david dicaire - the folk music revival, 1958-1970

The Folk Music Revival, 1958–1970

ALSO BY DAVID DICAIRE

AND FROM MCFARLAND

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 MusicRevival, 1958–1970

Biographies of Fifty Performers and Other Influential People

DAVID DICAIRE

McFarland & Company, Inc., PublishersJefferson, 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 978-0-7864-6352-7softcover : 50# alkaline paper

1. Folk musicians—Biography. 2. Folk music—Historyand criticism. I. Title.ML394.D519 2011781.62'1300922—dc23[B] 2011034607

BRITISH LIBRARY 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 RightsMarch on Washington, D.C., 1963 (National Archives andRecords Administration); guitar © 2011 Shutterstock

Manufactured in the United States of America

McFarland & Company, Inc., PublishersBox 611, Je›erson, North Carolina 28640

www.mcfarlandpub.com

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

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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 . . . . . . . . . . . . . . . . . . . 39

Doc Watson (1923– ) Deep Gap Folkie . . . . . . . . . . . . . . . . . . . . . 43

Harry Belafonte (1927– ) Caribbean Folk . . . . . . . . . . . . . . . . . . . 48

Bob Gibson (1931–1996) 12-String Songs . . . . . . . . . . . . . . . . . . . 54

Ramblin’ Jack Elliott (1931– ) Hard Travelin’ . . . . . . . . . . . . . . . . 58

Eric Von Schmidt (1931–2007) Cambridge Folk . . . . . . . . . . . . . . 63

Fred Neil (1936–2001) Cult Success . . . . . . . . . . . . . . . . . . . . . . . . 67

Dave Van Ronk (1936–2002) The Mayor of MacDougal Street . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

John “Spider” Koerner (1938– ) Spider Web . . . . . . . . . . . . . . . . . 78

Judy Collins (1939– ) A Golden Voice . . . . . . . . . . . . . . . . . . . . . 84

Richie Havens (1941– ) Mixed Bag . . . . . . . . . . . . . . . . . . . . . . . . 89

vii

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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Utah Phillips (1935–2008) The Golden Voice of the Great Southwest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Peggy Seeger (1935– ) Manchester Angel . . . . . . . . . . . . . . . . . . 120

Tom Paxton (1937– ) Ramblin’ Boy . . . . . . . . . . . . . . . . . . . . . . . 125

Carolyn Hester (1937– ) Texas Songbird . . . . . . . . . . . . . . . . . . . 132

Phil Ochs (1940–1976) The Singing Journalist . . . . . . . . . . . . . . 137

Joan Baez (1941– ) Determined . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Bob Dylan (1941– ) Folk Troubadour . . . . . . . . . . . . . . . . . . . . . 151

Country Joe McDonald (1942– ) Fixin’ to Die . . . . . . . . . . . . . . 162

Arlo Guthrie (1947– ) Family Link . . . . . . . . . . . . . . . . . . . . . . . 169

Part Four. Groups and Duos . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

The Kingston Trio (1956– ) Trendsetters . . . . . . . . . . . . . . . . . . . 177

The Clancy Brothers and Tommy Makem (1956–2007) Irish Hearts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Chad Mitchell Trio (1958–1967) Missed Opportunities . . . . . . . 192

New Lost City Ramblers (1958–1975) Old- Time Reintroduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Ian and Sylvia Tyson (1959–1975) Canadian Folk Duo . . . . . . . 204

The Limeliters (1959–1965, 1973–2010) Successful Formula . . . 209

Peter, Paul and Mary (1961–1970) Deep Roots . . . . . . . . . . . . . . 214

Simon and Garfunkel (1964–1970) The Sounds of Silence . . . . . 221

The Byrds (1964–1973) Folk Rock Fusion . . . . . . . . . . . . . . . . . . 230

The Lovin’ Spoonful (1965–1968) Good- Time Folk . . . . . . . . . . 236

Part Five. Other Performers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Miriam Makeba (1932–2008) Empress of African Song . . . . . . . 243

viii Table of Contents

Gordon Lightfoot (1938– ) Canadian Troubadour . . . . . . . . . . . 249

Buffy Sainte- Marie (1941– ) Canadian Native Folk . . . . . . . . . . . 256

Martin Carthy (1941– ) Father of the English Folk Revival . . . . 262

Bert Jansch (1943– ) English Finger Picker . . . . . . . . . . . . . . . . . 270

Joni Mitchell (1943– ) Canadian Prairie Folk . . . . . . . . . . . . . . . 277

Ralph McTell (1944– ) Streets of London . . . . . . . . . . . . . . . . . . 284

Donovan Leitch (1946– ) Sunshine Superman . . . . . . . . . . . . . . 292

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Table of Contents ix

Introduction

There have been many musical chapters that retain nostalgic and ideal-istic proportions long after the golden period has faded into the pages of his-tory. In the 1920s, the first wave of recording sessions in jazz, blues, countryand folk sparked a billion- dollar industry and continues to drive the modernsound. The 1930s and 1940s big band era is still fondly remembered. Therhythm and blues period of the World War II years and the subsequent explo-sion 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, holdsits own fascination and continues to reverberate through modern music tothis day.

Although it is difficult to pinpoint an exact date of when the revivalbegan, historians and critics seem to agree that the initiator was The Weaver’scover of “Good Night Irene,” the old Leadbelly staple, released in 1949, whichzoomed up the charts to number one becoming the first folk song to becomea massive hit. They would follow with “So Long It’s Been Good to KnowYuh” and “Kisses Sweeter Than Wine.”

However, the communist threat of the early part of the 1950s decimatedthe industry. Many of the style’s most established performers including PeteSeeger, Woody Guthrie, Lee Hays, Ronnie Gilbert, Irwin Silber, GordonFriesen, Agnes “Sis” Cunningham, Fred Hellerman, Josh White, and BurlIves among others, were accused of being communists and blacklisted. TheMcCarthy witch hunts drove the genre underground as only a handful ofsingers continued to ply their trade. Interestingly, Harry Smith’s Antholog y ofAmerican Folk Music, the most influential recording on modern folk artists,was released at the height of the “red” scare. The landmark collection was oneof the essential links between the traditional practitioners of the early yearsand the new generation that starred during the revival.

In the 1950s, the term “beatnik” was coined and the mode of dress, talkand, most importantly, the music (folk), was embraced wholeheartedly. Therebellious attitude of the average bongo playing, poetry loving, peaceful indi-vidual was romanticized and localized in the North Beach of California and

1

Greenwich Village in New York. Opposite to the scruffy college dropouts werethe clean- cut youths who sought out an education and had serious careerambitions. They were centered in and around the college and university dis-tricts of Chicago, Boston and Denver. Both would support different sides ofthe folk revival.

Overnight, there was an explosion of coffee houses, clubs and other ven-ues dedicated to serving the folk crowd that had sprung up around the coun-try. The beatniks who were infatuated with poetry, often voiced their worksto the accompaniment of bongos, acoustic guitars, and harmonicas, amongother instruments. They wrote material that dealt with the same themes thatmany 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 allpeople around the globe. Meanwhile, those on school campuses across thenation championed the groups that harmonized on traditional material, suchas The Kingston Trio, Chad Mitchell Trio and The Limeliters, mainly becausethe members of these outfits were made up of college students.

Dozens of folk enthusiasts performed in the coffee house circuit, as wellas playing at private parties, open- air concerts, and hootenannies. The prac-tice of passing folk music down from one generation to another had notchanged. The greatest transition was the content of material performed at thevarious venues. While the traditional songs continued to be part of everyone’srepertoire, the emergence of more personal creations, often in lyrical poeticform, 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 ofthought. The first consisted of the emerging singer- songwriters who wrotetheir own words to traditional melodies and, in some cases, worked out entirelynew methods. Later, their material would take on a much more personalreflection on a wide range of topics, including social and political causes. Thesecond stuck to traditional songs and styles helping popularize the Appa-lachian, Cajun and old- time music that the folklorists in the first half of thecentury had worked so hard to preserve.

The Kingston Trio was one of the first groups to popularize the estab-lished songs into gold charting success. However, they projected a much more clean- cut image than the average beatnik and had a clear knack of revitaliz-ing traditional material into a modern sound. A good example of this suc-cessful method was their first of many hits, “Tom Dooley,” an old folk tunebrought to a contemporary standard. They would be instrumental in influenc-ing the formation of other singing outfits including Peter, Paul and Mary,The Limeliters and the Chad Mitchell Trio who surpassed the initiators on acommercial level.

Joan Baez was the first of the singer- songwriters to make a strong social

2 Introduction

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 yof American Folk Music served as the foundation of her catalog. Unlike TheKingston Trio, she was blatantly political and was one of the key figures ofthe Civil Rights Movement and the growing unrest over the involvement inSoutheast Asia.

Although a powerful, talented personality, Baez would give way to anunknown singer who hailed from Minnesota, but moved to Greenwich Vil-lage in order to begin his ascent. Bob Dylan would be crowned the messiahof the modern folk movement. Initially his repertoire consisted of blues- drenched material that ignited the search for the authentic performers whoreigned in the primitive, shining era of the 1920s. However, the evolvingartist 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 aspir-ing artists.

A renewed interest in regional music exploded and fueled the revival.Suddenly, the forty- year- old recordings of Uncle Dave Macon, Clarence Ash-ley, Buell Kazee, Robert Johnson, Dock Boggs, Skip James, Lonnie Johnson,the Carter Family, Blind Lemon Jefferson, Sam “Lightnin’” Hopkins, the Stan-ley Brothers and Bill Monroe, among others, surged in popularity.

The search for the authentic voices of the American folk- based musicled to the discovery of several figures living in poverty and forgotten by themusic industry. For example, Sam “Lightnin’” Hopkins was living in a Hous-ton ghetto; Skip James was working in a hospital; Clarence Ashley was per-forming menial tasks; Buell Kazee was a minister; and Dock Boggs was aretired miner. Nearly all of the able- bodied performers enjoyed a career ren-aissance, many four decades after they had achieved a brief taste of success.

The folk revival rekindled an interest in roots music including tradi-tional folk, Appalachian Mountain music, jug band, blues, country, bluegrassand old- time. New outfits were formed all across the country championingthe old- time musicians by reaching back into the respective catalog to bringthe songs into the modern era for a new generation to enjoy them. One ofthe best of these modern groups was the New Lost City Ramblers who boasteda Seeger (Mike).

The reissue of many recordings from the 1920s and 1930s brought tolight an era that had been long forgotten. For many years, archivists, folk-lorists and collectors such as John Lomax, Alan Lomax, Harry Smith, Charlesand Ruth Seeger, Helen Flanders, John Jacob Niles, Bascom Lamar Lunsford,and Margaret MacArthur, among others, had scrambled around the countryrecording and documenting the regional styles of every folk music sect includ-ing Appalachian, Georgia Seas, East Coast, West Coast, Midwest, Plains,

Introduction 3

Cajun and Cowboy. The songs these ethnomusicologists preserved played alarge 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 excite-ment scrambled to protect what was being created at a furious pace. As well,producers, folklorists, arrangers, music publishers, promoters and festivalorganizers were of equal importance marketing the folk songs and singers.Unlike their predecessors, the new generation were much better educated dueto the efforts of the Seegers, the Lomaxes and all of those who had workedtirelessly to preserve the rich folk tradition. Ethnomusicology had become partof the regular curriculum in many universities and colleges.

Another of the major factors that enabled the folk revival to enjoy sucha positive, quick swing in popularity was the explosion of new labels—bothlarge and small—that sprouted up in every corner of the country in order tocapture the excitement. Elektra, Vanguard and Columbia were just a few ofthe companies that signed up many of the emerging artists that appeared onthe scene as eager executives scrambled to find anyone with a competent voiceand good guitar beat to add to their stable of performers. Without this involve-ment from the recording industry, the boom would not have been nearly assuccessful or powerful.

The advent of record companies created a division in folk between thosewho remained true to the original material and others that were consideredvisionaries. By 1963, the genre was becoming more than just the popular tunesof the day; the newly recorded music championed political and social causesand protests. Folk music provided the soundtrack for the Civil Rights Move-ment, the great push for equality in America.

The March on Washington featured performances from Joan Baez, BobDylan, Peter, Paul and Mary, Josh White and Harry Belafonte. Others, suchas Pete Seeger, Guy and Candie Carawan and Odetta Holmes, were keen sup-porters for the rights of the minorities. Later in the decade, issues such as thearms race, the growing unrest with the escalation of the Vietnam War, theenvironment, the plight of the American Native, the threat of nuclear warand the right to smoke marijuana were some of the subject matters that pro-vided fodder for folk- based songs.

Suddenly, folk music was open to different audiences and venues. Fordecades, the genre had been regulated to the smaller halls and clubs, but dur-ing the revival, larger opportunities such as arenas and festivals became com-monplace. Many of these acts broke open at the Newport Folk Festival, whichlaunched the careers of countless artists during its reign including Baez andDylan, among others. While the coffee houses and intimate clubs would playan 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

4 Introduction

performers would also appear at the blues, rock, bluegrass and country eventsspread 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 genrehad lost its most important figure. However, already many bands with strongfolk roots were delving into a louder, fuller electric sound including TheLovin’ Spoonful, The Byrds and Country Joe and the Fish, who led the chargeof the folk rock movement. They would take the initial elements of the tra-ditional sound and channel it to the listener in a different package.

By the late 1960s, while the revival was considered essentially over, theintrospective singer- songwriter remained a viable figure in the industry anda chart- topping artist type throughout the 1970s and beyond. Large annualfestivals continued to draw sizeable crowds throughout the United States, andother parts of the world as the influence reached international levels. Althoughit would never again enjoy the attention it did during its special era, folkremained vibrant. Roots events like jamborees and hootenannies performingin smaller concert venues, coffee houses, and tiny clubs continued to thrivein every part of the country.

The American folk boom would help fuel the second British folk revivaland spark an explosion in the Canadian music industry. The influence ofDylan, Baez, Phil Ochs, Dave Van Ronk, Ramblin’ Jack Elliott, Peter, Pauland Mary, The Kingston Trio, Doc Watson and many others would rever-berate throughout the entire global musical community. The art of music hasalways 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 ashaving an immense impact on their own artistic vision.

The first book in this series, The Early Years of Folk Music: Fifty Foundersof the Tradition, focused on a sweeping history from past centuries to the cuspof the folk revival. It featured a broad, global viewpoint that presented sev-eral layers of the many aspects of the genre on several different levels andserved as a solid precursor to the present work. The major connection betweenthe two volumes exists in the linking of performers who created the founda-tion and those that came along and reaped the rewards of that establishedstructure.

This book is dedicated to those who brought the near decade of folk’smodern golden age to life. It is divided into five parts. The Revivalists: Behindthe Scene highlights the promoters, publishers, producers and the academicsect that were integral as background figures. The Revivalists: The Performersdepicts the practitioners who helped bridge the change from the traditionalmaterial to a more personal perspective. The Political Folk focuses on the polit-ically and socially conscious full-fledged singer- songwriters. Part four, Groupsand Duos, is devoted to those combos who were of seminal influence. The

Introduction 5

fifth section, Other Performers, illustrates the reflective influence of Americanfolk on other performers found all over the globe, particularly England andCanada.

The roots revival of the late 1950s and early 1960s is long over, yet thegenre continues as a vital force despite fluctuation in popularity over the pastdecades, a malady that affects every style. Although it took the traditionalsound many years to achieve the kind of success and attention other typeshad already enjoyed, the golden period remains one of the most vital in mod-ern musical annals as it continues to fuel popular music to this day. But, nomatter the performer(s), decade, venues, material or audience, folk remainsthe music of the common people.

6 Introduction

PART ONE

The Revivalists: Behind the Scenes

Although the performers received much of the credit and attention dur-ing the folk boom, those behind the scenes were of vital importance. It wasthe arrangers, publicists, concert organizers, promoters and song publisherswho provided the much needed support in order for the singers and musi-cians to build a career. There was also an army of folklorists who continuedthe work of the Lomaxes, the Seegers, John Jacob Niles, Helen Flanders andBascom Lumar Lunsford, among others.

The advent of folkloric and ethnomusicology subjects being taught inthe colleges and universities across the nation encouraged many eager stu-dents to learn about the rich vein of traditional American music. The resultwas a bright, well- educated generation of folk enthusiasts armed with anencyclopedic knowledge of thousands of songs and an understanding of howimportant it was to preserve the entire catalog.

Many would branch out into the folk universe and carve out their ownniche, promoting the genre as equally as any performer on the circuit. Theywould create a bridge between the old- time musicians of the prewar years andthe newer artists of the folk revival. This link was essential because it pro-vided the cohesion of traditional music, the very bedrock that the new gen-eration of singers would draw inspiration from to write fresh material.

Some of the more famous folklorist who aren’t included in this bookinclude the scholar MacEdward Leach, who dedicated his time to the folkmusic of Newfoundland and produced The Ballad Book, The Critics and theBallad, and Folk Ballads and Songs from the Lower Labrador Coast. David Evansconcentrated on the folk blues idiom and wrote Big Road Blues: Tradition andCreativity of the Folk Blues. Neil Rosenberg focused on the study of contem-porary folk music traditions, particularly the relationship between popularmusic 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

taught folklore at the institution after obtaining a PhD on the subject fromIndiana University. He performed as a folk singer to supplement his incomeas a lecturer and was introduced to the lumber camp singing tradition ofMaine, New Brunswick and Prince Edward Island. For forty years, he exploredthe northeast oral tradition, publishing several books. He passed away onAugust 1, 2009, after writing about the Northeast musical tradition and estab-lishing the Maine Folklore Center.

There were other important figures. George Wein, the American jazz pro-moter and producer, founded the Newport Jazz Festival and then later estab-lished the Newport Folk Festival. Ken Irwin, Bill Nowlin and Marian Leighton- Levy founded the Rounder label. Originally a blues, blues- rock, stringband, and bluegrass company, they would expand to include thousands of titlesin folk, soul, Cajun, Celtic and Soca. They would go on to invest considerabletime and money in certain projects, including the Alan Lomax Collection.

Bess Lomax Hawes was a musician, folklorist and researcher, the daugh-ter of John and Bess Lomax, and sister of Alan. Paul Clayton specialized insea chanties and whaling songs and was an avid collector. W. K. McNeil, folk-lorist, historian, and record producer, concentrated on the Ozarks and Appa-lachian mountain cultures. Sam Eskin, a folklorist and collector, devoted hislife to the folk style sweeping across the country and exploring many regions.Vance Randolph studied the folk culture of the Ozarks and wrote many bookson the subject.

The figures found in this part are an assembly of contributors who madetheir 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 ofthe frontline attention.

Gordon Friesen and Agnes “Sis” Cunningham were left- wing politicalsupporters who operated Broadside magazine and published many of the songsthat defined a generation.

Harold Leventhal was the star maker, the promoter and manager withforesight and leverage.

Milton Okun would release a few of his own albums but would gainfame as an arranger and producer of such acts as the Brothers Four, the ChadMitchell Trio; and most importantly, Peter, Paul and Mary.

Irwin Silber was a tough, feisty, outspoken individual who managed tokeep the magazine Sing Out! running for years despite the many obstacles.

Kenneth Goldstein was one of the great architects and intellects of thefolk revival. With a PhD in folklore and folk life, he added a definite anddifferent intellectual dimension to the era.

Ralph Rinzler was one of The Greenbriar Boys before moving on to doimportant work in a capacity of roles as the director of the folk music depart-ment at the Smithsonian.

