil 295 Collins, Shirley 265 Colvin, Shawn 97, 98, 283 Comfort, Alex 12 The Commodores 229 Conn, Tim 50 Connelly, Billy 173, 288 Conner, Jim 181 Conte, Bob 201 Conundrum II 274 Conway, Gerry 273 Cooder, Ry 12 Cooke, Sam 224 Cooley, Spade 231 Cooper, Alice 278, 295 Cooper, Bob 163 Cooper, Clarence 40 Cornett, Bill 201 Corwin, Andy 212 Costa, Mark 102 Costa, Matt 297 Costello, Elvis 228, 266, 283 Cotton, Libby 121, 122, 198, 200 Counting Crows 283 Country Joe and the Fish 5, 163 Cousin Emmy 200 The Cowboy Junkies 255 Cox, Ida 110 Cox, Terry 271, 273 Crabtree, Lee 104 Crary, Dan 46

305 Crawford, Joseph 50 Crayton, Pee Wee 31 Cream 70, 264 Creedence Clearwater Revival 246 The Crickets 133 The Critters 240 Croce, Jim 102, 208, 229, 297 Crosby, David 223, 230, 231, 232, 233, 234, 235 Crosby, Stills & Nash 229 Crosby, Stills, Nash & Young 85, 208, 233, 279e Cross, Vincent 113 Crowded House 235 The Crows 226 Crudup, Arthur “Big Boy” 258 The Crusaders 246 Cullum, Jamie 228 The Cumberland Three 179 Cunningham, Agnes “Sis” 1, 8, 9–12 Curtis, Tony 49 The Cyrkle 135 Dane, Barbara 22 Danko, Rich 104 Darin, Bobby 230 Darling, Erik 38, 39–43, 175, 196 Darling, George 39 DaSilva, Howard 23 Davashe, Mackay 244 The Dave Clark Five 176 David, John 211, 213 Davidowitz, Steve 93 Davis, Rev. Gary 24, 40, 46, 65, 72, 76, 79, 272, 285, 294 Davis, Guy 113 Davis, Miles 49 Davis, Richard 131 The dB’s 240 de Burgh, Chris 297 De Costra, Valucha 34 The Delmore Brothers 46 DeMent, Iris 136 Denny, Sandy 85, 102, 127, 130, 136, 222, 268, 271, 286 Denver, John 18, 19, 56, 127, 130, 195, 196, 212, 217, 229, 240 The Desert Rose Band 234

306 DeShannon, Jackie 248 Destiny’s Child 248 Devine, Kevin 142 Diamond, Neil 127, 259 Dickens, Hazel 198, 200 Diddley, Bo 96 DiFranco, Ani 118, 119, 120, 142 Dillard, Doug 234 Diller, Phyllis 178 Dillon, Eddie 189, 190 The Dinah Shore Show 178 Dirks, Scott 80 Dlamani, Ezekiel “King Kong” 244 Dr. Hook and the Medicine Show 240 Doherty, Denny 183, 236 Dolby, Thomas 280 Doll 297 Domingo, Placido 19 Domino, Fats 152 Donahue, Jerry 287, 290 Donicht, Will 80 The Doors 80 Dorsey, Leslie 50 Dorsey Brothers 13 Dougherty, John 211, 213 Dougherty, Rick 182 Doyle, Jill 270 Doze, General 244 Draheim, Sue 201 Drake, Nick 276 Drew, Ronnie 190 Driftwood, Jimmy 34 Duarte, John 149 Dunford, Uncle Eck 27, 37 The Dusty Road Boys 32 Dylan, Bob 3, 4, 5, 11, 12, 14, 16, 18, 21, 23, 28, 35, 36, 41, 51, 57, 59, 60, 61, 64, 66, 69, 70, 71, 73, 74, 76, 79, 83, 84, 86, 87, 88, 90, 91, 92, 93, 96, 98, 99, 100, 102, 105, 108, 110, 111, 112, 113, 116, 126, 133, 134, 135, 139, 140, 141, 145, 150, 151–162, 167, 173, 175, 176, 180, 183, 189, 194, 195, 196, 201, 205, 206, 216, 219, 221, 222, 226, 228, 229, 231, 232, 233, 240, 242, 245, 251, 252, 253, 255, 263, 265, 268, 271, 281, 286, 288, 291, 293

Index Dylan, Jacob 160 Dylan, Jesse 160 The Eagles 183, 229, 235 Earle, Steve 113, 149 Easy Rider 170 Eby, James 50 Eddleman, Jack 50 Eitzel, Mark 142 Ellington, Duke 15, 63 Elliott, Cass 136, 236, 294 Elliott, Ramblin’ Jack 5, 31, 32, 36, 38, 42, 58–62, 63, 68, 73, 83, 100, 102, 103, 117, 129, 156, 169, 173, 174, 242, 284, 285, 291, 293 Elliott, T.S. 280 Ellis, Dave 276 Ellis, Pee Wee 274 Ely, Joe 60 Emerson, Keith 127 Emerson, Lake and Palmer 127 Emery, Ken 50 Epstein, Jules 15 Eskin, Sam 8 Espwall, Helena 275 Estes, Sleepy John 72 Evans, David 7 Evans, Howard 265 Evans, Medgar 159 The Even Dozen Jug Band 176, 236 The Everly Brothers 221, 226, 229, 231, 288 Fahey, John 46 Faier, Billy 236 Fairport Convention 105, 130, 175, 208, 222, 242, 263, 264, 273, 279, 287, 288, 289 Faithful, Marianne 127, 142 Fame, Georgie 288 Famile, Danielle 297 Fare, Schooner 143 Farina, Mimi 98, 134, 136, 147, 148 Farina, Richard 85, 87, 134 Farrow, Mia 294 Faryar, Cyrus 179 Faulkner, William 9, 111 Faye, Glenda 46 Feifer, Jules 15 Fela 248 Feliciano, José 127, 130