8 Part One. The Revivalists: Behind the Scenes

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

Gordon Friesen (1909–1996) andAgnes “Sis” Cunningham

(1909–2004)Broadside Magazine

There were many contributors to the folk revival each with their ownspecial gifts and abilities. Some were singers and musicians, while others pro-duced the records. A number of people collected traditional material, and dif-ferent figures wrote about the times, capturing the excitement and era in printfor generations to look back upon and enjoy. Two such individuals wereresponsible 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 theirnative state to endure the Depression, the Dust Bowl and a migration westto California in search of a better life. However, Friesen stayed behind to tryand make it as an author, earning a living as a reporter for the local newspa-pers as well as the Midwest wire services. In his spare time he worked on anumber of unpublished novels attempting to be the next William Faulkner,John Steinbeck or Ernest Hemingway. Along the way the ambitious youngman met others interested in making careers as writers including the West-ern novelist Louis L’Amour and pulp icon Jim Thompson. All three workedas members of the New Deal- funded Federal Writers Project.

Friesen gained notoriety as a writer not for his unsold fiction but for themany strong and objective letters to the editors of the Oklahoma Times chas-tising the newly formed FBI for their decidedly racial profiling against Okla-homa City’s Communist Party bookstore. His efforts brought much unwantedattention from the authorities, who were not impressed, and from the leaderof the state Communist party, who offered the brash young man the positionof chairman of the Oklahoma Political Prisoner’s Defense Committee. It wasabout 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

Gordon Friesen and Agnes “Sis” Cunningham 9

managed to keep the family together through the toughest of times. Thefeisty, independent daughter absorbed her father’s mental strength and loy-alty, as well as his love of music; he was an amateur fiddler.

Cunningham graduated from Southwestern State College and went onto 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 YouMigrate Too),” “There Is Mean Things Happening in This Land” and “Sun-down.” It would be a few years before the world would hear any of this mate-rial.

In 1937, Cunningham became a music teacher at the Southern LaborSchool for Women in North Carolina. On the curriculum were political and labor- union standards. In 1939, she accepted the position as an organizer forthe Southern Tenant Farmers’ Union and also found time to establish, in con-junction with others, the Red Dust Players, a theatrical troupe that touredOklahoma and surrounding states. When they passed through OklahomaCity, she met Friesen.

The couple were married in 1941, a few short months before the UnitedStates entered World War II. After the wedding, they relocated to New YorkCity to join friends Woody Guthrie and Pete Seeger. The newlyweds settledin the communal Greenwich Village and called their place the Almanac House.It was the center of many hootenannies as folk singers such as Cisco Hous-ton, Bess Lomax, Lee Hays, Millard Lampell, Arthur Stern, Baldwin andPeter Hawes, Josh White and Burl Ives, and also Guthrie and Seeger, oftenvisited.

In 1942, Friesen and Cunningham joined the Almanac Singers thatincluded Guthrie and Seeger as well as a revolving personnel of Houston,Lomax, Hays, Lampell, Ives and Stern White. The group recorded the albumDear Mr. President, with Sis contributing the classic “Belt Line Girls.” Dur-ing the war, the couple relocated to Detroit and were active in communityprojects. Gordon wrote for the Detroit Times, and they formed a Motor Cityversion of the Almanacs playing at local venues. She worked in a defense plantbecoming a “Rosie the Riveter.”

In 1944, they returned to New York and found work with the Office ofWar Information. Later in the 1950s, because of their political views, theywould be blacklisted and their musical ambitions would remain mostly dor-mant for a few years. Despite this, the spirited Cunningham continued to writetopical songs, including “Mister Congressman” and “Fayette Country,” whichwas a tune that predated the Civil Rights Movement. However, they contin-ued to struggle and survive the McCarthy witch hunts like many of their con-temporaries. Things began to change in the later part of the decade as thefolk revival loomed on the horizon. When the scene exploded, the couple


were eager to undertake any task in order to make some kind of contribu-tion.

The idea for the magazine Broadside originated with friend Pete Seegerwhile he was on tour of Britain. The political songwriter voiced his displeas-ure of no solid American songs being published for fear of repression, whereasin England this type of silence did not exist. Friesen and Cunningham jumpedat the opportunity and gave the rag the title “Broadside,” in honor of the over-seas tradition of printing songs on sheets of paper for sale on the streets.

The first issue featured leftist- minded musicians performing songs thatwere recorded on a reel- to- reel tape recorder. The tunes, which included“Talkin’ John Birch Paranoid Blues,” the very first Bob Dylan compassion everpublished, were then printed out on a mimeograph machine and smuggledout of the couple’s apartment in order to conceal the illegal activity of run-ning a business out of their home.

With Bob Dylan making regular contributions, the magazine began togain some important attention. However, with the stone classic “Blowin’ inthe Wind,” Broadside rose to the forefront of the folk revival and became agenuine necessary operation. The Dylan composition was a social and polit-ical statement that ushered in the protest song. From this point on, the peri-odical published more fervent anthems, including Phil Ochs “I Ain’t MarchingAnymore” and Janice Ian’s racially- toned classic, “Society’s Child.”

Broadside would also accept social and political pieces from Buffy Sainte- Marie, Eric Andersen, Peter La Forge, Pete Seeger and Malvina Reynolds,among others. During their quarter century run, thousands of songs wouldbe published, making the periodical eagerly anticipated from all those in thefield. The team of Friesen and Cunningham, who had once been blacklistedand 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. In1988, the Friesens dished out their 187th issue, which was the last one. It wasconsidered the end of an era, but the duo could look back with pride at thedifference they had made. During their prime, they were one of the leadingvoices of the folk revival, and more importantly, contributors to the politicaland social changes that occurred in the country and at a global level.

In 1996, Friesen died. In 1999, Cunningham published their collabora-tive memoir, Red Dust and Broadsides: A Joint Autobiography. A year later,Smithsonian Folkways created a five- CD box set, The Best of Broadside1962–1988, derived from the most popular and best songs during the run ofthe magazine. On June 27, 2004, in New Paltz, New York, “Sis” Cunning-ham passed away.

Gordon Friesen and Sis Cunningham were folk revival necessities. Theirpublication of the songs that mattered enabled them to play a vital role dur-

Gordon Friesen and Agnes “Sis” Cunningham 11

ing a concentrated period. Although their contribution was not a musicalone, 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 indus-try. The unspectacular yet integral contributions from the husband- wife teamwere an effort appreciated from various figures in the industry, including pro-moters, publicists, managers and concert organizers.

While the duo did participate as part of the revolving lineups of theAlmanacs, they were never important musicians. Aside from the magazine,the biggest contribution was Cunningham’s sharp songwriting skill that cre-ated a small but noteworthy catalog. “Belt Line Girls,” “Mister Congressman,”“How Can You Keep on Moving (Unless You Migrate Too),” “My OklahomaHome (It Blowed Away”), “Fayette Country,” “There Is Mean Things Hap-pening in This Land” and “Sundown” provide a very slim yet interesting col-lection. The New Lost City Ramblers and Ry Cooder both covered “HowCan You Keep on Moving (Unless You Migrate Too).”

They performed different roles in the publication of the magazine. Cun-ningham, the more musical of the two as a fine singer and accordionist, tran-scribed the chords and lyrics to the songs from tape recordings made by themusicians. Friesen, the writer, created the commentaries for each publishedtune that required a certain perspective. They were a strong team and workedwell together.

The magazine fueled the careers of Bob Dylan, Phil Ochs, Tom Paxton,Malvina Reynolds, Buffy Sainte- Marie and a number of other leftist politi-cal commentators. Without Broadside, many of these artists and their thought- provoking songs would not have received the same exposure. Although it wasa small production and often teetered on bankruptcy, the periodical shapedpeople’s consciousnesses’ on both sides of the Atlantic through the two- wayexchange of song. But, despite its limited circulation, Broadside’s owners hadthe courage to print such controversial songs as Bob Dylan’s “Blowin’ in theWind,” Janis Ian’s “Baby I’ve Been Thinking,” Peter La Forge’s “The Balladof Ira Hayes,” Phil Ochs’s “Changes,” Thom Parrott’s “The Aberfan Coal TipTragedy,” Malvina Reynolds’s “Little Boxes,” Buffy Sainte- Marie’s “Welcome,Welcome Emigrante,” Pete Seeger’s “Waist Deep in the Big Muddy” and NinaSimone’s “Mississippi Goddam.” On the other side of the Atlantic theyinfluenced 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 thepolitical and social aspect of the folk revival. They arrived on the scene withtheir magazine a year before the turbulence exploded with the assassinationof 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 (1919–2005)The Star Maker

The producers and promoters had a major hand in shaping the folkrevival and, most importantly, the path of the singers who often garnered allof the glory. Many of the musicians were aspiring artists totally unknown inthe industry who reached fame through the efforts of the people workingbehind the scenes. One of these individuals who constantly championed theentertainers was dubbed the star maker. His name was Harold Leventhal.

Leventhal was born on May 24, 1919, in Ellenville, New York. When hisfather 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 engag-ing in future wars. The economic hardships of the Great Depression shapedhis outlook on the poverty and distress of the common person.

After graduation, Leventhal attempted to administrate a union in a fac-tory and was fired. He started his music career as a song promoter for com-poser Irving Berlin as part of the Regent Music Company. He also frequentedthe Manhattan nightclub circuit providing Frank Sinatra and Peggy Lee withnew song material. He hustled the bandleaders Harry James, the DorseyBrothers and Benny Goodman. While they were lean times, Leventhal man-aged to survive and enjoyed what he was doing.

During World War II, he served in the U.S. Army Signal Corps. It waswhile stationed in India that he met Mahatma Gandhi, the famous peaceactivist who would lead his people to freedom through non violent methods.This had a profound effect on Leventhal, shaping his sense of social controland 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. Healso continued his left- wing causes and eventually entered the circle of folksingers that included Woody Guthrie, Cisco Houston, Ronnie Gilbert, LeeHays, Fred Hellerman and others. Leventhal was astonished by their deep tal-ent and troubled that none were major stars, mostly because of their politi-cal viewpoints.

In 1948, he worked on Henry Wallace’s failed presidential campaign andconnected with Pete Seeger. He had begun to promote different traditionalsingers and musicians, including Woody Guthrie and Leadbelly, trying to securethem a wider audience for their music. Each were major folk artists who livedon the fringe and were bête noires in the eyes of the authorities.

In 1951, Leventhal accepted management of the group, The Weavers. It

Harold Leventhal 13

was an inauspicious time to tackle that position because of the anti–Com-munist witch hunts that blacklisted the outfit and forced it to disband. How-ever, he remained faithful to his charge and continued to support them duringtheir darkest years when it was difficult to secure a paying performance orrecord any new material.

In 1955, he used old- fashioned managerial knowledge to get all fourmembers to perform. The concert would become a landmark incident in thehistory of American traditional music and inspired dozens of aspiring musi-cians to begin careers as entertainers. The event was one of the seed startersfor the revival as The Weavers had always been one of influential groups inthe annals of folk music.

The star maker would not limit his talents to folk artists. He also sup-ported world music and produced the debut New York performances ofJacques Brel, Miriam Makeba, Nana Mouskouri and Ravi Shankar. Later themusic lover embraced jazz and helped The Modern Jazz Quartet gain accept-ance. Leventhal was an aggressive individual, able to convince promoters andconcert organizers to give his groups a chance. He used leverage in order toprogress the careers of those under management.

In 1963, Leventhal enjoyed his most famous moment when he organizedBob Dylan’s appearance at the New York Town Hall. It was the singer- songwriter’s first metropolitan concert performance and considered a majorevent in the annals of folk music history. It was a night of magic as the youngartist, who had begun to take the ever increasing popular folk music to evengreater heights than anyone could have ever imagined, would utilize the vitalappearance to create more excitement.

Because he was able to bring Dylan to the forefront, Leventhal increasedto a stellar reputation as a mover and shaker. It would enable him to gaingreater leverage guiding the careers of Joan Baez, Johnny Cash, Harry Bela-fonte, Phil Ochs, Judy Collins and Peter, Paul and Mary. With the exceptionof Cash, all the aforementioned where integral to the folk revival and remainedsolid attractions after the era had ended, thanks to the star maker’s efforts.

One of Leventhal’s closest associations in the folk world was WoodyGuthrie. When the latter succumbed to Huntington’s disease, it was Haroldwho took care of the estate. In 1976, he produced Bound for Glory, the WoodyGuthrie biopic. He gave Woody’s son, Arlo, a position in his company, andproduced Alice’s Restaurant, one of the defining counterculture films of theera. The promoter also managed Arlo’s annual Carnegie Hall holiday con-cert. 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 albumFolkways: A Vision Shared—A Tribute to Woody Guthrie and Leadbelly. Thatsame year he would earn an Emmy for the television film We Shall Overcome.


Although he slowed down in his later years, the behind the scene, jack- of- all- trades was able to look back on a very successful career as someone who hadmade a difference. On October 4, 2005, Leventhal died at the age of eighty- six.

Howard Leventhal was an integral part of the folk revival. In the era ofMcCarthyism and during the Civil Rights Movement, folk music became thevoice of the country’s conscience and the star maker was one of the primeindividuals responsible for making that voice heard. He possessed an excel-lent business acumen that enabled him to become the period’s most success-ful promoter.

Although known as a folk enthusiast, surprisingly his musical taste wasvery eclectic. It ranged from the country blues of Lightnin’ Hopkins to thedanceable jazz of Duke Ellington. He championed Dexter Gordon, the giantsax player who enjoyed success with his modern hard- driving sound. He alsowas a fan of the folk traditionalists Cisco Houston, Theodore Bekel and OscarBrand. Another one of his favorite projects was aiding Mahalia Jackson, thegreat gospel- blues singer.

Leventhal was the type of person who fought for the rights of the artistsin an industry that took advantage of many, especially blacks and women.He championed those singers and ensured that they received fair deals. A listof the performers whose careers he encouraged includes Judy Collins, MiriamMakeba, Buffy Sainte- Marie, and Joan Baez. He also managed the interna-tional acts of the Clancy Brothers, Ewan MacColl, Donovan, the group, Pen-tangle, Jacques Brel, Nana Mouskouri, Mercedes Sosa and the Indian sitarplayer, Ravi Shankar.

One of his primary roles was that of promoter. In 1961, he organized abirthday benefit event for Martin Luther King Jr. at Carnegie Hall, whichwas a breakthrough for the civil rights leader who won the white general pub-lic to his side. Leventhal also possessed a knack for promoting concerts tohelp raise funds for deceased individuals. He organized the tributes for PhilOchs, Paul Robeson, and most notably, Woody Guthrie. While most dis-missed the latter as an avowed Communist, the star maker defended the trend-setting folk singer as a larger- than- life character.

Leventhal also produced theater. In 1952, he helped the blacklisted WillGeer to gain a spot in the off–Broadway production, Mark Twain. Later heproduced Joseph Heller’s We Bombed in New Haven, Jules Epstein’s But Seri-ously, Rabindranath Tagore’s King of the Dark Chamber and Jules Feiffer’s TheWhite House Murder Case. The background man was a professional figure whounderstood 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 Awardand spotlighted a year later as the focus of an all- star Carnegie Hall tribute.

Harold Leventhal 15

Then there was a different kind of accolade: he was the model for the impre-sario, Irving Steinbloom, immortalized in Christopher Guest’s folk satire film,A Mighty Wind. Although Leventhal wasn’t a figure on the forefront of theentertainment business, his behind the scenes work did not go unrecognized.

Howard Leventhal was one of the driving wheels as manager and con-cert promoter before, during and after the revival. He played an integral rolein boasting the careers of Dylan, Baez, Collins, Ochs and Arlo Guthrie. Hiswork in ensuring that the memory of Woody Guthrie was not forgotten is amajor reason why the legend still commands respect. Leventhal was an hon-orable decent person, a noble character who will forever be known as the starmaker.

Milton Okun (1923– )The Studio Chameleon

There were many important figures during the folk revival who devotedtheir talents in a number of different areas outside of the performance circle.They were instrumental in the behind the scenes activity and remainedunknown to the general record buying public . One of these individualsrecorded, sang, produced and arranged for some of the top artists and earnedthe 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 andthe common person. These lessons would serve well into his adulthood.Already he possessed some chameleon like abilities as his wide interest inmusic extended from traditional folk to opera.

After making personal contributions to the Second World War effort, hebecame a music teacher in a junior high school in New York. Although it wasa well paid position, the musician yearned to extend his talent in different,more creative and interesting areas. He had developed his musical skills as agood pianist as well as singer and was just waiting for an opportunity. Okuncaught that break when hired as the pianist and a member of The BelafonteFolk Singers.

In the 1950s, Harry Belafonte was a rising star who commanded inter-national attention. Okun made a name for himself on the short tour, impress-ing many with his musical skills and abilities as an arranger. Although notfrom the Caribbean, he was able to mold the Calypso- influenced folk soundwhich Belafonte performed into a pleasing audio package. At the end of the


summer, the piano player returned to the role of teacher; but eventually heleft 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 Bela-fonte’s rise to fame as a renowned folk singer and media star. However, Okunbecame restless and wanted to accomplish more, so he left the fold. Duringhis stint with The Belafonte Folk Singers, the former teacher made quite aname for himself as arranger, producer and leader. This apprenticeship in themusic world would be invaluable in his later endeavors.

Okun began a solo career playing clubs around the New York City areaas a pianist and singer. By this time the industrious individual had taughthimself to play guitar. This skill, combined with his strong tenor voice, helpedhim to cut a few albums. From the mid- to the late-1950s, at the edge of thefolk explosion, he was one of the most prolific musicians on the scene.

In 1955, he released Merry Ditties on the Riverside label. The fourteensong LP was a revelation at the time because it didn’t try and extend the songsinto long- playing format. The concise style celebrated the genuine spirit ofthe traditional material that was covered. That same year, Every Inch a Sailorwas 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 andRiverside labels. His next project was I Sing of Canada. It was an interestingand adventurous endeavor for an American to cover sixteen songs associatedwith various regions and the people of Canada. Some of the tunes were inEnglish and some in French. However, once again, he presented everythingin an authentic traditional style with his unmistakable tenor voice accompa-nied on his own guitar. The only addition was the assistance of Joe Jaffe onbanjo for a little extra flavor.

Okun was much different than the average folk singer on the circuit inregards to releasing his material. He concentrated on specific dimensions ofthe traditional songs and each new project was an exploration in that specificarea. 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 com-pact and concise effectiveness.

His next album was a more serious entry and contained eighteen songsderived from Anglo- Scottish and Irish sources. On this record, TraditionalAmerican Love Songs, he combined his skills with the talented Ellen Stekert.Their rendition of “The Cambric Shirt,” which Simon and Garfunkel reworkedinto “Scarborough Fair/Canticle,” became a folk classic. It was by far the bestrecord Okun released as an artist. Although he was an active live performerand record maker, it was time for a change.

In 1957, he combined forces with Leon Bibb, Libby Knight and HollyWood 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

Milton Okun 17

recorded a few jingles; but the band had no staying power and broke up with-out ever realizing their full potential. It was a vital learning experience forOkun, who gained valuable insight on group dynamics and how to blend thedifferent voices, personalities and abilities. These lessons were drawn uponmany times over his career.

After a few years of struggling as a musician, Okun decided to becomea producer. It was a life- changing experience and an important footnote inthe folk revival history because he would be instrumental in shaping the soundof 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 toexcel in a variety of studio situations to become the chameleon.

Okun cut his teeth producing for Paramount Records and the work ofLee Holdridge, the Haitian bandleader who would go on to work on sound-tracks, film music and TV scores. He then worked with Taro Meyer, who wasknown more as an actress than a singer. His first break came when he wasassigned to help the Chad Mitchell Trio and was listed as conductor and com-poser on their initial effort. He helped them quickly achieve a wider audi-ence and would be listed as arranger and music director on other releases fromthe group.

However, he established his true credentials as a producer, arranger andmusical director with Peter, Paul and Mary. The trio and Okun clicked inthe studio and the result was enormous popularity for the group—one of themighty folk forces during the revival. As the man who steered them whenthey made their most famous records, including the cover of “Blowin’ in theWind” which catapulted them to fame, the chameleon was integral to theirsuccess.

Over the years he worked with a number of different acts including theBrothers Four, the undergraduates from the University of Washington whoprovided an alternative sound to the political slant of Bob Dylan, Joan Baezand Phil Ochs. The group’s blended harmonies, polished stage show andchoice of material put them in the same category as The Kingston Trio, theChad Mitchell Trio and The Limeliters.

Another of his listed credits was Laura Nyro, the famed songwriter whowrote many hit songs for others. Some of her songs include the Fifth Dimen-sion’s “Wedding Bell Blues,” “Blowing Away,” “Stoned Soul Picnic,” “SweetBlindness,” “Save the Country” and “Black Patch”; Blood, Sweat & Tears andPeter, Paul & Mary with “And When I Die”; Three Dog Night with “Eli’sComing”; 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 onmany of his most famous songs including “Rocky Mountain High,” “Sun-shine on My Shoulders,” and “Take Me Home Country Roads.” He guided


the bespeckled singer to incredible success throughout the decade and the association continued until Denver’s unfortunate death in 1997. Later, hewould supervise the many posthumous recordings from Denver’s rich cata-log.

Okun also worked with other acts including the Irish Rovers, Tom Pax-ton, Starland Vocal Band and Roger Miller. A music lover of all styles, hecherished the role as overseer of the work of one of the world’s most famoustenors, Plácido Domingo. In the role of manager and producer, the chameleonhelped the Spanish- born singer to achieve international success. Undoubt-edly, the behind the scenes man had a knack in creating material that pleasedthe 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 Com-pany—a multimedia company credited with such well- known TV shows andfilms as Nine, The Hangover, Hancock, G.I. Joe: The Rise of Cobra, Shrek, Shrek2, Shrek 3, Inglorious Basterds, Up, No Country for Old Men, Grey’s Anat omy,Pokemon, The Hills, Glee, The Office, Parks and Recreation, and CSI, amongothers. Okun continues to make contributions to the world of folk and enter-tainment as a whole.

Milton Okun was a revivalist of the highest order. Although his ownrecordings never made a powerful impact, the work performed as arrangerand producer helped shape the sound of the folk revival. After the era ended,he continued to produce quality work, most notably with John Denver andPlácido Domingo. As founder of Cherry Lane, the chameleon initiated andbuilt one of the top media companies in the world.

Although not regarded as a great instrumentalist, he was able to utilizehis limited musical talent to advantage. As a pianist, he was always able to fillout the sound in a recording studio—often uncredited. On occasion, Okunalso blended his tenor voice with a background choir to provide a particularsession with more punch. The master technician always knew how to mix theright ingredients to create a balance of sound.

However, his major contributions in the music world were as arrangerand producer. A short list of the artists he worked with include Peter, Pauland Mary, The Chad Mitchell Trio, Peter & Gordon, The Brothers Four, TheIrish Rovers, John Denver, Plácido Domingo, Anita Carter, Emmylou Har-ris, Miriam Makeba, Laura Nyro, The Brandywine Singers, Jose Carreras,Harry Belafonte, and Tom Paxton. Okun boosted the careers of these artistsenabling them to reach great heights of fame, while he remained a behind thescenes chameleon.

Milton Okun had a tremendous influence on the folk revival as one ofthe background people. However, his contributions and the roles played weremany and as vital to the era as anyone else behind the scenes or on stage as

Milton Okun 19

a performer. His work as the studio chameleon remains an integral part ofthat 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 severaldifferent ways. During the folk revival, there were many individuals whomade 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 asan arranger and negotiator. His name was Irwin Silber.

Irwin Silber was born on October 17, 1925, in New York City. Heattended local public school in Manhattan and absorbed everything the cityhad to offer including the different ideologies of many individuals. Before hiseighteenth 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 eventuallydeveloped an interest in labor tunes, union anthems and protest numbers. Itfitted perfectly with his world outlook. The ardent leftist would be most com-fortable with the music of Woody Guthrie, Pete Seeger, Lee Hays, Fred Heller-man and Ronnie Gilbert.

While attending Brooklyn College, the aspiring musician attempted asinging career by forming the American Folksay Group. He remained activein folk circles and forged permanent friendships with Alan Lomax and PeteSeeger. That same year, Silber helped organize People’s Songs Inc., whichpublished a bulletin to promote the plight of the common working Ameri-can. A year later, his role as one of the acknowledged driving forces behindthe project was upgraded to executive secretary.

In 1948, the People’s Songs campaigned hard for Henry Wallace’s failedbid to become president. It was a bitter lesson for Silber, but he carried on.


In 1949, People’s Songs folded; however, he teamed up with Pete Seeger toform the magazine Sing Out! It was dedicated to the musicians fighting forthe causes of the average worker and the name was derived from a line in thefolk classic “If I Had a Hammer.”

In May 1950, the initial issue of the magazine was made available andfeatured the song “If I Had a Hammer” on its cover. Since there was noth-ing comparable available in the industry at the time, the periodical receiveda fair amount of attention. It would later go on to print for the first time thesongs “Sixteen Tons,” “This Land Is Your Land,” “Michael Row the BoatAshore,” “Bells of Rhymney,” and “Cotton Fields.”

Like Seeger, Guthrie, Ives, Josh White and many other artists of theperiod, Silber was called before the House Committee on Un- American Activ-ities. Although the magazine was seen as a threat to national security and hispolitical beliefs were attacked, Silber persevered and remained devoted to thecauses he held so dearly. At the time, the minor talented musician alsoremained active in New York folk singer circles.

While he had never entertained the idea of becoming the editor becauseof the strong demands imposed upon the position (he had drawn bad experi-ences 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, theduties would increase and include the contribution of a column entitled “Fanthe Flames,” which proved to be always interesting and controversial. A goodexample would be the open letter to Bob Dylan at the height of the musician’spopularity. He accused the revered singer and the man many considered themodern 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 steerthe magazine through the tough period as other styles of music includingSouthern blues, bluegrass, psychedelic and hard rock all ruled the musical air-waves. The goal was to move the traditional music forward and the brokeralways succeeded in doing so despite the many obstacles in the way. He alsoprovided stiff competition for the magazine Broadside, although they oper-ated on a much different level.

The broker was revered for his insightfulness on a number of differentissues and the careers of certain individuals. He was also an advisor to manypeople, most notably Moses Asch, the founder of Folkways Records. In thelate 1950s and 1960s, Silber aided Asch in various manners. Irwin was wellaware of the cultural impact on a domestic and international level that therecord label would have on future generations.

Silber branched out in different ways. During his time at Sing Out!, hewas involved in many projects including the publication of folk song collec-tions. In 1960, Songs of the Civil War became available and was a steady seller.

Irwin Silber 21

Five years later, The Great Atlantic and Pacific Song Book was released to enthu-siastic reviews. Two years later, Songs of the Great American West appeared andstood next to other volumes as an important work.

In 1967, Silber left Sing Out! having done everything that was possiblefor 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 sixyears. Throughout his tenure at the paper, he championed controversialstances on a number of political and social world issues. In 1978, Silber leftafter factional disagreements and to devote more time to other projects.

In 1970, he formed a record label, Paredon, with his wife, folk singerBarbara Dane. Paredon existed for a dozen years and concentrated on protestsongs from liberation movements around the world. Silber was always inter-ested in the freedom of the common person, whether they were Americans or citizens of some other country. In 1979, the couple moved to Californiato pursue other interests. Their independent recording company flourishedwith Dane producing some fifty albums and Silber handling all of the pro-motion and distribution. Later, they would donate the label’s collection toSmithsonian Folkways making another significant contribution to the folkfield.

On September 8, 2010, the wonderful American journalist, editor, pub-lisher and political activist died from complications of Alzheimers.

Irwin Silber was a champion of the revival. In the late 1940s, the folkenthusiast paid his dues as the first magazine that he worked on provided thebroker with the necessary experience to survive later endeavors. An outspo-ken individual, Silber was never afraid to state an opinion, and it was thisheart and love for the traditional sound that became his legacy.

He was a behind the scenes agitator during the revival questioning someof the practices of the biggest names in the business. While the magazine SingOut! didn’t enjoy a massive circulation, the rag was widely distributed andthose 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 ofcopies sold. There was a definite power behind the publication that wasderived from Silber’s hard- line approach.

While his duties as the editor of Sing Out! certainly kept him busy, hestill retained an interest in the occurrences in the folk world. He never losttouch with old friends like Lomax and Seeger and promoted the latter’s con-certs as important events. He helped out Lomax with the many field record-ings made from all parts of the globe. Silber was always ready to championthe authentic folk singers for their efforts, not those he believed diluted theproduct. This opinion was well documented in his column. A good exampleof his devotion was as organizer and coproducer of the first hootenannies at


Town Hall and Carnegie Hall made up from artists blacklisted, includingHoward DaSilva, Morris Carnovsky, Josh White, Sonny Terry, BrownieMcGhee and Leadbelly.

Another figure the broker aided and backed was Paul Robeson. The twohad met at camp and discovered a shared interest in music, philosophy andlife in general; they continued the friendship throughout the years. Robeson,the bass- baritone concert entertainer and film actor, was also a social justiceactivist drawing much unwanted attention from the authorities for his strongpolitical and social viewpoints. However, the entertainer always had backingfrom Irwin. In turn, the famed singer wrote the introduction to one of Sil-ber’s books.

The broker was also a noted writer aside from the weekly articles in hismagazine. He published over ten books, mostly music oriented with a fewexceptions. One of the more interesting projects was Press Box Red, the storyof Lester Rodney, a Daily New Yorker reporter who initiated the campaign tointegrate the major leagues five years before Jackie Robinson broke the colorbarrier.

Irwin Silber was one of the unsung heroes of the revival. Although henever received the attention of Bob Dylan, Phil Ochs, Joan Baez, or the groupPeter, Paul or Mary, as well as some of the other performers, the stern indi-vidual fanned the flames and kept the momentum and interest going. Evenafter the boom was over, the broker continued to support the careers of manytraditional artists.

Kenneth Goldstein (1927–1995)The Scholarly Folkie

In the first half of the 20th century, many folk enthusiasts scurried aroundthe country collecting and preserving folk songs. Their efforts were not wastedbecause much of the material amassed would provide a foundation for theperformers during the revival. There was also the fact that the research con-ducted led to folklore traditions being taught in colleges and universities,which would produce a better educated generation. One of these individu-als was the first scholarly folkie, Kenneth Goldstein.

Kenneth S. Goldstein was born on March 17, 1927, in Brooklyn, NewYork. His mother was of Latvian heritage and his father of English descent,creating an appreciation for ethnic music and culture that the young boywould carry throughout his entire life. He grew up during the Great Depres-

Kenneth Goldstein 23

sion and learned some very tough life lessons. While interested in music, thiscuriosity would not fully develop until years later.

He attended City College in New York, earning bachelor’s and master’sdegrees in business administration in theoretical mathematics and statistics.Although an admirable and useful degrees, they are a long way from thescholastic realm that he would one day rule. Instead of going to work, Gold-stein joined the Army and served his country. After the war, the enterprisingyoung man worked in New York as a market researcher and analyst.

More importantly, while not at his regular post, the ambitious man dou-bled as folk music director for various labels including Stinson, Folkways, Pres-tige and Riverside. For the Stinson label, he produced the studio cha me leonMilt Okun’s Adirondack Folk Songs and Ballads. In the 1950s, along with hismarriage and family responsibilities, Goldstein had a burning interest in tra-ditional sounds. Although not interested in emulating Pete Seeger or WoodieGuthrie, the scholarly one was more concerned with the discipline of the genre.

This involved field studies, which took him through his home state andinspired further intellectual adventures in North Carolina for five years(1952–1957), with a side excursion to Massachusetts (1953). Later on in thedecade, Goldstein won a fellowship that allowed him to travel to Northeast-ern Scotland to conduct ethnographic folklore field work. It was a thrillingopportunity 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, theRev. Gary Davis, Lightnin’ Hopkins, and the blues- folk duo Sonny Terry andBrownie McGhee. While Goldstein was putting their music down on record,as a folklorist the clever individual also knew that it was being preserved forposterity. The intellectual included personal linear notes that were both reflec-tive, heartfelt and intensely scholarly.

Despite possessing a solid traditional education, as well as a burgeoningmusical knowledge, he earned a PhD in Folklore and Folklife at the Univer-sity of Pennsylvania. He joined the faculty and remained there for the nexttwenty years. In 1964, Goldstein’s dissertation served as his first book, A Guidefor Field Workers in Folklore. It would quickly become a standard scholarlytext that was widely translated and acknowledged as a must read for anyoneinterested in folk music.

Throughout the years, he collected and studied ballads, ghost stories,sea songs and riddles from a number of regions including Scotland, New-foundland, and as far away as Australia. Goldstein was an incredibly organ-ized person who was able to commit boundless energy and deep thought intoa multiple number of projects simultaneously. In 1967, he received the Lind-back Foundation Award for distinguished teaching, illustrating the point thatthe man was capable of juggling many tasks and doing them well.


He also spent the decade publishing. For the entire 1960s, the scholarlyfolkie was executive editor and president of Folklore Associates. The ambi-tious young man worked for Breakwater Books and Folklorica Inc. and laterbecame editor and president for Pastime Books. There were many facets tohis 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 Amer-ican 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. Dur-ing this period, Goldstein also found time to assist the secretary of the Smith-sonian Institution on folklore and folk life subjects. He also served on theadvisory and review panel from the folk arts program of the National Endow-ment for the Arts.

In 1976, he was appointed the head of the Department of Folklore atMemorial University. A couple of years later, he became Research Associatein 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 ableto coordinate all of his other interests in the genre including providing teach-ings, research and lectures. Many of these would be recorded and collectedin various forms.

In the late 1970s until the 1990s, he began to conduct field studies inNewfoundland. The result would be a massive work totaling more than thir-teen hundred songs and the discovery of the rich vein of nearly two hundredand fifty singers and storytellers from the Canadian province. He presenteda different side of the deep Maritime folk roots that existed ever since the set-tlers had arrived hundreds of years before.

In the 1980s and stretching into the next decade, he took a special inter-est in the Heritage Affairs commission in Pennsylvania. In 1988, he becamean adviser to the Australian National Folk Trust. On November 11, 1995, Ken-neth S. Goldstein, one of the driving forces behind the preservation, educationand expansion of folk music from an international level, lost his courageousbattle with cancer.

Kenneth S. Goldstein was a folk scholar. His contributions to folk musicbefore, during and after the revival are enormous. One of the most impor-tant—if not the most important—non musical performers, the combinationof intelligence, attention to detail, dedication and seemingly boundless energyetched him permanently as a key figure in traditional music circles in his owncountry, as well as on an international level. He was well- known among schol-ars from all branches of folklore and folk life.

A measure of his abilities exist in the eight editorships achieved in themany organizations he led in an academic and mainstream setting. He wasthe editor and president of Folklife Associates, Pastime Books, of the Amer-

Kenneth Goldstein 25

ican Folklore Society and the Pennsylvania Folklore Society. He was a coun-cil member of the Folklore Society of England. He was also a trusted adviserto the National Endowment for the Humanities, as well as the SmithsonianInstitute.

His collection of books and records are housed at the Center for South-ern Culture in Oxford, Mississippi. The Middle Tennessee State Universitycenter for popular music in Murfreesboro, Tennessee, holds his accumulationof American broadside and country- western folios. The massive legacy leftbehind was well documented and remains on display for others to understandthe 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 productionof over five hundred long- playing records. He personally produced and anno-tated this astonishing number. This particular side of his writing was just onesmall part of the total output, as Goldstein published ten books and count-less articles that were placed in various magazines as well as scholarly jour-nals.

The Memorial University of Newfoundland Folklore and LanguageArchive, or MUNFLA, is the largest sound recording folklore archive inCanada. In 1968, folklorist Herbert Halpert, head of the Folklore Depart-ment at the University, founded the site in conjunction with the Folklore andEnglish departments. The archive was created as a repository for the record-ings and material of Newfoundland and Labrador folk culture. It containssongs, poetry, children’s songs, folk narratives, as well as personal experiencenarratives, folk beliefs and the study research and graduate papers.

Goldstein deposited a quantity of materials in the MUNFLA, mostnotably the body of folk songs he collected, along with collaborations betweenhimself and locals from various parts of Newfoundland and Labrador. Theability for a native New Yorker to blend in with a very different type of peo-ple is an attribute to the scholar’s overall humanitarian touch. These specialcontributions enriched the archives and are an integral part of its accumu-lated depth and breadth.

To some, his greatest contribution was that of producer. He managed torecord over five hundred albums of folk recordings that included Celtic, Appa-lachian, cowboy, regional and other collections of songs. A tremendous amountof effort and learned capabilities were poured into this collection. Goldsteinwas a noted and valuable historian in the sense that he helped preserve therich vein of roots music so future generations could enjoy them.

Kenneth Goldstein was a folklorist, a man who was well trained in folk-lore studies and understood the valuable culture enterprises, particularly theintangible heritage. He was an internationally renowned scholar, teacher,author, book publisher, field collector, record producer, folk festival organ-


izer, lecturer and teacher. His love and dedication to the genre makes him atowering figure during the revival as well as in the latter half of the twenti-eth 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 figurewas a musician in the spotlight; there were others behind the scene who con-tinued to collect folk songs, set up open air concerts and promote the genrewithout gaining much publicity. One of these individuals was known as thebackground man for his tireless efforts. His name was Ralph Rinzler.

Ralph Carter Rinzler was born on July 30, 1934, in New York City.How ever, he grew up in Passaic, New Jersey, and it was here that he discov-ered and developed a deep love for music. His source was the Library of Con-gress field recordings that the Lomaxes made, exposing the young, curiousRinzler to a cross section of musical styles. The extensive research and stud-ies taught him invaluable cultural and geographical lessons.

He attempted his hand at a musical career with mixed results. After see-ing the legendary Pete Seeger in concert, Rinzler couldn’t help but pick upthe banjo in an effort to emulate one of his idols. Although not musicallygifted, the background man was capable enough and realized that contribu-tions to the folk idiom would involve different tasks. Later, while at Swarth-more College, he added the mandolin to the arsenal of musical weapons.

Rinzler’s early repertoire was drawn from The Antholog y of American FolkMusic, which exposed him to the folk, blues and country sounds of BuellKazee, Dock Boggs, Henry Thomas, Mississippi John Hurt, Eck Robertson,Uncle Eck Dunford, Uncle Dave Macon, and The Carter Family, among oth-ers. He discovered a kindred spirit in Mike Seeger, and the two traveled theEastern Seaboard of the United States delving into the rich mine of regionaltraditional music. They performed at different venues gaining invaluable stageexperience.

In 1958, Rinzler joined The Greenbriar Boys. The foundation of thegroup was established when John Herald met banjo master Eric Weissberg atthe University of Wisconsin. The latter’s musical taste was based on the richcatalogues of Bill Monroe, Lester Flatt, Earl Scruggs and Don Reno. The country- bluegrass- folk material was a perfect school for someone who wouldmake an impact during the revival.

Ralph Rinzler 27

Herald and Weissberg moved to New York where they joined forces withBob Yellin, who had studied classical violin, piano and vocal harmony, as wellas trumpet. When Yellin heard Pete Seeger, he took up the banjo and taughthimself how to play the instrument at a proficient level. The loose aggrega-tion of Weissberg, Herald and Yellin landed a few gigs at American YouthHostels, and more importantly, at the Sunday sessions at Washington SquarePark where they absorbed the fine music that filled the air once a week. Laterthey performed at the famed Gerde’s Folk City club.