Felix, Julia 142 Ferry, Brian 159 The Fifth Dimension 18 Fig, Anton 93 Finnan, Aengus 255 The Fireballs 130, 134 Firefall 234 Fisher, Archie 270 Fisher, Carrie 224 Fisk, Schuyler 283 Fitzgerald, Ella 111 Fjeld, Jonas 104 The Flamin’ Groovies 240 Flanders, Helen 3, 7, 30, 201, 241 Flatt, Lester 27, 46 Flatt & Scruggs 127, 131 Fleck, Bela 35, 42, 46 Fleetwood Mac 164, 176, 181, 183 The Flying Burrito Brothers 155, 159, 233, 235 Fogelberg, Dan 283 The Folksway Trio 39 Fonda, Jane 164 Foreman, George 246 The Foremen 212 Fox, Bill 229 Frank, Jackson 134 Franklin, Aretha 248 Franklin, Cortez 50 Frazier, Joe 125, 193, 194, 195 The Freedom Singers 176 The Friends of Old Time Music 201 Frierson, Andrew 50 Friesen, Gordon 1, 8, 9–12 Frigo, John 196 Froberg, Tobias 229 The Fruit Jar Drinkers 199 Fry, Mark 297 Fuller, Blind Boy 65, 66, 76, 91, 285 Fuller, Jesse 37, 152, 293 Fulson, Lowell 31 Furay, Richard 127, 183, 234 The Fureys 128, 188 Gabriel, Peter 93 Gaines, Ward 80 Galas, Diamanda 142 Gale, Eric 104 Gallagher, Donald 47 Gallagher, Noel 276 Gallagher, Rory 268

Index Gambill, Roger 181, 182 Gannon, Joe 178 Garbo, Greta 155 Garcia, Jerry 46, 59, 165, 201, 202, 266 Garfunkel, Art 221–230 Garr, Artie 222 Garrett, Amos 206 The Gateway Singers 176, 209, 211 Gaughin, Dick 142 Gauthier, Claude 259 Geer, Will 15, 32 Geldof, Bob 295 Genesis 93 Georgeson, Noah 275 Geraci, Tommy 41 Geremia, Paul 83 Gerrard, Alice 200 Gershwin, George 76 Gershwin, Ira 76 Getz, David 164 Ghandi, Mahatma 13 Gibson, Bob 34, 35, 38, 54 –58, 128, 130, 138, 250 Gibson, Scott 50 Gilbert, Ronnie 1, 13, 20, 36, 133, 136, 144, 169, 173, 175, 215, 218 Gilchrist, Anne 241 Gillespie, Dana 297 Gillette, Steve 183, 205 The Gilmorea 142 Giltrap, Gordon 276 Ginsberg, Allen 138, 141, 156, 169 Glover, Tony 79, 80, 81, 82, 83 The Goldbriars 220 The Golden Gate Boys 231 Goldstein, Kenneth 8, 23–27, 116 Goldwater, Barry 196 Gonsalves, Joli 50 Good Men in the Jungle 288 Goodman, Benny 13, 41 Goodman, George 50 Goodman, Steve 34, 170, 173, 183 Goodrich, Rachel 240 Gordon, Dexter 15 Gorson, Arthur 140 The Gosdin Brothers 234 Gossett, Lou, Jr. 94 Gottlieb, Louis 209, 210, 211, 212, 213

Goulet, Robert 259 Gow, Henry 142 Gow, Niel 270 Graham, Davy 241, 270, 271, 275 Grainger, Percy 241, 268 Grammer, Red 211, 213 Grand Funk Railroad 278 Grant, Amy 283 The Grass Roots 176, 240 The Grateful Dead 35, 59, 61, 105, 156, 165 Gravy, Wavy 113 Gray, David 291 Gray, Dobie 97 Gray, Martin 262 Grayson, Milton 50 Great Big Sea 191 Great Speckled Bird 206, 208 Green, Keith 283 Green, Peter 164 Green, Tom 181 The Greenbriar Boys 8, 27, 28, 29, 30 Greer, Evan 143 Gregg, Bobby 104 Grier, Lamar 200 Grifﬁn, Paul 104 Grifﬁth, Nanci 60, 83, 98, 102, 130, 135, 136, 173, 174, 288, 291 Grisman, David 46, 131, 183, 201, 239 Grodin, Charles 224 Grootna 165 The Groove Animal 92 Grossman, Albert 55, 73, 140, 205, 215 Grove, George 181, 182 Guard, David 177, 178, 179, 180, 181 Guard, David & The Calypsonians 1789 The Guardian 22 Gubaidulina, Soﬁa 247 The Guess Who 255 Guest, Christopher 15 Guevara, Che 86, 87, 141 Gunning, John Francis 163 Guthrie, Abe 171, 172 Guthrie, Arlo 14, 16, 59, 61, 88, 108, 130, 141, 156, 169–174 Guthrie, Jack 173 Guthrie, Sarah Lee 150, 171

307 Guthrie, Woody 1, 10, 13, 14, 15, 16, 20, 21, 24, 32, 36, 37, 38, 58, 59, 60, 61, 62, 64, 67, 76, 95, 96, 102, 107, 108, 110, 111, 117, 132, 138, 151, 152, 153, 166, 169, 170, 171, 172, 173, 174, 176, 180, 196, 198, 202, 209, 220, 236, 242, 250, 270, 285, 289, 293 The Guthries 120 Gwangwa, Jonas 244 The Gypsy Kings 147 Hackett, Steve 93 Haggard, Merle 141 Haley, Bill and the Comets 262 The Halifax Three 183 Halpert, Herbert 26 Hamilton, Diane 186 Hamilton, Frank 9, 31–36, 175 Hammond, John, Jr. 80, 83, 98 Hammond, John, Sr. 133, 153, 186 Hancock, Herbie Hanford, Caitlin 207 Hannigan, Stafan 266 The Hard Travelers 212 Hardin, Tim 38, 61, 68, 71, 76, 83, 99–102, 105, 134, 274 Harding, John Wesley 142 Harding, Mike 288 Hardman, Blair 162 Hardy, Françoise 102 Hardy, Jack 76 Harper, Ben 266 Harpers Bizarre 229 Harrell, Kelly 202 Harris, Corey 83 Harris, David 145, 146 Harris, Emmylou 19, 70, 96, 97, 98, 119, 149 Harris, Kim 220 Harris, Paul 104, 131 Harris, Reggie 220 Harris, Sue 265 Harrison, George 155, 156 Harrison, John 264 Hart, Al 264, 265 Hart, Alvin Youngblood 83 Harter, Bob 50 Hartford, John 98, 201