Despite the chemistry between the trio, Weissberg left to form The Tar-riers, leaving a vacant spot for Rinzler. By this time he had accumulated asizeable collection of tapes from the old school of folk- country- bluegrass per-formers, which included Uncle Dave Macon, Charlie Poole, and Riley Puck-ett, among others. This further education only enhanced his value to TheGreenbriar Boys outfit who were seeking to change their overall sound.

After much rehearsal, the once informal jam sessions began to take on amore serious tone. They were able to mesh their individual talents togetherin order to create a unified, exciting sound. The trio traveled to Union Grove,North Carolina, to participate in an Old Time Fiddlers Convention and wonfirst prize. Despite this, they continued to fumble for some time, performingon 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 werefeatured on two songs: “Pal of Mine” and “The Banks of the Ohio.” On thestrength of this showing, they also signed to Vanguard Records and were spot-lighted on a folk sampler called New Folks before releasing their self- titleddebut.

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 CivilRights anthems), “Girl on the Greenbriar Shore,” “Down the Road,” “Rosie’sGone Again,” and “Coot from Tennessee,” all with instrumental power. Thelatter was a Rinzler original. The group proved that they had the ability andskill to take traditional roots music and breathe fresh life into them.

They also changed their strategy and began performing throughout thecountry instead of remaining within a regional context. On one of their EastCoast concerts, the still relatively unknown Bob Dylan opened for them. TheGreenbriar Boys repertoire, a mixture of folk and bluegrass with a tinge ofblues, never failed to please audiences as they knew how to entertain a crowdas headliners or as one of many groups on the bill.

They would record two more albums, Ragged But Right! and Dian & theGreenbriar Boys. The first was a logical extension of their debut displaying astrong instrumental ability and powerful vocals. Some of the highlights were


“Sleepy-Eyed John,” “Levee Breaking Blues,” “Roll On John,” “The Blues MyNaughty Sweetie Gives to Me” and a Marty Robbins tune, “At the End of aLong, Lonely Day.”

On the Dian & the Greenbriar Boys edition, they attempted a differentstrategy with the inclusion of Dian James, a female singer who gave the groupa different kind of vocal punch. The bluegrass, folk and country collectionincluded “Alabama Bound,” A.P. Carter’s “Cannon Ball Blues,” and “SweetWillie,” a song originating from Jean Ritchie’s rich, extensive catalog.Although it was a fine collection, the record never received the attention itdeserved.

In 1966, Rinzler left the group to become the director of the folk depart-ment at the Smithsonian Institute. Frank Wakefield, a mandolin player witha good voice, and Jim Buchanan, a solid fiddler, joined to try and fill thevacant spot. The new lineup recorded Better Late Than Never, an interestingcollection of songs; but at this point the enthusiasm for their style of musichad passed. A year later the Greenbriar Boys disbanded, but would occasion-ally reunite to jam when their schedules allowed them to do so.

The groundwork for Rinzler’s high position at the Smithsonian had beenlaid down many years before. Always a song collector, he continued to researchand amass traditional folk and country music recordings. He jumped at theopportunity to catalog the hundreds of recordings in Harry Smith’s collec-tion held at the New York City Public Library. It was a chance to make amajor contribution in a much different way.

Because of the dedication toward preserving the valuable Smith collec-tion, he was given the position with the Newport Folk Foundation as Direc-tor of Field Research Programs, a fancy title that gave him the freedom toroam throughout the country in search of genuine performers for the festi-val. Rinzler would revive the careers of Bill Monroe, Doc Watson, ClarenceAshley and The Balfa Brothers, bringing their music to the international stage.Being on the road with The Greenbriar Boys enabled him to cross paths withmany aspiring folk, bluegrass and country musicians over the years, and hekept an encyclopedia of names in his mind.

During this time at the Smithsonian, the albums Old Time Music atClarence Ashley’s Louisiana, Cajun Music from the Southwest Prairies and TheDoc Watson Family, would be made available to the general public. The back-ground man spent the rest of his career functioning in a number of assignedroles as curator, producer, promoter, writer and advocate of American folkmusic from all cultures. Sadly, on July 15, 1994, Ralph Rinzler passed away.

Ralph Rinzler was a genuine background man. The former GreenbriarBoys alumni was one of the most important figures in the revival and a genuine important personality in modern music. His contributions as a musi-cian, curator, and promoter of authentic American music puts him in the same

Ralph Rinzler 29

categories as others from the past like the Lomaxes and the Seegers. He hada hand in shaping the course of modern folk music in a number of differentways through the many roles performed with patience, enthusiasm and bril-liance.

The short stint in The Greenbriar Boys was his strongest contributionin a musical sense. As a member of the group, he maintained the interest inthe folk revival honoring the past performers that had been forgotten likeClarence Ashley, Mississippi John Hurt, Buell Kazee, Doc Watson and theBalfa Brothers among others. Although not a master musician, Rinzler man-aged to add a different folk dimension sound to the band’s bluegrass- traditional foundation.

But, it is his work as preserver of American traditional material for whichhe is best remembered. He continued the efforts of the Lomaxes, the Seegers,Harry Smith, Francis J. Child, Helen Flanders and Moses Asch, among oth-ers. From an early age, Rinzler understood the need to maintain and expandon the wide and deep vein of homegrown folk music. This sense of dutyenabled the background man to achieve some much deserved exposure dur-ing the long tenure at the Smithsonian.

His time at the Smithsonian was very important, but so was the roleplayed in shaping the Newport Folk Festival. The event was a major occur-rence where musicians, artisans and craftsman from a wide section of Amer-ican society came together. He reintroduced many vital musical figures backto the fold including Doc Watson, Buell Kazee, Clarence Ashley and the BalfaBrothers. By reviving an interest in their careers, Rinzler was giving them longdue respect.

Because of his vast contributions, the Smithsonian ensured that all effortswere well preserved. In 1998, they named the Ralph Rinzler Folklife Archivesand Collections at the Center for Folklife and Cultural Heritage for him. Theassemblage includes thousands of released discs, hundreds of CDs, as well asnumerous acetate discs, audio tapes and videotapes. There was also half amillion feet of motion picture film.

A year after his death, a two- day festival in the background man’s honorwas held at the Highlander Education and Research Center, in New Market,Tennessee. All the proceeds of the event that were generated went to the RalphRinzler Memorial Endowment for cultural programs. Even after leaving theplanet, Rinzler was making important contributions to the music that he hadcherished 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 vari-ety of capacities was a tribute to the depth, breadth and width of his varioustalents. He was a prime architect in the folk revival performing many rolesas the background man.


DISCOGRAPHY:• With the Greenbriar BoysGreenbriar 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 thefolk revival in their own special manner. Some were noted as singer- song -writers and performers, but there were also behind the scenes people, thosewhose efforts included a multi- talented edge. One of the most importantfigures to provide the style with much enthusiasm was the teacher, FrankHamilton.

Frank Hamilton was born on August 3, 1934, in New York City. Despitethe fact that he was able to absorb the folk music of Greenwich Village, theyoungster was enamored with the music of the American South, namely thesoulful blues of T- Bone Walker, Lowell Fulson, Pee Wee Crayton and oth-ers. In an attempt to emulate those that he admired the most, the aspiringmusician picked up the guitar and practiced honing his skills until proficient.

Although not a passionate folk music fan, Hamilton earned impressivetraveling points roaming throughout the South collecting songs and perform-ing on street corners, as well as at local bars. He haunted the many venues ofthe musicians that had made such a strong impact during his formative yearswhen his musical education was being shaped. In many ways, he lived thesame 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, whilehis father was a soldier in World War I who hailed from Rock Hill, SouthCarolina. Although there was a lot of different music that surrounded himwhile growing up—especially the Big Band Era—it was not an ambition ofthe young boy to be a musician. Instead, he earned a mathematics degreefrom Occidental College and a master’s degree in sociology from UCLA.

Frank Hamilton 31

Hamilton, Elliott and Carawan formed the Dusty Road Boys, an aptname considering the thousands of miles they covered drifting through Amer-ica and making historical (personal) stops that included the Asheville FolkFestival. Established in 1928 and located in the mountains of North Carolina,it was a perfect spot for Appalachian mountain people to gather and celebratetheir culture, music and lifestyle. It was also an excellent place for three youngmen eager to learn American roots music firsthand.

The trio made their way to the Grand Ole Opry. A landmark in Amer-ican music circles, it has been home to countless legends of country and rootsmusic for decades. In many ways, any aspiring musician dedicated to the craftof learning how to interpret the songs that appeared on the Anthology of Amer-ican Folk Music needed to make a stop in Nashville. It was at venues like theAsheville Folk Festival and Grand Ole Opry that the figures that appeared onthe classic recording displayed their skills.

They continued their journey, keeping it “country” with a visit to thehouse of the legendary A.P. Carter of the famed Carter Family. One of thefirst outfits to answer the call to record in the 1920s, which was at the time anew industry, the patriarchal figure had preserved hundreds of folk songs frombeing lost. Carter, along with his wife and sister, performed at hundreds ofevents like the Asheville Folk Festival, spreading the gospel of traditionalmusic. 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 wouldbe preserved and a stance on the controversial Civil Rights Movement thatwould explode in a few scant years would be initiated. The group continuedon 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 metmembers of the People’s Songs. Formed in 1945, the idea behind the organ-ization was to create, promote and distribute tunes of labor for the Americanpeople. The founders, Pete Seeger, Lee Hays, Woody Guthrie, Fred Heller-man and others produced the quarterly Bulletin, which was to some extent aforerunner of Sing Out! and Broadside magazines.

Eventually, the trio split up, each going their separate ways. Elliott andCarawan would drift to Greenwich Village.

An interesting figure, the latter traveled to England to attend the WorldFestival of Youth and Students, visited the Soviet Union, and pushed on tothe People’s Republic of China. What he observed of the human conditionin 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 High-lander Folk School as a volunteer.

He met his future wife there, Candie, who was working at the center.


Eventually, he took on the role of music programmer, left vacant with thedeath of founder and pioneer Zilphia Horton. It was satisfying work, andwhen the folk revival exploded, Carawan found himself in a very interestingplace. In 1960, the college students began the lunch counter sit- in movement,and suddenly the musical program took on a very much different tone. Therewas a college workshop, which also included a talent show and dance. It washere that Carawan taught the students the song “We Shall Overcome” thatwould become the Civil Rights anthem.

Two weeks later, the students formed the Student Nonviolent Coordi-nating Committee. At the end of the meeting, Carawan sang “We Shall Over-come,” and everyone joined in. The anthem spread throughout the South asthe fight for equality and justice for African Americans was an issue that nolonger was to be ignored. Although many would record the song, its emer-gence from the center gave the institution a special place in the struggle forrights.

Carawan and his wife found themselves running the school and were inthe thick of the Civil Rights Movement, appearing at many rallies in supportof equality and justice. They also attended the march in Washington whereMartin Luther King, Jr., delivered his famous speech. Guy and Candie oper-ated the center for over forty years and made many contributions to the folkfield.

Meanwhile, Hamilton settled in Chicago, where, along with WinStracke, 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 inChicago’s old town neighborhood. While in high school he began to sing andplay guitar, and also became attracted to folk music because of his interestsin the labor movement. He would perform on WLS radio station as a singeron the National Barn Dance program. By the 1930s, the aspiring musicianand actor had became a member of the Chicago Repertory Theatre, with afocus on how folk music could be utilized to promote and assist the unions.

In 1945, after returning from service, he joined his longtime friend andbusiness associate, Studs Terkel. Together they organized a touring folk reviewentitled I Come for to Sing. They would put on different events and survivethe Hollywood blacklist for their involvement in the TV show Animal Play-time. There was a strong, rich history of theater and the arts linked to folkmusic 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 BigBill Broonzy, Josh White and Odetta Holmes, among others. However, theyalso unearthed tunes from around the globe that served their purpose.

Frank Hamilton 33

Stracke filled the role as the first director of the institution and remainedinvolved with the project and the entire Chicago music scene until his deathin 1991. The partnership between Hamilton and Stracke was a solid and pro-ductive one. The school started in a basement and eventually moved to a largebuilding where thousands of students came through the doors and left withan appreciation of folk and dramatic art.

A good example is Bob Hamilton Camp, born October 30, 1934, inLondon, England. Due to the war, he was transported to the United Statesalong with his sisters and mother. From the start, the young boy developeda 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 demandedsinging. Blessed with a fine voice, the idea of a musical career still seemed adistant thought. It wasn’t until 1960, when the entertainer made his debut atthe Newport Folk Festival, that he began to concentrate on creating folkmusic.

He wrote the song “Pride of Man” that Quicksilver Messenger Serviceand Gordon Lightfoot covered. Hamilton often teamed up with friend BobGibson, and together they penned the song “You Can Tell the World,” whichappeared on Simon and Garfunkel’s album, Wednesday Morning, 3 A.M. Campwould be more of an actor than a musician, although he enjoyed a minor hitwith “Here’s to You.”

Hamilton and Stracke always tried to connect the music to social causesincluding the Civil Rights Movement, the protest over the Vietnam War, thebloody Chicago Democratic Convention that occurred in the Windy City andother events. In 1975, they began to publish a folk music magazine that ranfor a dozen years. By this time the school had attained national and interna-tional 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 teach-ing. The work featured material from North American sources, but also fromsuch distinct centers as Israel, Ireland, England and Chile. Most of the num-bers selected were suitable for group involvement.

Over the years, Pete Seeger, Mahalia Jackson, Jimmy Driftwood, BigBill Broonzy and Josh White all performed at one time or another at theschool. Some of them also became teachers, including Broonzy, banjo play-ers Fleming Brown and Stu Ramsay and even Brazilian singer- guitarist Val-ucha de Castro. The popularity of the institution coincided with the folkboom and retained a level of notoriety long after the revival had faded intothe pages of history.

Many musicians associated with the school would later enjoy prominentsuccess. Hamilton taught Roger McGuinn, later of the folk rock group TheByrds, to play guitar. Fred Holstein, John Prine, Steve Goodman, Bonnie


Koloc and Bob Gibson were some of the other alumni. All took the lessonsthat they had learned at the institution and spread the tutorials around thecountry and on an international level.

Hamilton found time to record some of his own songs; however, the per-sonal output was very limited because of the heavy teaching duties at theschool. In 1962, he recorded Frank Hamilton Sings Folk Songs on the Folk-ways label. It wasn’t until 1999 that he released Long Lonesome Home, a col-lection of traditional songs taught to the thousands of students over the years.

In 1962, Hamilton joined The Weavers and made his mark on the groupduring the brief time as a member. He appeared on three recordings includ-ing 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 schooland performed to the delight of staff and students. However, his heartbelonged to Old Town, and he returned to the teaching position.

In 1975, the school boasted great success, but from that point on it beganto decline, mainly due to the wan in popularity of folk. In 1981, it teeteredon bankruptcy but was saved when a new group of directors were broughtin. They expanded the school’s curriculum to include ethnic and traditionalworld music, including performances from Jesus “Chucho” Rodriguez andHenry Hernandez with their Indian Harp and The Inca Peruvian HighlandWind 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 the-ater classes. They also provide the ability to work solely on the music of onespecific group or individual such as the Beatles, Bob Dylan, Neil Young andThe Grateful Dead among others.

Every summer, the Old Town School hosts the Chicago Folk & RootsFestival. The dedicated professionals who teach the children include renownedfolk, 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 ded-icated his time and passion to instructing others the beauty of roots music ingeneral 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 theeducation of aspiring youth.

An adequate musician, Hamilton possessed the ability to pass along themagic of music to the hundreds of students he taught. The special gift thatallowed him to act as a conduit of the encyclopedic knowledge to flow was

Frank Hamilton 35

his greatest contribution. Arguably, his most famous student was RogerMcGuinn. One of the leaders of the folk rock movement, the talented indi-vidual would add quintessential guitar to The Byrds, and in turn, influencedozens of others. Although he explored the rock and roll world, McGuinnwas a folkie at heart.

Hamilton has connected with a lot of important folk figures. A small listincludes Woody Guthrie, Pete Seeger, Odetta Holmes, Cisco Houston, Ron-nie Gilbert, Fred Hellerman, Guy Carawan, Ramblin’ Jack Elliott, Bob Dylan,Bob Camp and Win Stracke, among others. Always passionate about folkmusic, the former world traveler attempted to instill that fire and imagina-tion in the hundreds of students encountered.

Frank Hamilton is a gifted individual who found a home at the Old TownSchool of Folk Music and worked tirelessly to promote the style. Over thedecades, his connections with others and the gospel that he exuded spreadacross the world. Of the many folk characters that make up the special uni-verse 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 dueto the McCarthy communist accusations and trials that drove the industryunderground in the first part of the 1950s. Although there were individualsand groups who still continued to release material during this time, the inter-est of the genre was at an alltime ebb. However, the style remained vibrantin England and other countries in those difficult times, mostly through theefforts of American expatriates such as Alan Lomax.

Once the ban on radio, performances, TV and Hollywood was lifted andthose blacklisted were allowed to resume their careers, folk music explodedacross college and university campuses all over the country. Overnight coffeehouses and clubs sprung up catering specifically to the folk sound. One of themore important areas was Greenwich Village, becoming a famous mecca.

The well- known area in New York City attracted aspiring artists fromaround the country. They arrived with a folk song in their hearts, beat upguitars, and dreams of stardom. Of the hundreds who pursued fame, fewmade it; but those who did were on the fringe of the folk revival. They wouldserve as the ambassadors and early participants of the music.

Many of the artists who caught the fever and were part of the first waveof folk enthusiasm cited Huddie “Leadbelly” Ledbetter, Woody Guthrie,Cisco Houston, Burl Ives, the Almanac Singers and The Weavers as impor-tant influences. Some saw Jimmie Rodgers, the father of country music, aswell as The Carter Family to be important artists. Others focused on old bluessingers such as Robert Johnson, Jesse Fuller, Blind Lemon Jefferson and BlindWillie McTell among others.

However, one of the main sources that inspired the artists throughoutevery period of the revival was the Antholog y of Folk Music. Old- time folkspurred them on, such as Cannon’s Jug Stompers, Clarence Ashley, UncleDave Macon, Buell Kazee, Prince Albert Hunt’s Texas Ramblers, Eck Robert-son, Uncle Eck Dunford, Dock Boggs, The Carter Family, The Stoneman

37

Family, Norman Poole, and The Carolina Tar Heels, among others. Therecordings of these earlier acts would serve as a starting point for all artists ofthe revival. Interestingly, the able- bodied musicians capable of still playingenjoyed a major renaissance during the late 1950s and early 1960s.

While Greenwich Village was an important center, Cambridge, part ofthe metropolitan Boston area, produced a steady stream of important folkartists, as did other college campuses in Denver, Chicago, San Francisco andLos Angeles. The revival brought out musicians from every corner of thecountry. The figures in this section represent a cross- section of every folkdimension that made the folk revival a special era.

Erik Darling managed to find himself in different types of folk groupsand scored the biggest hit of the entire revival era.

Doc Watson was the original country boy from North Carolina with thespeed and dexterity of a fighter jet on guitar and banjo who had struggledbefore 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 revivalwhose brief popularity rivaled that of any other act.

Ramblin’ Jack Elliott was a Woody Guthrie devotee and continues tocarry the torch until the present day.

Eric Von Schmidt emerged from the Cambridge Folk scene and made astrong impact on his contemporaries.

Fred Neil was a gifted songwriter who overcame personal obstacles toproduce some major folk material.

Dave Van Ronk was the undisputed Mayor of MacDougal Street, anartist who never compromised.

Carolyn Hester had a high- pitched voice and enjoyed a brief reign atopthe folk heap early in the revival.

John “Spider” Koerner was a folk blues double instrumental threat whobrought awareness to the bluesier side of the folk revival as a solo artist andwith his partners, Ray & Glover.

Judy Collins broke in singing traditional material, but evolved to coverdifferent styles without leaving her folk base.