308 Harvey, Ryan 143 Hassilev, Alex 210, 211, 212, 213 Hausman, Sid 41 Havel, Vaclav 149 Havens, Richie 38, 68, 70, 71, 77, 89–84, 98, 157, 218, 251 The Havenstock River Band 212 Hawes, Baldwin 10 Hawes, Bess Lomax 8 Hawes, Peter 10 Hawker, Ginnie 202 The Hawks 154 Hawkins, Coleman 75 Hawkins, Ronnie 154 Haworth, Bobby 182 Haynes, Rick 254 Hays, Lee 1, 10, 13, 20, 32, 133, 138, 169, 173, 175 Head, Tom 50 Heard, John 59 Hedges, Michael 46, 268 Hefferan, Bob 196 Heller, Joseph 15 Hellerman, Fred 1, 13, 20, 32, 36, 40, 133, 166, 169, 175, 196, 218 Hemingway, Ernest 9 Hendrix, Jimi 275, 279, 286 Henley, Don 280 Hennacy, Ammon 116 Hennington, John 258 Henske, Judy 179 Henson, Jim 52 Henson, Robert 50 Herald, James 50 Herald, John 27, 28 Herbert, Alf 244 Hernandez, Henry 35 Hesse, Herman 286 Hester, Amy 135 Hester, Carolyn 38, 113, 130, 131, 132–137, 142, 144, 149, 191 Hester, Karla 135 Heyman, Richard X. 240 Hiatt, John 148 The Hickory Nuts 285 The High Kings 191 The Highwaymen 42, 176, 183, 213 Hildago, David 158 Hill, Joe 115, 166 Hillman, Chris 231, 232, 233, 234, 235

Index The Hillmen 231 Hills, Anne 128, 129, 131 Hinojosa, Tish 148, 150 Hirsh, Gary “Chicken” 166 Hobstalk 102 Hodge, Johnny “Guitar” 274 Hoffman, Abbie 88, 141, 167 Hoffman, Kristen 229 Holcomb, Roscoe 201, 202 Holder, Geoffrey 113 Holder, Ram Jam 90 Holdridge, Leo 18 Holiday, 240 Holiday, Billie 133, 185 Holly, Buddy 133, 134, 135, 138, 141, 152, 262 Holmes, Odetta 4, 33, 36, 50, 55, 57, 72, 94, 108–114, 116, 133, 136, 141, 144, 193, 218, 246, 259 Holstein, Fred 34 Holt, David 46 Holtzman, Jack 80, 139, 209 Hooker, John Lee 80, 90, 101, 153 Hooper, Stix 246 Hopkin, Mary 290, 295 Hopkins, Nicky 295 Hopkins, Noah 50 Hopkins, Sam “Lightnin’” 3, 15, 24, 82 Horine, Pat 181 Horne, Lena 51 The Horseﬂies 2000 Horton, Zilphia 33 House, Son 76 Houston, Cisco 10, 13, 15, 36, 37, 64, 107, 132, 153, 166, 169, 173, 220, 250, 261 Houston, Reggie 81 Houston, Whitney 113, 248 The Hudson Dusters 73 Hughes, Nyres 288 Humphries, Pat 142 Hurt, Mississippi John 27, 30, 47, 65, 72, 76, 79, 82, 90, 128, 201, 236, 237 Hutchings, Ashley 264, 265, 268, 270 Hynde, Chrissie 149 Ian, Janice 11, 98, 113, 148, 220 Ian Campbell Folk Group 263, 270

Idol, Billy 280 Iggy Pop 278 Imahori, Tsuneo 276 The Inca Peruvian Highland Wind Ensemble 35 The Incredible String Band 76, 297 Indian Harp 35 The Indigo Girls 147, 148, 150 Industrial Workers of the World 116 The Instant Action Jug Band 163 Irion, Johnny 171 The Irish Rovers 19, 128, 191 Irwin, Ken 8 Isbin, Sharon 149 Ives, Burl 1, 10, 21, 37, 63, 100, 192, 236 Ives, Edward D. 7 J Band 238 Jackson, Janet 283 Jackson, Mahalia 34 Jaffe, Joe 17 James, Dian 289 James, Harry 13 James, Skip 3, 65, 72, 79, 82 Jansch, Adam 274 Jansch, Bert 100, 241, 243, 268, 270–277, 284, 287, 294; Conundrum 272, 273 Jansch, Loren 274 Jara, Victor 141 Jardine, Al 183 Jason and the Scorchers 142 Jefferson, Blind Lemon 3, 37, 65, 76, 79, 289 Jefferson Airplane 70, 164, 183, 235 Jefferson Starship 143 Jenkins, Martin 272 Jennings, Mason 157 Jennings, Will 258 The Jesse Dixon Singers 223 Jet Set 230 Jethro Tull 268 Jim and Jean 142 John, Elton 135, 276 The Johnny Moon Singers 251 Johnson, Lonnie 3, 76, 82 Johnson, Lyndon 163 Johnson, Mike 195