Richie Havens was a Greenwich Village fixture and gained legendarystatus as the opening act at Woodstock.

Tim Hardin was another Greenwich Village graduate who produced astrong catalog of folk- speckled music before his self- inflicted demise.

Tom Rush was a Boston- area singer- songwriter who survived when manyof his contemporaries faded away.

Eric Andersen was one of the original folk poets to emerge from theGreenwich Village scene.

38 Part Two. The Revivalists: The Performers

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 shapingthe course of the style and are responsible for its popularity. One of thesefigures was instrumental in two of the biggest hits that propelled the soundof the common man to new heights as he walked right into the pages of his-tory.

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 astrong 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 moreserious. He moved to New York City and discovered the Sunday jams atGreen wich Village’s Washington Square.

At the time he had limited ability on the guitar, the only instrument hecould play. At Washington Square, the young man met the banjoist RogerSprung and his brother George. Darling was able to absorb the melodies,chord progressions and learn the words to the traditional material that filledthe afternoon air. A trip to the musical center became a Sunday ritual; andfrom these weekly excursions, the aspiring artist grew as a musician and madelifetime friendships. When Roger Sprung and a cohort, Bob Carey, decidedto 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 com-pilation album for the small Stinson label. The Folksay Trio were very mucha traditional group who dusted off some old classics and gave them a mod-ern sound. They recorded an interesting version of “Tom Dooley.” TheKingston Trio based their own effort on that, which eventually became a mas-sive hit, accelerating the pace of the revival.

Darling heard the legendary Pete Seeger ramble on his banjo, which hadan immediate effect spurring a turn in musical direction. He picked up oneof the five- string instruments and began to practice earnestly. Perhaps not themost natural musician, Darling worked hard to become proficient enough toserve an accompanist on a number of recordings, including his own. Whilethe Folksay Trio had provided a solid apprenticeship, it was time to move on.

Darling formed The Tunetellers in an attempt to match the success ofThe Weavers, then the dominant folk group. However, despite the talents ofguitarist and singers, Bob Carey, Carl Carlton, Al Wood and Ray Yavneh, as

Erik Darling 39

well as Darling, the group disbanded quickly after a concert at the Circle inthe Square Theatre, which was a fiasco. Darling, Carey, and Carlton alldecided to take time off to regroup.

Darling formed The Tarriers with Bob Carey and Alan Arkin, who wouldgo on to be a future movie and TV star. The group struck gold with theirunique arrangement of the Jamaican folk tune, “The Banana Boat Song.”Although Harry Belafonte’s version became more popular, this stab at star-dom worked well for the outfit because of the master execution of the instru-ments and a general feel for the material. They were swept up in the calypsotide 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 somesuccess at a handful of concerts at the famed Olympia Theatre in Paris. TheFrench audience enjoyed their brand of American folk music. However, Arkin,who had major ambitions to be an actor, left to pursue his dream and ClarenceCooper replaced him.

The group’s second album, Hard Travelin’, was another commercial fail-ure. Around this time, Fred Hellerman of The Weavers tapped Darling to bein the legendary group. Throughout 1959, he split his time between the twooutfits until it became impossible to balance both due to scheduling conflicts.He had to make a difficult choice because The Tarriers were starting to gainmomentum, while The Weavers were a folk staple and had survived the darkperiod of the McCarthy witch hunts.

Darling left The Tarriers and joined The Weavers full time. For the nextfour and one- half years, he recorded and performed with the group, playinga prominent role in their live album, The Weavers at Carnegie, Vol. 2. He co- wrote a number of the songs including “On My Journey,” “Born in East Vir-ginia,” “Stewball,” “Below the Gallows Trees,” “Virgin Mary,” and “In ThatNew Jerusalem.” In the long history of the outfit with a high turnover of per-sonnel, the chameleon provided a much needed stability.

It was during his tenure with the Weavers that he cut his first solo albumwith 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, del-icate touch on the banjo that served multiple purposes in the recording stu-dio.

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,” anold Bessie Smith tune, and “Salty Dog,” which stretched back to his Wash-ington Square days. The powerful Pete Seeger banjo influence was heard on“The Cumberland Mountain Bear Chase.” There was also the number “Paul


and Silas,” a song he and fellow busker, Tommy Geraci, had performed dur-ing leaner times.

Although a solid record, it didn’t yield any major hits. Darling pluggedaway as a member of The Weavers, whose popularity constantly fluctuated.He also pursued a solo career and made significant contributions on the recordsof McCurdy, the emerging talent of Judy Collins with the soprano voice, aswell as Jean Shepherd. He continued to search for the right formula thatwould give him an international number one song.

In 1962, Darling left The Weavers and formed the Rooftop Singers withBill Svanoe and Lynne Taylor. The former was a student of fine arts and eco-nomics before taking up music full time. Taylor was a veteran jazz singer whohad toured with Frank Sinatra, Sophie Tucker, Benny Goodman and BuddyRich’s band. It was an odd combination of talent, but the chemistry seemedin 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 cata-logue of Gus Cannon and his Jug Stompers. In 1929, the Appalachian grouphad recorded the song, but it had never been a big hit. Like other musiciansof the era, the Great Depression wiped out their careers. When Darling heardthe song, he envisioned what he needed to do to make it a hit.

It became the major smash of the folk revival, even surpassing TheKingston Trio’s version of “Tom Dooley.” Even to this day it is played on theoldies stations. There were several reasons why the tune became such a pop-ular chart topper. The pairing of two twelve- string guitars with the groovyfeeling that predated the style of music that would soon take over the radioairwaves were all combined to produce gold.

In 1963, the Rooftop Singers played the Newport Folk Festival to enthu-siastic reviews. However, despite their originality, the fact that Taylor was morejazz than traditional music, and that Svanoe and Darling were much moredexterous than the average folk guitarist, the group’s popularity still wanedquickly. Also, since they avoided political material, the trio was separatedfrom the rising activists—Bob Dylan, Joan Baez and Phil Ochs.

In 1966, Lynne Taylor left and Mindy Stuart replaced her. Mindy didn’thave the same edge as her predecessor and the energy was essentially gonefrom the group. Patricia Street succeeded Stuart and shared songwriting cred-its with Darling, but she too lacked Lynne’s spark. A year later, the groupbroke 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, BorderTown at Midnight. Residing in New Mexico, the old master formed a groupcalled 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

Erik Darling 41

had long been forgotten by most of the record buying public. On August 3,2008, Darling paused away in Chapel Hill, North Carolina, from complica-tions due to lymphoma.

Erik Darling was one of the most versatile performers to emerge fromthe folk revival. The master picker of the banjo, six- string and twelve- stringguitars was a focused and talented arranger who was able to take old tradi-tionals and breathe new life into them without ruining the original. Althougha folkie at heart, he also dabbled in blues, bluegrass, jazz and pop. While thehit “Walk Right In” was perhaps his most shining moment, he made otherenormous contributions to folk.

His instrumental prowess separated him from many of the other folkfigures who have gained much more attention. Darling had a touch on thebanjo and revived interest in the 12-string guitar to the point that everyonewas recording with the instrument after the smash success of “Walk RightIn.” He had a delicate feel on all the instruments he played that deeply affectedthe listener. He was able to add little nuances that blended well and gave asong extra punch.

He was a chameleon in the studio. His ability to add colors to any record-ing allowed him to sit in on many sessions for a variety of artists, includingJean Ritchie, Ramblin’ Jack Elliott, Jean Shepherd, Judy Collins, Ed McMurdyand dozens of others. The ability to give the producers a certain touch oneither banjo, six- string or twelve- string guitar made him a favorite. It alsomeant he found a lot of work.

The chameleon possessed a unique voice because of an ability to reachhigh notes. There was not another vocal delivery on the folk circuit that couldmatch 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 vocaldelivery, none could ever duplicate or match Darling’s precisely.

He was also a first- rate arranger. In folk music, this was a very impor-tant talent because many songs were derived from traditional sources often acentury or more old. He had a shrewd ability to update a song withoutdestroying 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 ofmusicians. A short list includes Bela Fleck, Ricky Skaggs, Ian & Sylvia, Peter,Paul and Mary, The Highwaymen, Serendipity Singers, The New ChristyMinstrels, the Brothers Four, Theodore Bikel, Bill Svanoe, Lynne Taylor, TheSeekers, the Beach Boys and many others. When “Walk Right In” was releasedand became a smash hit, hundreds of aspiring folk musicians were swept upin Darling mania.

Erik Darling was a behind the scenes innovator on the folk scene fordecades and possessed an irresistible appeal in his musical delivery. He was


able to blend all styles, different instruments, and many distinct voices intoone 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 chameleonperfectly and walked right into the pages of history.

DISCOGRAPHY:• SoloErik Darling, Elektra 3217.Train Time, Vanguard VRS-9131.The Possible Dream, Vanguard 779.Child, Child, Wind River, 4013.

• With the TarriersTell 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 WeaversThe 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 SingersWalk 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 TownBorder Town at Midnight, Folk Era FE 1417.

Doc Watson (1923– )Deep Gap Folkie

Before the revival, there were many individuals who struggled in nearobscurity, plying away and waiting for their big break. The demand for folkmusic was at an alltime low because of the McCarthy witch hunts and theblacklisting of several key performers. However, when the taste for authen-tic 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

Doc Watson 43

Carolina. An eye infection resulted in a loss of vision before he turned oneyear old. Despite this obstacle, his parents were determined that their sonwould lead a productive, plentiful life. They taught him the values of hardwork, education and to be self- sufficient—principles that Watson would builda 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 firstguitar, a Stella, and proved that he was a natural. Along with his brotherLinny, they became street musicians jamming on Louvin and Monroe Broth-ers’ songs. Although he was a strong country music fan, his sound was rootedin 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 musicalcareer. Although there would be many disappointments, Watson was deter-mined to make it in the music business and refused to quit until he foundsuccess.

By his early adulthood, he was a standout on acoustic and electric gui-tar, widely considered one of the top instrumentalists in the state and the entireouter regions. The reputation of the fluidity of his skills spread quicker thanthe master could unleash one of his many expressive solos. He jammed withmany other players, including popular fiddle player Gaither Carlton, whosedaughter Doc married. The couple would have two children; one of themwas a son named Merle.

In 1941, Watson landed a spot with a band who played regularly on aradio program in North Carolina. It was at this show that he earned the nick-name “Doc” when one of the announcers blurted out the name. A humbleman, he accepted the moniker with a keen understanding and gentle man-ner. It later turned out to be a blessing in disguise because “Doc” was lessharsh or obscure than Arthel. It was also much easier to remember.

In order to advance his career, he joined Jack Williams’ country andwestern swing band that played out of Johnson City, Tennessee. One of theirmain venues was square dances, yet the band had no fiddle player. In orderto make up the slack, Watson taught himself how to play fiddle tunes on boththe acoustic and electric guitars. During slack times, he worked as a pianotuner in order to support his family.

Despite his talent and sure ability, Watson struggled as a musician. Oneof the bright spots during this tough period was a trip to New York with theClarence Ashley String Band. They appeared at the Friends of Old- TimeMusic concert and it opened a few doors. He was quickly booked at Gerde’sFolk 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-


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 zoneand would gig at such far away places as the Ash Grove in Los Angeles. Heturned heads and gained momentum with the release of the album, ClarenceAshley. In 1963, his big break came at the Newport Folk Festival. It was therethat he firmly established himself as one of the top folk- bluegrass- country flatpicking and finger picking geniuses on the planet.

In 1964, he recorded his first solo album, Doc Watson & Family, and alsostarted to perform with his son, Merle. Doc made the most of the folk revivalyears and managed to create an excitement in the industry that few couldmatch. There was a definite intensity, a fire that burned deep within him thatexploded 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, Watsoncontinued to play folk- drenched material. He would not be deterred becausethe man knew that there would always be an audience for the music. WithMerle, 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 itselfa champion in Doc. He would ride good and bad times, but never be out ofwork.

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 wouldhave them. Watson was determined to bring that Appalachian folk sound toears that had never heard such magical music. That same year, he recordedThen and Now, which won the Grammy for Best Ethnic or Traditional Record-ing. In a repeat performance the following year, Two Days in November wonthe pair another Grammy.

In 1979, they won yet another Grammy for Best Country InstrumentalPerformance for “Big Sandy/Leather Britches.” There was something specialabout the Doc and Merle musical team, a combination of experience, savvy,incomparable intuition and incredible skill. They produced a seamless, smoothsound which was pleasant to even those who didn’t like folk music tinged withbluegrass and old- time elements.

In 1985, Merle was tragically killed in a tractor accident on the farm. Itwas a devastating blow, and Doc quit performing after the death of his son.However, guitarist Jack Lawrence and bassist T. Michael Coleman coaxedhim into getting back on the road. Although it was difficult, Watson returnedto the music business knowing full well that Merle would have wanted himto do so.

Despite a heavy heart, he marched on and won two more Grammyawards. The first, in 1986, was for Riding the Midnight Train. The other came

Doc Watson 45

in 1990 for Best Traditional Folk Recording, On Praying Ground. Through-out the 1990s, Watson continued to tour and record with a steady pace despitebeing in his seventies. He produced the fire and energy of a man half of hisage on stage and much younger performers could rarely keep up with him.

In recent years, Watson cut back on his tour schedule because of hisadvancing age. In 2007, he was joined onstage by his musical cohort for sev-eral years, David Holt, as well as Jack Lawrence. Another personality that theold instrumentalist included in the entourage was grandson, Richard, Merle’sboy. Now in his eighties, Doc continues to record and perform.

Doc Watson is a folk revival specialist. Prior to the boom, he struggledas a musician despite the depth of talent displayed in a variety of group andsolo settings. An ingenious musician, he set the standard for all others whocame after him to follow, something very few were able to do. His masteryof the guitar and banjo are beyond precedent.

Although adept at finger picking and flat picking, it is the latter that hisreputation is established on. He combined his talent with the musical moun-tain roots to create a style that has been studied but never completely or accu-rately copied. While there were others from the area who also possessed solidskills, none seemed to have Doc’s magical touch.

Doc is a very agile picker with blinding speed and a dexterity that mostinstrumentalist can only dream of attaining. The dynamic combination ofthe quickness and precision often leaves the listener breathless. He pioneereda fast and flashy bluegrass lead guitar style that was taken from fiddle tunesand a personal cross picking ability that left everyone—fans and fellow musi-cians—wanting more.

Because of this prowess, Watson influenced a long line of pickers. A listincludes Clarence White, Tony Rice, Merle Watson, Ricky Skaggs, AlisonKrauss, Bela Fleck, Norman Blake, Dan Crary, Glenda Faye, David Holt, LeoKottke, Tom Paxton, Mike Seeger, Michael Hedges, Eugene Chadbourne,Jerry Garcia, Jorma Kaukonen, Alice Stuart, John Fahey, Joe Carr, DavidGris man, Tim Sparks and Townes Van Zandt. All revered the master andlearned from the man whose speed and precision could leave a student dizzy.

Like everyone else, Watson was influenced by others. A short list includesChet Atkins, Charlie Poole, Uncle Dave Macon, Merle Travis, The LouvinBrothers, The Stanley Brothers, the Rev. Gary Davis, The Blue Sky Boys, TheCarter Family, Mississippi John Hurt, Leadbelly, Lester Flatt, Earl Scruggs,Jimmie Rodgers and The Delmore Brothers. Interestingly, he in turn had aneffect 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. Hestarted out on the Martin D-18 model. In 1968, the relationship with Gal-lagher Guitars meant that he would be well armed with their product and


switched to a G-50 model. That first Gallagher guitar, affectionately nick-named “Old Hoss,” would find a place in the Country Music Hall of Famein Nashville. Interestingly, no matter the guitar utilized, Watson had a man-ner of making it sing and talk like few other instrumentalists.

In 1974, the Gallagher company created a specific G-50 guitar customizedto Doc’s exact specifications. Eventually the entire line would bear his name.In 1991, they created yet another personal guitar for Watson that he chris-tened “Donald” in honor of the new company CEO, Donald Gallagher. Theinstruments produced a unique sound, and professional, semi- professional andamateur artists desired one.

Because of his vast talents and major contributions to folk and countrymusic, it is understandable that many awards would be bestowed upon him.In 1986, he was given the North Carolina Award. In 1994, Watson collectedthe North Carolina Folk Heritage Award. In 1997, he accepted the NationalMedal of Arts. In 2000, the flat picker was inducted into the InternationalBluegrass Music Hall of Honor. In 2004, Doc was awarded the National Her-itage Fellowship by the National Endowment for the Arts. That year, thegifted musician was given the Lifetime Achievement Award by the NationalAcademy of Recording Arts & Sciences.

Although there have been many triumphs and setbacks during Doc’scareer, the loss of his son and playing partner, Merle, was definitely the mostdisheartening. In an effort to remember his boy, he initiated the MerleFestmusic event held every April at Wilkes Community College in Wilkesboro,North Carolina. The lineup has featured a number of acoustic style acts infolk, bluegrass, blues and old- time genres.

Doc Watson was a towering figure in the folk revival and used it as aspringboard to establish a career that is still going strong. Although he hasalso been classified as a country artist, it has been the mastery of the folk idiomthat assured him of a premier position in entertainment circles. There was anauthenticity 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 uniqueindividuals 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.

Doc Watson 47

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, theisland nations have practiced a traditional style for centuries which slavesfrom Africa and European settlement greatly influenced. Mostly, the WestIndies strain has been regionally contained with a few exceptions, including


the one singer who became an international star and gave the world hisCaribbean folk. His name is Harry Belafonte.

Harold George Belafonte was born on March 1, 1927, in Harlem in NewYork. He was the son of Caribbean- born immigrants, but returned to his nativeJamaica 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 rangedfrom the Calypso beat of Jamaica, where the style was king, and the jazz, bluesand African American rhythms of Harlem. His personal voice existed some-where between these distinct musical worlds.

He dropped out of school and enlisted in the U.S. Navy serving for sometime before being discharged. At this point, Belafonte decided to become anactor 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 ErwinPiscator’s Dramatic Workshop along with future stars Marlon Brando, BeaArthur, Walter Matthau, Sidney Poitier and Tony Curtis.

In one of his acting roles, young Harry had to sing, which he did verywell. It led to a series of gigs at cabarets where he performed straight poptunes. In some of his first appearances, the Charlie Parker band backed him,including the talented saxophonist, drummer Max Roach and trumpeter MilesDavis. In many ways, Belafonte was just another young singer trying to makeit in a very tough industry.

He would eventually leave the pop tunes behind and embark on a dif-ferent path that reflected his roots. It would take time for his warm, domi-nant, silky unique voice to emerge with the new style. In 1949, Belafonte cuthis first few singles for the Jubilee label. The Calypso singer might have beenperforming mainstream music his entire career if he hadn’t discovered folk.

Belafonte utilized the Library of Congress as a fund of authentic folkmusic, which he blended with the sounds of his West Indian roots. From thispoint on things began to happen very quickly. Within a year, he opened atthe Village Vanguard, the legendary jazz club, appeared in his first film, BrightRoad, and won a Tony Award for appearing in the Broadway revue John Mur-ray Anderson’s Almanac.

Belafonte became a star overnight with his role in the movie CarmenJones. He simultaneously carried on a musical career and released the debutalbum Mark Twain and Other Folk Favorites, which reached the top five ofthe Billboard charts. His next effort, Belafonte, reached number one and sud-denly the world was enchanted with Calypso music. Then came Calypso, whichcontained two huge hits: “Jamaica Farewell” and the “Banana Boat” (Day- O) song. Of note, it was the first million selling record in chart history.

Calypso is best described as an Afro- Caribbean sound that originated inTrinidad and Tobago, but stretches back hundreds of years. Other theoriesclaim it is the synthesis of indigenous folk tunes melded with that of the

Harry Belafonte 49

French, Spanish and United Kingdom. More importantly, the style had agood beat which people could dance to, and Belafonte was its acknowledgedking.