Index Johnson, Robert 3, 37, 67, 72, 76, 79, 285 Johnson, Tommy 76 Johnston, Davey 286 Jones, Bennie 201 Jones, Brian 293 Jones, John Paul 293 Jones, Norah 282 Jones, Wizz 285 Joplin, Janis 113 Joplin, Scott 74 Joseph, Emory 114 Josh Joplin Group 143 Joshua, Ebenezer 66 The Journeymen 183, 213 Kalansky, Lucy 150 Kalb, Danny, and the Blues Project 77 Kalder, Connie 208 Kantner, Paul 183 Karen O 157 Karpeles, Maud 241 Kaukonen, Jorma 46 Kazee, Buell 3, 27, 30, 37, 199 Keany, John 240 Keats, John 154 Keenan, Maynard James 283 Keenan, Norman 196 Keith, Penelope 288 Kelly, Kevin 233 Kennedy, John F. 139, 187, 216 Kennedy, Robert 52 Kensington Market 240 Kerouac, Jack 104, 138, 285 Khan, Chaka 280 Khosa, Rufus 243 Kidson, Frank 241 Killen, Louis 188 King, Carole 222 King, Martin Luther, Jr. 15, 33, 52, 110, 112 The Kingsmen 237 The Kingston Quartet 178 The Kingston Trio 2, 3, 5, 18, 39, 41, 64, 102, 103, 127, 130, 175, 176, 177–183, 195, 198, 209, 210, 213, 215, 228, 230, 231, 232, 235, 236, 240, 242, 251 Kirkpatrick, John 265, 266 Kirtley, Peter 273 Klaaste, Sol 244 Klein, Larry 280, 281

Knecktel, Larry 135 Knight, Libby 17 Knight, Marie 113 Kobluk, Mike 192, 194, 195 Koch, Ed 224 Koerner, John “Spider” 38, 60, 78–83, 98, 117, 242 Koerner, Ray & Glover 38 Koloc, Bonnie 34 Kooper, Al 104, 294 Kornfeld, Barry 72, 130 Kottke, Leo 46 Krassner, Paul 141 Krause, Bernie 175 Krauss, Allison 46, 96, 98 Kristofferson, Kris 92 Kubeka, Abigail 244 Kumalo, Bakithi 224 Kurtz, Dayna 93 Kweskin, Jim 202, 239 Ladysmith Black Mambazo 224 La Forge, Peter 11, 12, 105, 261 Laine, Cleo 259 Lakeman, Seth 268 L’Amour, Louis 9 Lampell, Millard 10 Lampro, Jody 172 Landis, Jerry 221 Langhorne, Bruce 104, 134, 196 Langridge, Luce 272, 274 Lanois, Daniel 208 Larkin, Patty 220 Latin Quarter 143 Lauper, Cyndi 281, 283 Lavin, Christine 74, 76, 113 Lawrence, Jack 45, 46 Lawrence, Linda 293, 294 Leace, Donald 113 Leach, MacEdward 7 Leadon, Bernie 183 Led Zeppelin 175, 255, 271, 276, 279, 283 Ledbetter, Huddie “Leadbelly” 2, 13, 23, 37, 46, 63, 64, 65, 66, 72, 80, 109, 111, 112, 173, 220, 236, 285 Lee, Albert 272, 274 Lee, Bill 110, 134, 154 Lee, Byron 242 Lee, Peggy 13 Leighton-Levy, Marian 8

309 Leitch, Donovan 15, 173, 243, 268, 271, 276, 287, 292–298 Lennon, John 56, 57, 128, 159, 224 Lennon & McCartney 87, 91, 158 Lennox, Annie 283 Lenns, Kristen 150 Lerche, Sondre 297 Leventhal, Harold 8, 13–16 Lewis, Furry 72 Lewis, Jerry Lee 152, 262 Lews, Hubert 131 Lightfoot, Gordon 34, 56, 57, 102, 142, 159, 204, 205, 217, 242, 249–256 Lighthouser, Toby 163 The Limeliters 2, 18, 175, 176, 183, 194, 209–214, 215, 230, 232, 235, 240, 242 Lincoln, Abbey 248 Lind, Bob 92 Linehart, Buzzy 70 Little Feat 239 Little Richard 262 Little Walter 79 L.L. Cool J 157 Lloyd, A.A. 241, 263, 265, 268 Lobo 135 Locklin, Hank 127 Lomax, Alan 3, 20, 22, 37, 169, 201, 241 Lomax, Bess 8, 10 Lomax, John 3, 8, 169, 201, 241 The Lomaxes 4, 7, 27, 30, 120 Lombardi, Clyde 196 Los Lobos 158 Louvin Brothers 44, 46 Love, Mike 294 Lovelle, Herb 104 The Lovin’ Spoonful 5, 70, 76, 134, 175, 176, 206, 236–240, 242 The Low Anthem 240 Lowe, Nick 235 Lowndes, Sara 154 Lucas, Lynn 41 Lunsford, Bascom Lamar 3, 7, 202, 241 Lynch, David 296 Lynch, Kenny 288

310 Lynn, Jeff 156 Lynn, Vera 259 MacArthur, Donald 178 MacCleod, Mac 292 MacColl, Calum 123 MacColl, Ewan 12, 15, 108, 121, 122, 123, 124, 139, 241, 270 MacColl, Neill 123 Macon, Uncle Dave 3, 27, 28, 37, 46, 202 Madonna 283 The Magic Numbers 240 Magotsi, Joe 243 Maharashi Yogi 294 Makeba, Miriam 14, 15, 19, 50, 94, 150, 193, 225, 242, 243–249 Makem, Sarah 184, 185, 186 Makem, Tommy 176, 184 –192, 242 Malkmus, Stephen 157 The Mamas & Papas 175, 176, 183, 208, 220, 224 Manassas 234 Mandela, Nelson 246 Maness, JayDee 104 The Manhattan Brothers 243, 244 The Manhattan Transfer 183 Mansi, Tom 296 Mapes, Jo 68 Marley, Bob 50, 242, 248 Marr, Johnny 274, 276 Marsh, Phil 165 Marshall, Chan 283 Martin, Vince 68, 70 Martyn, John 270 Masekela, Hugh 225, 242, 244, 245, 246 Massengill, David 76 Mathuna, Ciaran Mac 186 Mattacks, Dave 268, 288, 290 Mattacks, Norma 268 Mattea, Kathy 105 Matthau, Walter 49 Matthews, Iain 208 Matthews Southern Comfort 283 Mayﬁeld, Percy 69 Maynard, Pete 262 McArthur, Margaret 3, 201 McCarthy, Eugene 217