He continued to dominate the charts with the next release, An Eveningwith Belafonte, which contained the major hit “Mary’s Boy Child.” His starpower allowed him to be very selective in choosing his next film roles, andhe decided to appear in Island in the Sun, in which the character has an affairwith a white woman. In 1957, this attempt to break down race barriers wasmonumental.

It was also at this point that he formed The Belafonte Folk Singers. Thegroup was not a choir, but a collection of singers and musicians that includedMilton Okun. Others that participated in the outfit were Earl Baker, Ken-neth Bates, Harry Bessinger, Laurence Bogue, Ray Boguslav, Charles Cole-man, 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 Hen-son, James Herald, Noah Hopkins, Garrett Morris, John Nielsen, Richard Pin-dle, Walter Raim, Earl Rogers, Glenn Rowen, Charles H. Scott Jr., ShermanSneed, 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 AgainstTomorrow, and released Belafonte at Carnegie Hall, a highly successful albumwhich spent years in the charts. The concert itself was sold out and provedthat an African American with Caribbean heritage could play the most pres-tigious hall in the land even in the pre–civil rights era. Although he had scoredhits before the folk revival, Belafonte was considered an important figurebecause he presented a totally different aspect than the usual artist at the time.

In 1960, Belafonte Returns to Carnegie Hall was released and featured thediverse, cultural talents of Odetta Holmes, Miriam Makeba and the ChadMitchell Trio. At this point in his career, the Jamaican star was one of themost successful entertainers on the planet. He possessed a powerful movieand singing career and had catapulted the music of the Caribbean nationsonto the international stage.

In 1961, because of his dynamic, widespread popularity, Frank Sinatrarecruited him to perform at John F. Kennedy’s inaugural ball. Inclusion inthis event proved that the Calypso King possessed leverage. He utilized thisfame 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 BobMarley and the entire reggae sound in the next decade.

He broke new ground in television with his special, Tonight with HarryBelafonte, which won an Emmy and made him the first black producer. He


continued to deliver chart- topping albums like the lively Jump Up Calypso.In 1962, The Midnight Special was released and featured the harmonica of athen relatively unknown folk singer from Minnesota, Bob Dylan.

Like every other entertainer, the British Invasion, particularly the riseof Beatlemania, cut into Belafonte’s popularity. The album Belafonte at theGreek Theatre became his last work to reach the Top 40. Later efforts, An Eve-ning with Belafonte/Makeba and In My Quiet Room didn’t enjoy the successof his previous efforts. The first record was significant for other reasons becauseit 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- politicalconscience and shifted his attention to humanitarian causes.

Throughout the decade, Belafonte remained in the public eye, appear-ing in the TV specials of Julie Andrews, Petula Clark, Lena Horne, NanaMouskouri, and later The Muppets Show. Once a powerful actor, he had givenup on the movie industry because of personal dissatisfaction with the way Hol-lywood conducted business. However, he returned eventually to the big screenwith an appearance in The Angel Levine.

Throughout the 1970s he continued to record with less frequency andappeared in a couple of notable films, Buck and the Preacher and Uptown Sat-urday Night. However, his main focus remained humanitarian causes. Theyranged from the plight of the African people to the many challenges facinghis native Caribbean population. Belafonte was an outspoken critic of gov-ernment practices when their policies hindered the common person.

In the 1980s, he maintained his political- social stance. Belafonte was oneof the leaders of the USA for Africa effort and lent his vocal talents to the sin-gle, “We Are the World.” In 1986, Belafonte became UNICEF’s GoodwillAmbassador which gave him more clout to pursue humanitarian causes. Hereturned to film with roles in White Man’s Burden and Kansas City.

Belafonte aged gracefully. He had not lost any of the charm which hadwon over a huge audience in the late 1950s and early 1960s. The Calypso singerhad the privilege to record and act any time he so desired. In 1997, his musi-cal career, which had remained dormant for years, was re- ignited with therelease of An Evening with Harry Belafonte and Friends.

In 2003, Belafonte performed his last official concert and later stated thathe had retired from performing. He devoted all of his energy to humanitar-ian causes and continued to be an outspoken opponent of government poli-cies, 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 thestyle to the attention of the world, which enabled others to break into theNorth American and international markets. He was one of the few majorblack stars of the post- war era making his mark as a singer and an actor. The

Harry Belafonte 51

West Indies native was never afraid to speak his mind and was a leader forsocial justice and equality around the globe.

He possesses a silky, smooth vocal delivery perfectly suited for the laid- back 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 funin the sun. It was this accessible element which catapulted him to nationaland international fame.

His most famous song was the “Banana Boat Song,” with the signaturelyric “Day- O.” It is a tune that is well- known throughout the world and hasbeen forever associated with him. Other hits include “Turn the WorldAround,” “Don’t Ever Love Me,” “Jump the Line,” “Scarlet Ribbons,” “Abra-ham, Martin and John,” “Coconut Woman,” “Jamaica Farewell,” “Hallelu-jah, I Love Her So,” and “Mama Look at Boo Boo.” Belafonte performed thelatter with the Muppets sporting African tribal masks. Later, when the cre-ator of The Muppets, Jim Henson, died, Belafonte sang at the funeral.

Always a controversial figure, his outspoken views on a variety of sub-jects kept him in the headlines when his musical and movie careers waned.Never one to back down from anyone or anything, he stirred controversywith an appearance on a Petula Clark special and with his performance onthe 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 inthe Sun, Odds Against Tomorrow, The World, the Flesh and the Devil, Buck andthe 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 thedrama Swing Vote and in Bobby, a movie about the assassination of RobertKennedy. His credentials as a thespian are solid and an important part of hiscareer.

On a musical level, he patterned himself on the crooners; but when itcame to his political and humanitarian activism, he drew inspiration fromPaul Robeson. They both fought against racial discrimination, and in the1950s, Belafonte quit performing in the South for a few years. Later, he wouldbe named cultural advisor to the Peace Corps and was a supporter of the CivilRights Movement, instrumental in organizing the march on Washington. Hewas also a confidante of Martin Luther King.

In the 1990s, some of his humanitarian efforts centered around Africansupport. He traveled to Dakar, Rwanda, Kenya and South Africa to help theplight 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 helpingthe hip- hop artists in Cuba under the Castro government.

For his efforts he has received many awards, including the Kennedy Cen-ter Honors, the National Medal of Arts and a Grammy Lifetime Achievement


Award. He was also awarded the Bishop John T. Walker DistinguishedHumanitarian Service Award. In 2006, he was awarded the BET Humani-tarian Award.

Harry Belafonte will forever be known as the king of Calypso despitethe fact that he has not recorded many albums in the past several years. Oth-ers will remember him for his acting, and for his outspoken opinion. How-ever, the man who taught the world to sing the “Banana Boat Song” remainsthe 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.

Harry Belafonte 53

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 con-tingent of performers. They all came from different backgrounds, were caught


up in the frenzy of the moment and wanted to make an important contribu-tion. One enthusiast was a businessman before he received the musical call-ing and proceeded to enchant everyone with his 12-string songs. His namewas Bob Gibson.

Gibson was born on November 16, 1931, in New York City. He wouldcall many communities outside the city limits home during his childhoodincluding Tuckahoe, Yorktown Heights, Tompkins Corners, and PuhmanCounty, New York, among others. Although there was a passing interest inmusic, it wasn’t until much later in his life that the bug would bite. He hadintentions of becoming a businessman.

However, he established folk musician credentials by dropping out ofhigh school in senior year and hitchhiking across the country. While on theroad, the traveler collected the various experiences that would someday formthe foundation of his recorded material. Upon returning to New York, hefound work in a firm that taught speed reading where his duties included salesand 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 lim-ited budget bought a banjo and began to study folk music earnestly. Even-tually, Gibson left the world of business to pursue a deepening interest intraditional songs. He not only improved his skills on the banjo, but addedthe 12-string guitar to his musical arsenal. The aspiring musician performedfor a few months in New York before heading to Florida where he found morework in clubs.

Eventually, he would stretch his concert radius away from Florida. Hespread the boundaries from Cleveland to New York and into the Midwest. InMichigan City, Indiana, he found permanent residency at the Green Door.The famous club was not far away from Chicago and Gibson frequented theWindy City, adding another metropolitan area to the list of performance sites.More importantly, he hired on the services of manager Albert Grossman, whobooked him into the Off beat Room, one of the top clubs in town.

But Grossman, a clever and insightful manager, opened up a new clubin Chicago called the Gate of Horn, and booked his client Gibson, whoseresidency 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 duringthis period that he was able to hone all of his musical ideas and experiencesinto professional folk material.

The Gate of Horn featured a number of performers from the folk cir-cuit including Josh White, Glenn Yarbrough, Odetta Holmes and Joan Baez,among others. Many came to the club relative unknowns, but their stay atthe venue enabled to make a name for themselves and enjoy greater successduring the revival. In 1959, Gibson introduced Baez at the Newport Folk

Bob Gibson 55

Festival, launching the career of one of the most important folk singers of therevival.

Gibson found his best partner in Hamilton Camp. In 1960, after the lat-ter had debuted at the Newport Folk Festival, he concentrated all efforts oncreating folk music rather than acting. The pair complemented each otherand 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 record-ing, “Well, Well, Well,” appeared on Simon and Garfunkel’s album, Wednes-day Morning 3 A.M.

Eventually, the duo of Gibson and Camp split up. Gibson formed a deepand lasting professional friendship with Shel Silverstein, who was at that pointin his career a cartoonist. The pair became writing partners forging over twohundred 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 togetherone last time before Silverstein’s death and cut “Whistlers and Jugglers andWriters of Song,” in honor of their long- standing musical partnership.

During the height of the revival, Gibson was as clearly established as anyfolk artist, not just in Chicago, but across the country. However, things beganto unravel. From his teenage years, the singer favored alcohol, a consump-tion 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 enablinghim to perform once again. From 1978 to 1990, he attempted to capture theglory of his early musical power without success. The music world hadchanged drastically and had left the onetime commanding folkie behind. Herecorded the albums The Perfect High, Uptown Saturday Night, Best of Friends,and A Child’s Happy Birthday Album, but none really found their niche withthe record buying public.

Although never able to regain previous fame, Gibson was still a fairlysolid draw on the folk music scene, especially in Chicago. He was a fixtureand played festivals, coffee houses and bars, assuming the role as the grand-daddy folkie because of a career that stretched back to the golden revival. Manyof 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 ofprogressive supranuclear palsy, a disease that robbed him of his ability to per-form. On September 20, 1996, he gave his friends and fans a final concert. Aweek later, on September 28, Bob Gibson, the folk singer who had held somuch promise, died in Portland, Oregon.

Bob Gibson was a folk music influence. In the late 1950s and early 1960s


his recordings and performances provided a beacon for younger artists. Therewas something very attractive about his clean- cut voice and easy musical abil-ities that were copied by a number of aspiring musicians. Arguably, for a briefperiod, he was the most dominant folk singer of the revival.

Bob Gibson was never a great musician. But he kept a steady beat onthe 12-string guitar, as well as the banjo. He enriched old standards with hisgenerous 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 indi-viduals seeking their way. He also introduced the 12-string instrument backinto 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 DaveVan Ronk. Arguably, Gibson’s music was too bland to have survived the mid-dle and later part of the turbulent decade as the Civil Rights Movement andVietnam War fueled songwriting ideas. However, a strong voice allowed himto 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 awhite, affluent college audience. It was this fact that truly established his cre-dentials as an important influence during the folk boom. He is also bestremembered for his days with Hamilton Camp. The two were an amazingduo in the clubs around Chicago, especially the Gate of Horn, turning thatvenue 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 Light-foot, Josh White, Glenn Yarbrough, Odetta, Judy Collins and Tom Paxton.Unfortunately, due to his limited time in the limelight and because of sub-stance abuse problems, the man with the 12-string songs sphere of impor-tance was brief. Although, the talented artist made a comeback later on anda 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. Hecaptured the imagination of his contemporaries and was essential in helpinga number of unknown artists find their way in the music business. Despitethe fact that his staying power was not very long, the talented musician earneda 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.

Bob Gibson 57

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 religiousmakeup. Many of the heroes of the folk music idiom were roamers, driftingfrom one end of the country to the other seeking inspirations for their reper-toires. One artist, because of his hard travelin’ ways, earned the reputation asone of the great cowboy troubadours. His name is Jack Elliott.

Jack Elliott was born Elliott Charles Adnopoz on August 1, 1931, in NewYork. The son of a doctor, his parents desperately wanted him to follow inthe family footsteps; but young Jack was more interested in music, particu-larly that of the singing rodeo cowboy, than being a medical practitioner.Eventually, the differences between parental units and teenage son led theyoung rambler to run away from home at fifteen. He joined a rodeo and wasexposed to the life that he had read and dreamt of for so long. The adven-ture ended when his father and mother tracked him down and brought theirstray teenager back home.

Back in New York, the steely youth remained adamant about not pur-suing a medical career. Instead, Elliott learned how to play guitar to becomean itinerant musician. A couple of years later, he left home for good andlanded in Chicago. But by the early 1950s he was back in New York aroundthe Greenwich Village Washington Square Park area. It was here that theaspiring 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 ona compilation released by the Elektra label and provided him with much


needed encouragement. But the real success came when he started to roamthe Southwest with Guthrie, a journey that lasted for some time. In 1955, thegreat adventure stopped when Elliott went to England.

In Great Britain, Elliott sang Guthrie songs that reflected the time spentrambling across the country with the folk legend. In the process, the youngsinger expanded his own reputation as well as that of his musical hero. Dur-ing a six- year span in England, the hard traveler recorded an initial propersolo effort, Woody Guthrie’s Blues. He would record four more albums on theTopic label and performed with Derroll Adams, a banjo player, rekindling afriendship that had begun in California. The duo toured Europe to enthusi-astic audiences and helped American folk take root all over the continent.

Fame favors the prepared man. In 1961, Elliott returned to his nativeAmerica in time to partake in the folk revival. With sorrow, he visited Guthriewho was dying of Huntington’s disease. It was while keeping Woody com-pany that Elliott met a young unknown musician from Minnesota namedBob Dylan. Ramblin’ Jack and the young songster would become lifelongfriends, and he would have a huge influence on Dylan.

In the first part of the 1960s, Elliott enjoyed tremendous success. As newfolk enthusiasts were taking up the cause, they looked toward the establishedstars to help show them the path; Ramblin’ Jack filled that need perfectly. Hehad been a troubadour for two decades and had traveled with the legendaryGuthrie, who despite his failing health was still regarded as a true inspirationof the modern movement, especially among the new crop of young, politicalfolkies.

During the decade, it seemed that Ramblin’ Jack was everywhere. Herecorded and toured with Pete Seeger (who cited Elliott as a special influence)throughout England and Scotland. As well, the hard traveler befriended JerryGarcia, the lead guitarist of the rock band The Grateful Dead. The folk trou-badour often performed opening sets and also sat in with the band on occa-sion. This association helped him gain popularity in rock circles.

In 1961, the self- titled album featured interpretations of traditional songsincluding “The Cuckoo,” “Rollin’ in My Sweet Baby’s Arms,” “East VirginiaBlues,” and “Railroad Bill.” He also covered “Candyman” and “San FranciscoBay 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 scheduleas one of the acknowledged major figures on the folk circuit playing in thedozens 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

Ramblin’ Jack Elliott 59

host of others. The albums At the Point and Hootenanny with Jack Elliottappeared during this time and enhanced his solid reputation.

After the folk boom rescinded, he continued to roam the country play-ing in venues (often the songs of Woody Guthrie) and recorded albums. In1970, Bull Durham Sacks and Railroad Tracks was released. It combined mono-logues with studio material which included “Me and Bobby McGhee,” “Finda 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 solidexample of the more commercial part of his career.

Sadly, Bull Durham Sacks and Railroad Tracks was the last album of newmaterial he released for over two decades. Elliott continued to tour exten-sively, roaming the country and entertaining audiences with his ability todeliver stories and songs with relative ease. In the early 1980s, the hard trav-eler remained an exciting performer during the era of New Wave/pop flavorof 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 hadperformed with Bruce Phillips and “Spider” John Koerner at the World The-atre in Minnesota, was released. This encouragement enabled Ramblin’ Jackto 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 “Pasturesof Poetry,” “I Ain’t Got No Home” and “Talkin’ Dust Bowl.” There wereother highlights including “Cocaine Blues,” “Mean Old Bed Bug Blues,” andthe title song. While the material seemed a retread of past work, its popular-ity was in the freshness and the fact that the seventy- year- old was still per-forming while so many of his contemporaries had long ago faded from thescene. The execution of guitar and vocals were very crisp.

Suddenly, he was one of the most sought after artists on the circuit. Hiscareer received a much needed boost, and he began performing on a moreregular basis. His 1997 recording, Friends of Mine, included duets with JoeEly, Tom Waits, Guy Clark, Jerry Jeff Walker, Nanci Griffith, John Prine, andBob Weir. The songs “Me and Billy the Kid,” “Rex’s Blues” (a Townes VanZandt original), “Hard Travelin’,” “Walls of Red Wing,” “He Was a Friendof Mine” and the old Grateful Dead chestnut, “Friend of the Devil,” madethe album a wanted addition to the collection of many of his longtime fans.

Also that year, a seventy- minute session in Germany resurfaced entitledRamblin’ Jack Elliott. It featured “Pretty Boy Floyd,” “Buffalo Skinners,” BobDylan’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 wellreceived from longtime fans who had suffered during the lean years whenthere were no new recordings of Elliott available.


In 1999, he released The Long Ride, which featured guest appearancesfrom Dave Van Ronk, Dave Alvin, Tom Russell and Maria Muldaur. It con-tained a reworking of the Rolling Stones’ “Connection,” Woody Guthrie’s“Ranger’s Command,” Bob Dylan’s “With God on Our Side,” and some co- written work including “Now He’s Just Dust in the Wind” and “True BlueJeans.”

Also that year, he received the National Medal of Arts at the WhiteHouse in appreciation for the long road he had traveled as a folk singer. Therecognition was special because few in the folk world had ever been awardedthe honor and those who did boasted a much thicker catalog. Arguably, nonewere survivors in the same caliber as Elliott.

In 2000, his daughter, Aiyana, filmed the documentary The Ballad ofRamblin’ Jack. In 2004, he released I Stand Alone. The finger picking folkiedelivered an interesting array of tunes including “Mr. Garfield,” “LeavingCheyenne,” “Old Blues,” “Willy Moore,” “Careless Darlin’” and “Honk KongBlues.” It also included the original “Woody’s Last Ride.” He continues torecord and perform.

Ramblin’ Jack Elliott is a folk troubadour. He is one of the most influen-tial artists of the genre and continues to be an inspiration to this day. Hisconnection to Woody Guthrie, Bob Dylan and so many others only enhancedhis already stellar reputation. He was an integral part of the folk revival andcontinued to carry the torch long after the era faded into the pages of his-tory.

He is a distinct musician, perhaps not so much due to his guitar orsinging abilities, but because of his personality. Ramblin’ Jack’s sound isinstantly recognizable, a style that copied heavily from Woody Guthrie, butdeveloped into something unique over the years. Elliott has always possessedthe 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 sev-eral recorded albums. His songwriting skills received a major boost in the yearstraveling with Woody Guthrie. The latter was the mentor to young Jack wholistened to the teacher carefully. However, Ramblin’ Jack’s original catalog isdecidedly thin. There has been some interesting fresh material, but more werecover versions of tunes he liked.

Years later, it is Elliott who became a mentor for many singer- songwrit-ers and some of the rock and roll artists. Bob Dylan was a disciple, as wereThe 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 genuinequality in his music and an honesty about the man who had a deep impacton so many, cutting across two generations of performers.