Index McCarthy, Joseph 10, 15, 37, 40, 167, 241 McCartney, Paul 159, 226 McCrea, Carmen 259 The McCrea Gospel Singers 90 McCurdy, Ed 40, 41, 42, 135 McDonald, Country Joe 108, 117, 162–168, 242 McDowell, Mississippi Fred 65, 72, 76, 79, 82, 90 McGarrigle, Kate & Anna 148 McGee, Kirk 202 McGee, Sam 202 McGhee, Brownie 23, 24, 90, 169, 173, 270 McGhee, Laurie 113 McGinn, Matt 12 McGovern, Eugene 217 McGuinn, Roger ( Jim) 34, 36, 71, 85, 113, 156, 194, 196, 201, 230 McIsaac, Ashley 191 McLachlan, Sarah 255, 283 McLean, Don 77 McNair, Harold 293, 297 McNeil, W.K. 8 McShee, Jacqui 271, 272, 273, 285 McTell, Blind Willie 37, 65, 72, 285, 289 McTell, Ralph 243, 268, 270, 274, 284 –292 Mdledle, Nathan 243 Melanie 150 Melton, Barry 163, 164 Memphis Minnie 80 Meredith, James 159 Messer, Vic 196 Meyer, Taro 18 Meyers, Joe and the Sharks 231 Michael, George 283 Miller, Amasa 81 Miller, Roger 19 Mingus, Charlie 280 Misty Roses 102 Mitchell, Chad 192, 193, 194, 195, 196; Trio 1, 8, 18, 19, 50, 84, 125, 126, 130, 131, 175, 176, 192–197, 210, 213, 230, 231, 235, 236, 242, 245, 258 Mitchell, Chuck 251, 278 Mitchell, Joni 61, 73, 74, 77,

85, 87, 88, 96, 98, 104, 127, 136, 141, 150, 156, 159, 204, 208, 241, 251, 253, 277–284, 297 Mo, Keb 83 The Modern Folk Quartet 238 The Modern Jazz Quartet 14 Moeketsi, Kippie 244 Mohr, Larry 109 Mondlock, Buddy 218, 227 The Monkees 179 Monroe, Bill 3, 27, 29, 169, 201, 202 The Monroe Brothers 44 Mooney, John 83 The Moonglows 226 Moore, Christy 191 Moore, Mandy 283 The Moore Brothers 71, 229 Morisette, Alanis 283 Morris, Garrett 50 Morrisey 283 Morrison, Jim 102, 158, 159 Morrison, Van 91, 281 Morton, Jelly Roll 72, 74 Most, Mickie 293, 295 Mountain 70 Mouskouri, Nana 14, 15, 50, 51 The Move 127 Mozart, Wolfgang Amadeus 84 The Mugwumps 236 Muldaur, Geoff 239 Muldaur, Maria 61, 65, 96, 239 The Muppets (show) 51, 52 Murphy, Willie 81 Murray, Anne 127, 255 My Kingdom for a Cat 142 Myers, Joe and the Sharks 231 The Mysterious Redbirds 201 Nash, Graham 71, 223 Naylor, Ray 142 Near, Holly 173 The Neighborhood 283 Neil, Fred 38, 67–71, 95, 101, 102, 105, 236, 291 Nelson, Rick 102, 105 Nelson, Willie 100, 127, 131, 157, 280 The New Christy Minstrels

Index 42, 176, 181, 183, 212, 213, 231, 238 The New Deal String band 201 The New Kingston Trio 180, 212 The New Lost City Ramblers 3, 12, 176, 197–204 The New Riders of the Purple Sage 235 Newman, Randy 85, 87, 102 Newton, Abby 201 Newton, Juice 283 Newton John, Olivia 255 Nichols, Mike 223 Nicholson, Jack 223 Nicks, Stevie 283 Nico 101, 102, 255 Nicol, Simon 265, 268, 287, 288 Nielsen, John 50 Nightingale, Florence 165, 166 Nightsmoke 181 Niles, John Jacob 3, 7, 241 Nilsson, Harry 69, 70, 142 Nine Below Zero 80 Nitzsche Jack 258 Nixon, Mojo 143 Nixon, Richard M. 165 Nketle, Mummy Girl 244 Noble, John and His Hawaiians 63 Nolan, Faith 241 Nowlin, Bill 8 NRBQ 240 Nugent, Ted 278 Nyro, Laura 18, 19, 98, 150, 217 Oberst, Conor 283 O’Carolan, Turlough 265, 268, 270 Ochs, Meagan Lee 142 Ochs, Michael 142 Ochs, Phil 5, 11, 12, 14, 15, 16, 18, 23, 41, 57, 61, 73, 74, 77, 86, 87, 88, 90, 95, 102, 104, 105, 108, 110, 117, 137–143, 145, 180, 196, 245, 291 Ochs, Sonny 142 O’Ciosig, Colm 274 O’Connell, Maura 268 O’Connell, Robbie 188, 189 O’Connor, Mark 96

O’Hampsey, Denis 270 Okun, Milton 8, 16–19, 24, 50, 73, 193, 196 The Old Reliable String Band 201 Oldﬁeld, Mike 276 Oldham, Will 142 Ono, Yoko 141 Orbison, Roy 156, 233 Orton, Beth 275 Ory, Kid 166 Page, Jimmy 255, 271, 276, 279, 293 Paley, Ben 202 Paley, Tom 72, 198, 201 Paley, Tom, Jr. 202 Palmer, Earl 135 Palmer, Robert 239 Pappalardi, Felix 68, 70, 130 Parker, Charlie 49, 185 Parrott, Thom 12 Parsons, Gram 130, 233 Parton, Dolly 100, 127, 131, 173 Passantino, Frank 181 Pastorius, Jaco 280 The Pat Boone Show 193 Patton, Charlie 76 The Paul Butterﬁeld Blues Band 154 Paxton, Tom 12, 19, 46, 57, 73, 77, 83, 87, 88, 95, 98, 105, 108, 125–132, 134, 135, 183, 195, 196, 218, 242 Pegg, Dave 287, 288, 290 The Penguins 226 Penn State University Choir 111 Pentangle 15, 268, 271, 272, 275, 276, 285 People Songs Inc. 20, 21 Percy, Norman 133 Perkins, Carl 152, 225 Perry, Bill 93 Peter & Gordon 19 Peter, Paul and Mary 1, 4, 5, 8, 14, 18, 19, 23, 42, 105, 113, 127, 130, 134, 153, 175, 176, 180, 181, 191, 194, 196, 210, 213, 214 –220, 251 Petersen, Gary 285 Petty, Tom see Tom Petty and the Heartbreakers Petway, Robert 76

311 Peyroux, Madeleine 112, 113 Phelps, Kelly Joe 83 Phillips, Bruce 60 Phillips, Michelle 136 Phillips, Shawn 294 Phillips, Utah 108, 115–120 Phiri, Ray 224 Piggott, Mike 272, 273, 287, 288, 290 Pindle, Richard 50 The Pines 220 Pinochet, Augusto 74 Pitchford, Lonnie 83 Pittsburgh Symphony 111 Plant, Robert 279 Planxty 191 Poco 208 Poe, Edgar Allan 139 Poitier, Sidney 49 Poole, Charlie 28, 46, 202 Poole, Norman 38 Pope, Roger 286 Porter, Cole 68 Prelude 287 Preskett, Graham 291 Presley, Elvis 138, 141, 152, 221, 226, 229, 231, 251, 255, 259, 262, 266, 274, 280 Prestopino, Paul 196 Pride, Charley 127 Prince 157, 283 Prince Albert Hunt’s Texas Ramblers 37 Prine, John 34, 60, 61 Prior, Maddy 264, 265, 268, 287 Pryor, Richard 91 Puckett, Riley 28 Pugh, Mike 125, 192, 193 The Putnam String Band201 Quartette 207 Quaye, Caleb 286 Quicksilver Messenger Service 34 Rabotapi, Mary 244 Ragtime Jug Stompers 73 Raim, Walter 50 Rainey, Chuck 104 Rainey, Ma 110 Raitt, Bonnie 80, 81, 83, 96, 97, 98, 148, 239 Ramsay, Stu 34 The Rascals 240

312 Rat Scabies 296 Rattlesnake Annie 114 Raven, Susan 297 Ray, Dave 79, 80, 81, 82 Ray, Max 79 Ray, Tom 79 Raynard, James 268 Reagan, Nancy 128 Reagan, Ronald 217 Reams, James 201 The Red Clay Ramblers 202 Red Dust Players 10 The Red Onions 73 Redd Sullivan’s Thameside Four 262 Reddy, Helen 248 Redgrave, Vanessa 12 Regina Symphony Orchestra 260 Reilly, Dean 179 Reilly, Paddy 190 The Reivers 235 R.E.M. 235 Renbourn, John 64, 241, 270, 271 Reno, Don 27 Reno, Ginette 259 Reynolds, Malvina 11, 12, 136, 144 Reynolds, Nick 177, 178, 180, 181, 182 The Rheostatics 255 Rice, Tony 46 The Rice Paddy Ramblers 116 Rich, Buddy 41 Riddle, Almeda 201 Rimbaud, Arthur 154 Rinzler, Ralph 8, 27–31, 44–45, 59, 201 Riots, Rebecca 150 Ritchie, Brian 142 Ritchie, Jean 24, 29, 42, 185, 186, 220 Ritter, Tex 230 Roach, Max 49 Roback, David 274 Robbins, Marty 251 Robertson, Eck 27, 37, 202 Robinson, Earl 110 Robinson, Jackie 23 Robson, Paul 15, 23, 52, 109, 193 Roche, Suzzy 77 Roche, Terre 77 Rodgers, Jimmie 37, 46, 115

Index Rodney, Lester 23 Rodriquez, Jesus “Chucko”35 Rogers, Earl 50 Rogers, Kenny & the First Edition 220 The Rolling Stones 61, 199, 232, 233, 264, 293 Ronson, Mick 156 Ronstadt, Linda 71, 105, 229, 235, 248 The Rooftop Singers 41, 175, 196, 213 Rooney, Jim 65 The Roots 283 Rose, Artie 201 Rose, Tim 102 Rosenberg, Neil 7 Ross, Diana 113, 248 Ross, Mark 117 Rosselson, Leon 12 Rovics, David 142 Rowen, Glenn 50 Roxette 283 Rubin, Jerry 88, 141, 167 Rudolph, Vance 8 Rush, Otis 105 Rush, Tom 38, 61, 66, 77, 95–99, 102, 113, 129,279 Rushing, Jimmy 75 Rushton, Willie 288 Russell, Tom 61, 208 Rutledge, Dean 71 Safka, Melanie 142 St. Peters, Crispian 142 Sainte-Marie, Buffy 11, 12, 15, 102, 105, 136, 150, 202, 204, 242, 256–261 Sample, Joe 246 Sanborn, Joe 135 Sanchez, Frank 181 Sandoval, Hope 274 Schmit, Timothy B. 183 Scott, Charles H., Jr. 50 Scott, Irene 123 Scott, Tom 279 The Scottsville Squirrel Barkers 231 Schwartz, Tracy 199, 202 Scruggs, Earl 27, 46 Seal 283 Sebastian, John 68, 70, 76, 98, 202, 218, 236, 237 Seeger, Charles 3, 107, 120, 122, 169, 198, 241 Seeger, Mike 3, 27, 46, 120,