Although he started his folk music career long before the boom of the

Ramblin’ Jack Elliott 61

1960s, he was a very important figure during that era. He, along with WoodyGuthrie, laid down the foundation for the folk era that followed. Elliott spentmany afternoons in Greenwich Village Washington Square Park picking outsongs of personal freedom and political views that would influence musiciansat the time and continues to do so today.

Ramblin’ Jack Elliott remains an important figure in music circles. Hehas delivered his unique brand of storytelling to enthusiastic audiences all overthe world for over sixty years. Despite the numerous musical trends thatoccurred during his long career, the cautious entertainer never fell into thattrap. 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.


Eric Von Schmidt (1931–2007)Cambridge Folk

There were many prime areas during the early days of the folk revivalthat were essential to its outward growth. Greenwich Village was the mostfamous, but the North Beach in San Francisco and the campuses around Den-ver and Chicago were also noteworthy. Another of these starting points wasthe area around Cambridge, Massachusetts, Harvard Square, which producedmany important singer- songwriters including the man known for his Cam-bridge folk, Eric Von Schmidt.

Eric Von Schmidt was born on May 28, 1931, in Westport, Connecti-cut, into a family of painters. His father was a famed illustrator who was bestknown for his serial, “Tugboat Annie.” Both parents accelerated the youngboy’s musical career by providing him with the records of such diverse artistsas jazz great Duke Ellington, classical guitar master Andres Segovia, and folkicon Burl Ives. Others he listened to included Johnny Noble & His Hawai-ians, Fred Waring and His Pennsylvanians, and Hoagy Carmichael.

Like so many other aspiring musicians, the music of the past inspiredhim. In Von Schmidt’s case, it was a radio broadcast of the legendary song-ster Huddie “Leadbelly” Ledbetter. One of the songs that the young boy heardon that magical night was “Goodnight Irene,” which made him want to learnto play guitar. He acquired one and honed his skills by listening to recordsand studying music books. Soon he discovered that there were many hope-ful 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 Cambridgeartist and the others played their guitars and banjos anywhere were they wereable to including parks, squares, taverns, and street corners. On these adven-tures, he met the prominent Ramblin’ Jack Elliott who enabled Von Schmidtto make his radio debut on an Oscar Brand hosted show where the youthplayed “Pretty Polly.”

A stint in the Army didn’t hinder Von Schmidt’s musical developmentor education. In fact, since he was stationed in Washington, D.C., it meantthat he was able to search for songs in the archives of the Folklore Depart-ment of the Library of Congress. This musical education that had begun afew years before was rounded out. He now possessed a solid grasp of the folkidiom, a necessary weapon needed on the musical adventure he was about toembark upon.

After his discharge, he spent a couple of years studying art in Italy on aFulbright scholarship, but music was in his heart. When Von Schmidt returned

Eric Von Schmidt 63

to the United States, the determined individual settled around the HarvardSquare area in Cambridge. In the middle of the action, the serious folkie wasable to play at Tulla’s Coffee Grinder, a coffee house that became one of theearly hubs of the burgeoning folk movement.

In 1958, the entire scene exploded, thanks to the emergence of TheKingston Trio and the tenacity of Woody Guthrie, Pete Seeger and TheWeavers. Suddenly, coffee houses and clubs opened up in great numbersincluding Club 47 located in Harvard Square and the Unicorn in Boston.These two venues provided Von Schmidt with an excellent base, and he madethe most of the opportunity, establishing a following in each respective venue.

One of the early warriors of the folk revival, the blossoming artist oftenhosted all- night jam sessions in his apartment- studio. The cross- section ofmusicians learning and sharing songs created a tight- knit folk community.Von Schmidt divided his time between this activity and performing at thecoffee houses that had sprouted in the area, playing some original material andthat of others. His greatest influence remained Leadbelly.

Like all other folk artists of the era, Von Schmidt was drawn into BobDylan’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 BoyGrunt.” Later, one of Von Schmidt’s songs, “Joshua Gone Barbados,” foundits way on the famed Basement Tapes, which the folk troubadour recorded withThe Band.

It was another boost to his career and eventually led him to a recordingcontract with Prestige. In 1962, Von Schmidt cut his initial effort, Folk Blues,which contained a couple of originals, “Gulf Coast Blues” and “ChampagneDon’t Hurt Me, Baby.” Although it wasn’t a brilliant debut, it established theCambridge artist as one of the leading lights of that particular folk commu-nity. Intestinally, Dylan thought enough of Folk Blues to put it on his albumcover of Bringing It All Back Home.

Throughout the 1960s, Von Schmidt continued to perform with less suc-cess. The emergence of folk- pop and then folk rock overshadowed efforts. In1970, the frustrated folkie left for Florida after divorcing his first wife. Some-time later, he remarried and established a new home in Henniker, New Hamp-shire. By this time, the revival was long over and artists such as himself hadto 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 “Fairand Tender Ladies” were highlights of the record. With his recording careerstalled, he turned to painting and produced cover art for a number of artistsand friends including Joan Baez, Cisco Houston, John Renbourn, the Rev.


Gary Davis Jr., Jackie Washington, The Blue Velvet band and Maria Mul-daur, 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 moreof a rock feel. He wrote all of the songs on the album, producing a few gemsincluding “Make It Last,” “Sudden Garden,” “Icarius,” “You Get Old, YouGet Wise” and “It’s the Doing.” Although it was a strong, tight effort, itdidn’t truly enhance his career much because the time of the traditional singer- songwriter was waning.

In 1979, the musician and painter turned co- author along with friendJim Rooney, also a folk singer and a record producer. The book, Baby, LetMe Lay It on You, focused on the Boston- Cambridge folk years, capturing theera in all of its splendor. It was one of the more interesting studies and his-tories of one of the prime regions during the heralded revival from two peo-ple who had created and lived the scene.

In the 1980s and 1990s, Von Schmidt concentrated more on painting thanon his music and continued to draw the album covers for a wide range ofartists and developed quite the reputation for this ability. He also exhibitedhis 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 toperforming. The enthusiasm was so strong that it led him to record a batchof new songs. Baby, Let Me Lay It on You, his first musical effort in eighteenyears, sparked with a vibrancy that proved he still possessed the magic andskill to deliver a professional collection of tunes. It included another versionof the classic “Joshua Gone Barbados.”

In 2002, Von Schmidt released his last recorded effort, Living on theTrail, containing mostly all original material. The title cut, “Envy the Thief,”and “Lightning, They Say” along with another version of “Joshua Gone Bar-bados” proved that he was a gifted musician who had been underrecorded hisentire career. The possibility of lost tapes from previous sessions recordedduring the early years never surfaced. In 2000, he had been diagnosed withthroat cancer. He died on February 2, 2007, in Fairfield, Connecticut.

Eric Von Schmidt was an exuberant folk singer who did as much or morethan any other artist to promote the traditional sound. He was forever teach-ing the younger musicians the roots music of Leadbelly, Blind Boy Fuller, Mis-sissippi John Hurt, Mississippi Fred McDowell, Skip James, Blind LemonJefferson and Blind Willie McTell to all that were interested. He was one ofthe first folk musicians to emerge from the coffee house circuit to be recordedand was a prime East Coast figure.

Von Schmidt was a self- taught musician who played guitar and harmon-

Eric Von Schmidt 65

ica with equal ease. There was a fire and a passion in his attack that spilledover into live performances and on records. He was a genuine folkie whoremained true to the folk form without deviation. A songster in the traditionof 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 theyoung folk troubadour to expand his musical boundaries. In their initial meet-ing, 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 hisearly recorded material. The connection between the two was a friendship thatendured 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 acknowl-edge those who inspired him the most. They were both champions of every aspect of roots music including folk, blues, country, bluegrass and old- time.

Von Schmidt had a strong influence on Tom Rush. Together theyarranged an old folk tune, “What a Mighty Storm,” which depicted the 1900 hurricane that had destroyed Galveston, Texas. This was a tremendousboost 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 ofthe tight- knit community that existed in the Cambridge area during therevival.

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 islandnation. It was an overtly political song and a true gem from a rather thin cat-alog.

Although his diligent efforts to ensure that folk music remained a vitalforce weren’t always rewarded, he did receive the ASCAP Foundation Life-time Achievement Award. In 1997, he won a Grammy Award for his work onthe compilation Antholog y of American Folk, Vol. 1–3. Sadly, because VonSchmidt was so underrecorded, a lot of what he had to say was never put downin a studio setting.

Eric Von Schmidt is fondly remembered as someone who had a strongspirit and a folk song in his heart. He was true folkie with a deep love ofpoetry, all- night jam sessions and wine, all inspired from the old classics thatfueled his entire career, especially the songster Leadbelly. He made a strongimpact on the Cambridge folk scene and on the genre itself.


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 Americanmusic history, its longevity was short lived. Unfortunately, the careers of someof its most important practitioners paralleled the revival’s romantic quickness.One individual who had a huge impact with his songwriting talents fadedalmost as quickly as he appeared, yet retained a cult success. His name wasFred Neil.

Neil was born on March 16, 1936, in Cleveland, Ohio, but was raised inSt. Petersburg, Florida. He developed his rich baritone voice and ability onthe 12-string guitar, honing these skills until proficient enough to perform inpublic. His musical tastes were eclectic and ranged from political folkie WoodyGuthrie to delta bluesman, Robert Johnson, to early rocker, Chuck Berry andcountry icon, Hank Williams, Sr.

Fred Neil 67

Neil was a keen student of music and never limited himself to one sin-gle style. A good example was the penchant for the melodies in the work ofthe clever composer and songwriter Cole Porter. As well, he paid close atten-tion to the rhythm specialty of the immensely gifted Ray Charles, who man-aged to combine gospel, blues, country, early rock and jazz into one complete,exciting package. He absorbed all of these musical sources to create some-thing on his own terms, which was perhaps the single, most important trade-mark of the singer’s powerful but brief career.

Eventually, like most folk singers of his era, he ventured to GreenwichVillage where he met Dave Van Ronk and Ramblin’ Jack Elliott, two of themost unique and serious folkies on the circuit at the time. They would bothmake a strong impact on the young folkie’s songwriting progress. Despite astrange personality and being known as quite moody, Neil seemed very openand accessible in the bohemian community. However, although admired bymany, few grew close enough to get to know him; it was his nature to keepto himself.

Neil performed in and around the many clubs in Greenwich Villageremaining there for a good part of his career. After a few years of perform-ing, he finally appeared on record. Hootnennany Live at the Bitter End fea-tured three of his songs; “Linin’ Track,” “The Sky Is Fallin’,” and “That’s theBag I’m In.” Len Chandler, Jo Mapes and Bob Carey also contributed to therecord. Later, the album would be reissued as World of Folk Music, whichincluded an extra track, “Raindrops Falling,” a song Neil would re- record as“Yonder Comes the Blues.” No matter the title, one thing was clear—Neiloutshone all the others on the disc. The compilation fueled further advance-ment.

He graduated from the small clubs to share the stage with Lenny Bruce,Richie Havens, Tim Hardin and Vince Martin, earning a tremendous amountof 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 man-aged to gain the necessary attention through the reputation earned as a liveartist. In the meantime, the savvy artist continued to write and hone mate-rial.

In 1965, he released Bleecker & MacDougal, which established him asone of the more intriguing singer- songwriters on the circuit. It featured mostlyoriginal compositions and a backup band of John Sebastian on harmonica,Felix Pappalardi on base and Peter Childs on dobro and electric guitar. Thestudio musicians augmented the sound of Neil’s strong voice and simpleacoustic guitar, a trend that many folk singers were adopting at the time.

The record featured a wide range of material including the moody “Blueson the Ceiling,” the jug band feeling of “Sweet Mama” and the ballad of “Lit-tle Bit of Rain.” Tim Buckley would record the latter song a few years later.


Mike Bloomfield and Paul Butterfield would cut their own version of “Coun-try Boy.” In all, it was a very stirring, deeply personal, powerful collection ofsongs which ran together with frightening muscle.

However, the momentum he had built up with the first release was lostwith the next effort entitled Sessions. Known as a strange, reclusive character,it seemed that Neil had lost his focus; many of the songs sounded unfinishedas compared to the polished product of the previous release. There were somehighlights including “Felicity” and “Please Send Me Somebody to Love,” theold Percy Mayfield chestnut, but the overall opinion of the tracks was disap-pointment.

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 albumsprovided him with more material to select from when on stage. Although thetalented singer performed less frequently, because of that first record, concertappearances continued to be noted events on the folk circuit. The chameleon- like ability to perform a pure folk tune and follow it with something totallyobscure and in a different style kept audiences off guard. A keen sense ofhumor as a performer was also a solid attraction.

Like Bob Dylan and members of the Band, he had relocated to Wood-stock in upper New York state. The colony of artists, musicians and paintersquickly cultivated a hip status among the cultural community throughout theEast Coast and drew many to the fold. In the rural part of the region, Neilwas at ease and able to concentrate on writing material for the next album ashe attempted to rebound from the disaster of the previous release.

In 1969, Fred Neil was issued, which returned him to critical and com-mercial stature because of the sheer power of the tracks. It included “Every-body’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’mIn.” The record also marked a change from straight folk to experimental elec-tric folk rock. The power of this recording proved itself twenty years laterwhen every single track appeared on the compilation The Very Best of FredNeil.

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 mate-rial into a bluesy, strictly acoustic framework and spiced each tune with a verypassable Johnny Cash country drawl. Neil had often proved that he wasn’tthe regular folkie, and this album emphasized a moodiness, a varied artisticapproach and a definite penchant for experimentation.

In 1971, Neil released his last album, The Other Side of This Life, whichwas an interesting collection. One part of the album featured live, acousticsongs, while the other included tunes left over from different sessions. Thein concert side featured excellent versions of “The Dolphins,” “Everybody’s

Fred Neil 69

Talkin’,” and “Other Side of This Life.” The studio material includedreworked versions of “Badi- Da” and “Felicity,” as well as the curious take ofthe soul staple, “You Don’t Miss Your Water,” and a blues number, “ComeBack 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, per-forming only on rare occasions. In 1981, he made one of his last concertappearances when he joined Buzzy Linhart, the folk rocker, on stage. For thenext 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. Despitea limited catalog and time in the spotlight, the cult hero made a definitiveand lasting impact on a number of musicians. He had a deep, low, rich voicethat was melodic, and he combined it with a keen instrumental insight. Hewas also a very talented songwriter with many artists covering his songs andturning them into international hits.

There was a special timbre in his vocal appeal that touched a particularnerve impulse in his audience. The deep baritone singer had a uniqueapproach to traditional folk and delivered his own compositions with a pre-cise moody allure. The quality of the vocal delivery, the dark, moody ele-ment, was often compared to Johnny Cash’s country toughness. In a worldof standout folk singers with a special voice, Neil shined as brightly as any-one else.

An adequate 12-string guitar player, Neil’s instrumental magic existedin the ability to mesh his own skills with that of other musicians. In the stu-dio, John Sebastian, member of The Lovin’ Spoonful, was the harmonicaplayer, Felix Pappalardi, an original member of the hard rock group Moun-tain and producer of the blues- rock band Cream, was frequently the bassplayer. Guitarist Vince Martin, Neil’s onetime partner before the latter wentsolo, added touches to the rich acoustic sound.

It is understandable that with his bountiful musical gifts he would havea strong influence on a number of other artists. The Jefferson Airplaneincluded “Other Side of This Life” in their concerts. Later they recorded acouple of songs, “Ballad of You and Me and Pooneil” and “House at PooneilCorner,” dedicated to Neil. Harry Nilsson took “Everybody’s Talkin’” intothe Top Ten. Additionally the song was featured in the movie Midnight Cow-boy.

Steven Stills cited Neil as a guitar influence. Bob Dylan praised him forhis patience and guidance as did Richie Havens. Tim Buckley was anotherdisciple as was the aforementioned Nilsson. Forty years later, Neil continuesto exude a special influence on his contemporaries as well as the new gener-ation of folkies. A partial list includes Emmylou Harris, Jackson Browne,


Graham Nash, Linda Ronstadt, Al Stewart, Roger McGuinn, Townes VanZandt, 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 ofRain,” “Country Boy,” “Candy Man,” “Look Over Yonder,” and “SweetCocaine.” The brilliance of his original compositions was something few couldmatch. Although the catalog is not extensive, the quality far outweighs thequantity.

There were many remarkable aspects to Neil. One of them was that hewas 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 qui-etly plodding in his own garden. A perfectionist in the studio as well as onstage, the man didn’t play any material that wasn’t up to usual standards. Asan established folk artist with a rich voice, reflective lyrics and more thanadequate instrumental ability, the unique artist was quite capable of inspir-ing the younger, aspiring musicians.

He cared about others and was instrumental in helping a young BobDylan integrate himself into the folk scene. He would also aid another aspir-ing 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 remem-bered as a generous, devoted human being.

Fred Neil provided an interesting chapter to the folk music revival withhis very sophisticated compositions, compelling voice and instrumental touch.Although there were many who achieved greater fame, he remains one of ahandful of singers who can claim genuine cult success that continues to spinits 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.

Fred Neil 71

Dave Van Ronk (1936–2002)The Mayor of MacDougal Street

Like other styles of music, folk borrowed from the blues, jazz, countryand rock—but mostly blues. The primitive, shining country blues of Mis-sissippi Fred McDowell, Robert Johnson, Mississippi John Hurt and Hud-die “Leadbelly” Ledbetter, among others, were very folkish and a greatinfluence on the revivalists. During the revival, one musician utilized the rootsmusic 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. Hisgrandfather, a pianist with a fondness for ragtime master Scott Joplin andmarch king John Philip Sousa, introduced the young boy to the wonder ofmusic and encouraged him to hone his talents. Van Ronk picked up the gui-tar and practiced hard, discovering the rich vein of American folk blues thatincluded Furry Lewis, Josh White, Sleepy John Estes, Mississippi John Hurt,Skip James, Leadbelly, Blind Willie McTell, Jelly Roll Morton and BukkaWhite. He also was enchanted with the operatic songs of Bertolt Brecht andKurt Weill.

The youth left high school before obtaining his diploma and drifted toGreenwich Village, determined to become a folk blues singer. The ambitiousmusician participated in the Sunday gatherings at Washington Square, learn-ing and teaching all those that were present. During these jam sessions, hemade three important contacts: Tom Paley, the Rev. Gary Davis, and BarryKornfeld. He also played in a number of groups, including jazz outfits, per-forming on the tenor banjo.

Discouraged by any lack of musical progress, he worked as a merchantmarine in order to support himself while further honing his guitar skills.Eventually Van Ronk returned to the Greenwich Village scene to try onceagain. In 1957, he performed with Odetta Holmes, the wonderful folk singerwho would be identified with the Civil Rights Movement. During this difficultperiod, she encouraged him to continue to pursue his musical vision.

In the late 1950s, his musical preferences leaned toward country bluesand jug band music. He would even record a jug band album with Sam Char-ters. Van Ronk performed at coffee houses and private parties. After payingsome hard dues, his first recording, Ballads, Blues and a Spiritual, was releasedon the Folkways label. It contained a mixture of blues; “Black MountainBlues,” “Winin’ Boy Blues,” “Backwater Blues,” and “Gambler’s Blues,” aswell as the traditional “John Henry.”


Although he toured and performed throughout the country, GreenwichVillage remained the home base. He became an institution there and was anintegral part of the circle of emerging young folk singers that included TomPaxton, 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 livein their house when he first arrived to New York City. His name was BobDylan.