121, 122, 169, 197, 198, 199, 200 Seeger, Peggy 12, 108, 120–124, 136, 169, 198 Seeger, Pete 1, 4, 10, 11, 12, 13, 20, 21, 22, 24, 27, 28, 32, 34, 36, 40, 55, 59, 61, 64, 76, 102, 103, 113, 120, 122, 126, 130, 133, 138, 141, 142, 148, 166, 169, 173, 175, 176, 185, 186, 193, 197, 198, 202, 215, 220, 232, 250, 257, 270, 294 Seeger, Ruth 3, 107, 120, 169, 198, 241, 277 The Seegers 4, 7, 30 The Seekers 42, 127 Seger, Bob 100, 2789 Segovia, Andres 63, 79 Sehume, Ronnie Majola 243 Seldom Scene 239 The Serendipity Singers 42, 176, 183, 213 Sewell, Heather 271 Sexsmith, Ron 255 Sha Na Na 213 The Shacklefords 213 Shane, Bob 177, 178, 180, 181, 182 Shankar, Ravi 14, 15, 134 Sharp, Cecil 241 Sharp, Maia 227 Shawanda, Crystal 208 Shea, Red 254 Sheldon, Ernie (Lieberman) 211, 213 Shelton, Robert 153 Shepherd, Jean 41, 42 Shepherd, Sam 201 Shepherd, T.G. 86 Shepherd, Walker 201 Shields, Lonnie 83 The Shilos 183 Shorter, Wayne 280 Shrager, Carl 163 The Shrubs 142 Side By Side 113 Siebel, Paul 76, 105, 208 Silber, Irwin 1, 8, 20–23 Silverstein, Shel 56 Silvi, Gino Singers 250 Simon, Carly 229, 240 Simon, Paul 147, 221, 222, 223, 224, 225, 226, 227, 228, 229, 230, 238, 246, 262, 271

Index Simon and Garfunkel 17, 34, 56, 76, 127, 176, 221–230, 240, 263, 268 Simone, Nina 12, 246, 248 Simple Kid 297 Simpson, Martin 291 Sims, Robert 113 Sinatra, Frank 13, 41 Sing Out! 8, 21, 32, 125 Skaggs, Ricky 42, 46, 239 The Skifﬂers 17 The Skillet Lickers 199, 202 The Skylarks 244 Smart, N.D. 206 Smiley, Tavis 114 Smith, Bessie 40, 110 Smith, Bob 83 Smith, Harry 1, 29, 30, 201 Smith, Hobart 199, 201 Smith, Mamie 110 Smith, Michael 183 Smith, Nigel Portman 272, 273, 274, 288 Smith, Patti 159 Smith, Phil 238 The Smiths 274 Smothers Brothers 138 The Smothers Brothers Comedy Hour 52 Sneed, Sherman 50 Snow, Hank 115, 127 Softley, Mike 292 Sol Estes, Billie 196 Soloway, Pete 196 Sondheim, Stephen 88 The Song Swappers 215 Songs of Green Pheasant 229 Sonic Youth 283 Sorrels, Rosalie 116, 117, 118, 119 Sosa, Mercedes 15 Sousa, John Philip 72 Souther, John David 234 Souther-Hillman-Furay 234 Spank Rock 283 Sparks, Tim 46 Spence, Joseph 201 Spirit of the West 191 Spivey, Victoria 111 Spokane Ranger’s Radio Show 192 The Springﬁelds 176 Springsteen, Bruce 158, 159 Sprung, Roger 39 Stampfel, Peter 201 The Stanley Brothers 3, 46, 201

Starland Vocal Band 19 Stecher, Jody 201 Stecker, Ellen 17 Steeleye Span 175, 242, 263, 264, 265, 266, 267, 287, 289, 290 Steinbeck, John 9, 285 Steinbloom, Irving 16 Stephanian, Arman 50 Stern, Arthur 10 Stevens, Cat 134, 159, 297 Stewart, Al 71, 222, 268, 297 Stewart, Billy 50 Stewart, John 179, 180, 181 Stewart, Rod 102 Stills, Stephen 70, 85, 127, 234, 294 Stimela 224 Sting 92 Stockﬁsh, John 254 Stone, Cliff 231 The Stoneman Family 37 Stookey, Noel Paul 73, 131, 134, 215, 216, 217, 218, 219, 220 Stracke, Win 33, 34, 36 The Strange Creek Singers 200, 202 The Strawbs 235 Street, Patricia 41 The Streets 157 Streisand, Barbra 18, 255, 259 Stuart, Alice 46 Stuart, Mindy 41 Stuphin, Kirk 200 Suede 274 Sullivan, Big Jim 293 The Sunday 283 Superﬁne Dandelions 240 The Supremes 248 Sutherland, Donald 164 Svanoe, Bill 41, 42 Swallow, Roger 265, 266 Swarbrick, Dave 263, 265, 266, 267, 268, 288 Sweet, Bobby 172 Sweet Honey in the Rock 113, 114 Swick, Gwen 207 The Swinging Eight 250 T. Rex 297 Tagore, Rabindranath 15 Tanner, Gid and His Skillet Lickers 202

313 The Tarriers 28, 40, 196 Taupin, Bernie 276 Taylor, Gaylan 212 Taylor, James 91, 96, 98, 141, 224, 225, 227, 229 Taylor, Lynne 41, 42 The Teen Timers 250 Teenage Fanclub 143 Tempest 143 Terkel, Studs 33 Terry, Sonny 23, 24, 79, 80, 90, 109, 169, 173 Thais, Geoff 77 Theessink, Hans 173 Them 229 They Might Be Giants 143 This Is Ivy League 229 Thomas, Dylan 99, 152, 154 Thomas, Henry 27 Thomas, Irma 227, 248 Thomas, Millard 50 Thompson, Danny 266, 271, 273, 287, 291, 293 Thompson, Jim 9 Thompson, Linda 268 Thompson, Richard 143, 235, 265, 266, 268, 287, 288 Thompson, Roy 50 Tico & the Triumphs 221 The Tokens 213, 245 Tom & Jerry 221, 227, 230 Tom Petty and the Heartbreakers 156, 158, 233, 235, 240, 280 Tomasco, George 134 Tomlin, Lily 224 Tomobe, Masato 77 Tosh, Peter 242 The Tossers 191 Toussaint, Allen 227, 228 The Tragically Hip 255 The Traveling Wilburys 156 Travers, Mary 73, 98, 134, 136, 181, 215, 216, 217, 218, 219, 220 Travis, Merle 46, 95 Trischka, Tony 183 Tubb, Ernest 138 Tucker, Sophie 41 The Tunetellers 39 Tunstall, KT 283 Turner, Don 220 Turner, Frank 283 Turner, Ike 208 Turner, Big Joe 76

314 Turner, Tina 208, 282 The Turtles 154, 176, 240 Tweedy, Jeff 35, 157 Twice as Much 229 Two Tones 250 Tyler, T. Texas 115 Tyson, Cicely 248 Tyson, Ian 42, 85, 119, 134, 175, 176, 204 –209, 215, 250, 256 Tyson, Sylvia (Fricker) 42, 134, 136, 150, 175, 176, 204 –209, 215, 250, 256 U2 159 Ungar, Jay 201 Ungar, Lyn 201 Usher, George 102 Van Dyke, Leroy 251 Van Ronk, Dave 5, 38, 57, 59, 61, 68, 72–78, 83, 105, 130, 143, 218, 229, 242, 291 Van Zandt, Townes 46, 60, 71 Vedder, Eddie 143, 157 The Velocity Ramblers 201 The Velvet Underground 101 Verlaine, Tom 157 Vidacovich, Johnny 81 Vincent, Gene 152 The Virgineers 297 Visconti, Tony 291 Von Schmidt, Eric 38, 63–67, 95, 98, 103 Wagoner, Porter 127, 131 Waits, Tom 60, 119, 159 Wakeﬁeld, Frank 29 Wakeman, Rick 286 Wald, Elijah 77 Waldman, Wendy 150 Walesa, Lech 147 Walker, David T. 246 Walker, Jeffrey Jeff 60, 234 Walker, Lenny 101 Walker, Scott 101 Walker, T-Bone 31 Wallace, Henry 13, 20 Waller, Mickey 295 The Wallﬂowers 160

Index Waring, Fred and His Pennsylvanians 63 Warnes, Jennifer 258 Warwick, Dionne 113, 248 Washington, Jackie 65 Waters, Muddy 80 Waters, Roger 281 Waterson, Elaine 264, 265, 267, 270 Waterson, Norma 264, 265, 266, 267, 268, 270 Waterson, Mike 264, 265, 267, 270 Watson, Arthel Lane “Doc” 5, 29, 30, 38, 43–48, 84, 88, 98, 130, 169, 201, 242 Watson, Linny 44 Watson, Merle 44, 45, 46, 47 The Wayfarers Trio 176 Wayne, John 141 The Weakerthans 143 Weather Report 101 The Weavers 1, 13, 14, 35, 37, 39, 40, 41, 59, 64, 102, 103, 126, 130, 138, 175, 185, 192, 193, 196, 209, 215, 218, 220, 236, 245, 250 Webb, Jimmy 173 The Weepies 220 Weill, Kurt 72, 75, 76, 85, 87 Wein, George 8 Weir, Bob 60 Weissberg, Eric 27, 28 Wells, John 288 Wells, Junior 80 Wendy & Lisa 280 Werner, Susan 218 Westbrook, Paul 50 The Westerleys 220 Wham 229 Wheat, “Buck” David 179 Wheeler, John 50 Wheland, Terry 250 The Whiskeyhill Singers 179 White, Bukka 72, 79 White, Clarence 46 White, Josh 1, 4, 10, 21, 23, 33, 34, 55, 57, 72, 76, 114, 133, 193, 220

White, Josh, Jr. 113, 114 The Who 91 Wil.i.am 158 Williams, Arthur 50 Williams, Dar 148, 150 Williams, Hank, Sr. 67, 138, 152, 231 Williams, Lucinda 208 Williams, Ralph Vaughan 241 Williams, Roger 265 Williamson, Robin 270 Willie and the Bees 80 Wilson, Brian 226 Winchester, Jesse 102, 113, 255 The Win’Jammers 212 Withers, Pick 272, 274 Wolf, Kate 61, 119, 120, 136, 150 The Wolfe Tones 191 Wonder, Stevie 141 Wood, Al 39 Wood, Holly 17 Wood, Ronnie 295 World Party 297 Wright, Ned 50 Xavier 171 Yanovsky, Zal 236, 237, 239 Yarborough, Glenn 55, 57, 209, 210, 211, 212, 213 The Yardbirds 232 Yarrow, Peter 73, 113, 114, 131, 134, 215, 216, 217, 218, 219, 220 Yavneh, Ray 39 Yellin, Bob 28 Yes 286 Yester, Jerry 183, 237, 238 Yester, Jim 238 The Yester Brothers 238 Young, Faron 138 Young, Israel 201 Young, Neil 35, 159, 204, 205, 208, 229, 233, 252, 253, 276 Zimmerman, Robert 79, 152 The Zombies 176 Zorn, Bill 181, 182, 212