Although he was an institution in the Village performing in coffee housesand clubs on a regular basis, it wasn’t until Van Ronk started to record for thePrestige label that the singer began to achieve national exposure. Stardommight have arrived sooner had he agreed to listen to Albert Grossman andMilt Okun, who attempted to recruit him in a trio with Peter Yarrow andMary Travers. Since neither could play guitar that well and by this time VanRonk had developed a unique finger picking style, his contributions werebadly needed. However, he turned down the offer to do his own music andthe vacant spot went to Noel Paul Stookey.

Throughout the 1960s, he delivered a series of experimental albumsincluding Dave Van Ronk & the Ragtime Jug Stompers, which saw him delveinto jug music. On the effort In the Tradition, the folk singer was backed bythe jazz- style combo of The Red Onions, creating a different take on the stan-dard folk blues material. Van Ronk never fully gave up his eclectic approachto 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 orches-tra 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 experimentalsongs were not. Nevertheless, he continued to release albums at a regular paceand performed throughout the United States as a solo artist, appearing atsmaller 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, jazzand folk material into tunes that captivated audiences. The delicate and expertfinger picking was a complete, individual style.

Although not considered part of the strong political folk movement, heoften supported left- wing causes and was a member of the Libertarian Leagueand the Trotskyist American Committee for the Fourth International. Thelatter would be renamed the Workers League and was a predecessor to theSocialist 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 brieflyjailed.

As the folk revival waned, many of the individuals who had gainednational attention faded from the scene. Van Ronk continued to record and

Dave Van Ronk 73

perform with regularity. His repertoire consisted of mostly interpretations ofold songs placed into a folk blues context with a handful of originals thrownin the mix. Although the records never sold well, the live performances werean exception. Part excellent musician, storyteller and humorist, no two con-certs were alike, and it became his bread and butter as an artist.

In 1974, he appeared at “An Evening for Salvador Allende,” which wasan concert organized in protest of the overthrow of the democratic socialistgovernment of Chile and to aid refugees from the U.S.-backed military juntaled by Augusto Pinochet. Phil Ochs organized the event and Bob Dylan wasalso present. It was a reunion of sorts for the three folk musicians who hadoften performed together during the revival days.

Sadly, two years later, he was present at the funeral of Phil Ochs whohad committed suicide. He joined others in the Felt Forum at Madison SquareGarden performing “He Was a Friend of Mine.” By this point in time, thefolk movement and radical ideas of the previous decade had faded into thepages of history. However, Van Ronk continued to make music and evolve asan 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 bestand proved he could still transcribe blues, jazz and ragtime for guitar. Thetitle track was an original composition. Other highlights included “MapleLeaf Rag,” the Scott Joplin ragtime staple, Joni Mitchell’s “That Song Aboutthe Midway,” and Jelly Roll Morton’s “The Pearls.” It was an impressive col-lection of eclectic songs.

In an attempt to pay tribute to the Broadway musical songs that he hadalways held so dearly, Van Ronk transcribed a number of them for the gui-tar 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.” Thealbum was well received by those who enjoyed his musicianship and abilityto experiment with different material.

With the next effort, Going Back to Brooklyn, he won back a number oflongtime fans that emphasized Van Ronk the songwriter; it was a volume ofall original material. “Gaslight Rag” was a tribute to one of his favorite ven-ues and the patrons who frequented the bar. “Losers” and “Another Time andPlace” were songs that emphasized his vast talents as an observer of humanlife. Never enchanted with the singer- songwriter role, he demonstrated a capa-bility of not only playing the part, but excelling at it.

In later years, remembering the days when he was a struggling, hungryyoung artist, Van Ronk helped out the newer singer- songwriters such as Chris-tine Lavin, one of his former guitar students. Like her teacher, the New Yorkborn and based folk artist was very different in the approach to music. The


enterprising young woman experimented with different styles and possessedan incredible ability to tell stories of the normal aspects of life mixing in agood dose of humor. She continues to record and perform.

Van Ronk taught guitar in Greenwich Village for years. As well, the actorperformed in an off–Broadway production of the Bertolt Brecht- Kurt Weillopera Mahogany. Always a keen student of their music, he would later col-laborate with English folk singer Frankie Armstrong on the work Let No OneDeceive You: Songs of Bertolt Brecht. It was a satisfying project and proved thatthere were different dimensions to his talent.

He continued to perform all over the country, usually at smaller venueslike bars and pubs in front of an intimate audience, which was the best set-ting for him. In front of a cozy crowd, the raconteur could touch each mem-ber of the audience with that special brand of humor and reveal a genuinehonesty. With an eclectic and wide repertoire, Van Ronk was able to reachback and play songs that dated back to material performed in the beginningof his career. The showmanship and superior musical skills never failed tosatisfy the paying crowd.

Sadly, on February 10, 2002, Van Ronk, who had been undergoing post-operative treatment for colon cancer, lost the battle. The folk and interna-tional music community was robbed of one of its most cherished and talentedperformers. Since his death there has been material released from previousconcerts celebrating the brilliant musicianship of one of the great folk singersof the 20th century.

Dave Van Ronk was a genuine folk master. He managed to deliver tothe world a different blues- oriented slant on a number of folk classics withthe ability to rearrange any song and make it sound fresh and new. A giftedstoryteller, the somewhat limited musician made the most of his abilities toearn the accolades bestowed upon him. Long after his death, the Mayor ofMacDougal Street remains an important folk artist.

In many ways, Van Ronk was a folk singer who was very difficult to cat-egorize as strictly an interpreter of traditional material. Although a solid writer,his greatest talent existed in the ability to take any style of song, includingblues, jazz, Broadway show tune, jug band number and traditional folk, andturn it into a modern recording. He did it with superior arrangement skillsand 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 oldsong and bringing it to life. Over the years he acquired an encyclopedic knowl-edge of how to determine the feel, rhythm, and essence of a tune in order tobring it to life. He also frequented jazz and blues clubs learning from the mas-ters, such as saxophone immortal, Coleman Hawkins, and the superb vocal-ist, Jimmy Rushing.

Dave Van Ronk 75

He possessed a rough, angry voice that enabled him to emphasize lyricswithout over killing them. It was not the soft, introspective vocal deliverythat most folk singers utilized, but more like the style of blues shouter likeBig Joe Turner or rough acoustic Delta bluesmen like Charlie Patton, SonHouse, Tommy Johnson and Robert Petway, among others. Among folkannals, it was a unique, beautiful voice.

While Van Ronk’s vocals were special, his musical skills were extraordi-nary. The master finger picker used a three-finger style to play melody andhis thumb to hammer out the bass lines. Simply put, Van Ronk was an aston-ishing guitarist. He possessed a remarkable syncopation that drew its sourcedirectly from the style of early blues artists such as Mississippi Fred Hurt andMississippi Fred McDowell. The keen student also approached the guitar likea piano in the same manner as his greatest influence, the Rev. Gary Davis.

Van Ronk’s complicated guitar playing was further augmented with hisincomparable ability to improvise quickly and smoothly. This skill separatedhim from the average folkie strumming their guitar and boasting an accom-plished set of only a few chords. Because of a love of old songs and the deter-mination to bring them to the attention of a new generation, it was crucialthat this technique of improvisation be first- rate.

There was also a harmonic element in Van Ronk’s music which was rarelyfound in the styles of other folk contemporaries. This was derived from study-ing the operas and plays of the German duo, Kurt Weill and Bertolt Brecht,the jazz of Louis Armstrong, and the complicated blues of the MississippiDelta musicians. The ability to combine a gritty voice with a mastery of theguitar was the cornerstone of his legend.

He reworked the songs of Blind Lemon Jefferson, Robert Johnson, BlindBlake, the Rev. Gary Davis, Woodie Guthrie, Pete Seeger, Josh White, Lon-nie Johnson, Blind Boy Fuller, Ira and George Gershwin, Bertolt Brecht andKurt Weill. The compositions of Scott Joplin and other ragtime artists werealso found scattered throughout his catalog, including such numbers “St.Louis Tickle,” “The Entertainer,” “The Pearls” and “Maple Leaf Rag.” Therewas no material sacred enough that he wouldn’t tackle it.

A partial list of Van Ronk’s material includes “Betty and Dupree,” “MyBaby’s So Sweet,” “Spike Driver’s Moan,” “Willie the Weeper,” “Winin’ Boy,”“Duncan and Brady,” “Careless Love,” “In the Pines,” “Bed Bug Blues,” “Hes-itation Blues,” “Yas, Yas, Yas,” and “Leave Her Johnny,” among others. Anentire 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 greatnumber of other artists. A partial list includes Bob Dylan, Christine Lavin,David Massengill, John Sebastian, Paul Siebel, The Lovin’ Spoonful, TimHardin, Simon and Garfunkel, Jack Hardy, The Incredible String Band, Richie


Havens, Don McLean, David Blue, Terre Roche, Suzzy Roche, Danny Kalband the Blues Project, Masato Tomobe, Geoff Thais and even the writer Eli-jah Wald. His contemporaries Joni Mitchell, Phil Ochs, Tom Paxton, TomRush, Judy Collins and Leonard Cohen, among others, drew inspiration fromhis interpretations.

Dave Van Ronk has not been forgotten. In 2002 a CD of his last con-cert, October 2001 in Takoma Park, Maryland, was released by SmithsonianFolkways. To this day his style can be heard in the crop of new folk singerswho try to emulate him. In 2004, a section of Sheridan Square, where Bar-row Street meets Washington Place, was renamed Dave Van Ronk Street inhis memory. He was presented with the Lifetime Achievement Award ofASCAP, the American Society of Composers, Authors and Publishers.

Van Ronk was a rare personality. He hated to fly and used trains, busesor had someone drive him to the next gig. A tall, hairy man, with a twinklein his eye, he was also a recluse and rarely left the security of Greenwich Vil-lage except to do small tours at intimate clubs and pubs. Often a stonewarejug of Tullamore Dew was next to him on stage. The off beat personality wasreflected in a musical approach that made him a very unique performer. Hislife was captured in the memoirs finished by collaborator Elijah Wald enti-tled The Mayor of MacDougal Street.

Van Ronk was a folk music icon who provided the world with a num-ber of reworked and original classics. He was a huge influence on contempo-raries and future players by proving the fact that the past should never beforgotten and could be reworked into the present. Because of this and all ofthe musical gifts he gave the world, the man earned the title of the Mayor ofMacDougal 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.

Dave Van Ronk 77

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 Folk-

ways SFW40156.Dave Van Ronk: The Mayor of MacDougal Street Rarities 1957–1969, Rootstock MCM-

4005.

John “Spider” Koerner (1938– )Spider Web

The roots revival was like a large web that pulled in curious young aspir-ing musicians. Many took up an instrument in order to become part of anexciting era. Some of the enthusiasts enjoyed brief careers, while others man-aged to continue to spin together songs, concert appearances and recordedmaterial. The excitement stung one young individual so deeply that it lasteda 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, andhe went as far as obtaining a student glider pilot license. At that point, amusic career seemed as far away as the furthest point in the blue horizon hetraveled as a pilot. Eventually, Koerner enrolled at the University of Minnesotato study aeronautical engineering.

However, in 1958, someone introduced him to folk music and it changedhis life forever. He took up the guitar and harmonica, practicing until profi-


cient on both instruments. He also became a serious student of the old bluesmasters, studying the styles of Mississippi John Hurt, Mississippi JohnMcDowell, Skip James, Robert Johnson, the Rev. Gary Davis, Bukka White,Blind Lemon Jefferson and a host of others. Koerner absorbed their work withan intensity that quickly accelerated his thin education of roots music.

The young man’s aspirations to become an aeronautical engineer fadedas music consumed his entire passion. Eventually, he quit school and traveledthe country gaining experiences that would forge the raw material that hewould someday mold into songs that would become his stage repertoire. Alongthe way, Koerner continued to hone his guitar, harmonica and singing skillsinto an accessible, finely- tuned package.

In 1959, after a brief stint in the Marine Corps, he returned to Min-neapolis in the fall of that same year. During the period, coffee houses wereall the rage, and Koerner found his niche in and around the bohemian circlesurrounding the University of Minnesota. A hotbed of musical activity, it wasabout to launch one of the greatest folk singers who would be dubbed themodern messiah of the movement.

One night, this unknown folk singer walked into a small cafe whereKoerner was playing. Robert Zimmerman was floored by the intensity ofKoerner’s delivery; the two itinerant musicians became fast friends. Theyjammed together and traded off their best blues licks. Both were harmonicaplayers and guitarists sharing much the same spirit and love of poetry andold blues. Sometime later, Zimmerman would move to New York City,rename himself Bob Dylan, and become a legend. Koerner would continueto play solo until he hooked up with two similar- minded individuals, gui-tarist 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 atan advanced age, and his brothers, Tom and Max, would also become musi-cians and form a local outfit. Jim was introduced to music when he attendeda Segovia concert. Soon after he picked up the guitar in order to emulate theclassical guitar player, but eventually shed that style in order to concentrateon 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 proficientenough to play in various local bands. However, he discovered the blues harp;Little Walter and Sonny Terry became his main inspirations. After numerousmusical adventures playing in a number of groups, he joined forces withKoerner and Ray.

In New York City, the trio exchanged musical ideas, and upon theirreturn to Minnesota, formed the group, Koerner, Ray & Glover. They gaveeach other nicknames: Koerner was dubbed “Spider” because of his long arms

John “Spider” Koerner 79

and legs; Ray was named “Snake” and Glover was called “Little Sun.” Thethree musical nomads had different experiences they brought into the groupand 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 caughta break when Elektra stepped in, purchased the album and signed them to acontract. In the heyday of the roots revival, the Jack Holzman Los Angeles-based company was one of the prime folk labels and boasted an impressivestable of stars. Later the organization would delve into rock and sign TheDoors.

In 1964, the trio released Lots More Blues, Rags & Hollers, which con-tained a number of original songs, as well as material from Leadbelly, Mem-phis Minnie and Muddy Waters. Highlights included “Honey Bee,” “RedCross Store,” “Love Bug,” “My Little Woman” and “Southbound Train.”While the album certainly boosted their careers, it was an appearance at theNewport Folk Festival that truly sealed their presence in the folk circuit realm.The performance was recorded on the Vanguard release Newport Folk Festi-val 1964: Evening Concerts III.

If the record and documentary presented a live image of the group, italso projected that they were very much capable as solo performers. In 1965,Koerner and Ray released singular efforts. Spider Blues never received favor-able 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 him-self and his set was captured on the album Newport Folk Festival 1965.

Glover would double as an all- night underground disc- jockey on a Min-nesota station and formed the band Nine Below Zero. He would also findtime to co- author, along with Ward Gaines and Scott Dirks, the award- winning biography Blues with a Feeling: The Little Walter Story. Even beforehe had joined Koerner and Ray, Glover was quite the writer, producing a solidbody of rock critic work for a number of magazines. He also wrote liner notesfor the records of John Hammond, Jr., Sonny Terry, John Lee Hooker and TheBootleg 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 howto play the guitar. Two years later, he teamed up with Will Donicht to formBamboo. They recorded one eclectic folk rock album on the Elektra label.Like other artists, Ray became dissatisfied with the cutthroat recording indus-try and set up his own studio entitled Sweet Jane Ltd., based in Cushing,Minnesota. Junior Wells and Bonnie Raitt recorded there as did Willie andthe 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


collection, Live at St. Olaf Festival, surfaced a full six years after they had bro-ken up. Although they had disbanded, there would be different reunions overthe years, as well as two of the former bandmates teaming up for various proj-ects.

Koerner assumed the guise of full- time solo performer and worked someof the more prestigious clubs, including Ash Grove in Los Angeles and Club47 in Cambridge, Massachusetts. He toured England, and once again deliv-ered a solid set at the 1969 Newport Folk Festival. His second solo effort, Run-ning, Jumping, Standing Still, was released that year and featured piano playerWillie Murphy. More importantly, it included a solid number of his owncompositions including “I Ain’t Blue” that Bonnie Raitt would cover on herdebut album.

In the early 1970s, after recording Music Is Just a Bunch of Notes, heretired briefly to Copenhagen, Denmark. When he emerged out of the self- imposed exile, Koerner did it with style on Some American Folk Songs LikeThey Used To, which announced a shift to more traditional folk songs ratherthan the blues- drenched material of prior releases and what fans had come toexpect from him. It ignited his career at a time when folk was in seriousdecline.

By 1977, Ray had moved back to Minnesota where he worked only part- time as a musician and full- time as a life insurance salesman in his father’sfirm. For the next decade, the aspiring musician led the double life of com-pany man by day and blues artist at night and on the weekends. He performedat local bars and restaurants and managed to record a few live and studioalbums 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 con-tained standards such as “Cotton- Eyed Joe,” “The Leather- Winged Bat,”“Froggy Went A- Courting” and “Shenandoah.” Despite a long layoff, therewas very little original material, but the old folk master’s dedicated enthusi-asm made the songs jump from his 12-string guitar.

Six years later, Raised By Humans included more traditional songs; “TheYoung Man Who Wouldn’t Hoe Corn,” “The Water Is Side,” “Titanic,” “BollWeevil,” “The Farmer’s Curst Wife,” and “Sandy Anna,” among others. Itfeatured Koerner on 12-string guitar with a cast of different percussionists assupport group. One of the more noted backup musicians was John “Mr.Bones” Burrell.

Glover’s next effort, Stargeezer, was recorded in New Orleans and boastedthe contributions of Reggie Houston, Amasa Miller and Johnny Vidacovich.The list included a heartfelt cover of Hoagy Carmichael’s “Stardust.” It alsofeatured more of his original compositions including “Last Lonesome Blues,”“The Skipper & His Wife,” “Some People Say,” and “Taking My Time.” With


the subsequent recordings, he proved that he had not lost any of his fire andability.

In 1996, to everyone’s surprise, Koerner reunited with Ray and Gloverto record an album. One Foot in the Groove was the trio’s first batch of newsongs 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 cir-cuit still existed. While they covered mostly traditional songs, the group con-tributed a couple of originals. This resurgence in Koerner’s career enabled himto return to music on a full- time basis.

In the last dozen years, many of his older efforts were re- released, includ-ing material as part of the Koerner, Ray & Glover trio. Occasionally, the threereunited and performed at specific venues. Every concert was acknowledgedas a special effort, since the group beckoned from long ago during the goldenage. The reunions stopped when Ray died on November 28, 2002, of lungcancer. Despite a major heart operation and subsequent expensive medicalbills, 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 otherfigure during the folk revival, he championed the bluesier side of traditionalmusic. As a solo artist, and with partners Ray and Glover, the musician withthe sharp talent, wild licks and mojo drive managed to quietly influence sev-eral generations of musicians. As a trio they helped spark a renewed interestin lost artists such as Skip James, Sam “Lightnin’” Hopkins, Mississippi JohnHurt, Mississippi Fred McDowell and Lonnie Johnson, among others.

In any discussion of Koerner, his abilities as an instrumentalist must bethe starting point. A solid guitar player, his standard figures turned traditionalfolk tunes into etudes in blues. He had a knack for finding the heart andessence of a song and exploring different sides of it with his intense six- stringskills. An original musician, “Spider” was able to weave a thick web of notesand chords that drew in listeners and educated them at the same time.

He was also a formidable harmonica player, matching his ability againstthat of partner Glover. The two often traded licks, extending a song intoregions that enthralled listeners and left them always wanting more. They setthe standard for all aspiring harmonica players in folk to try and attain. As adouble instrumental threat, Koerner created a universe of folk blues that fewcould match.

Koerner’s accomplishments have not gone unnoticed. He appeared inPart 1 of the PBS Educational Series River of Song. The four episode docu-mentary 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 CDset from Smithsonian Folkways Recordings and a home video series fromAcorn Media.


He was an influence on a number of musicians including Bob Dylan,Tim Hardin, Tom Paxton, Nanci Griffith, Dave Van Ronk, Ramblin’ JackElliott, Bonnie Raitt, Bob Smith, John Hammond, Jr., Keb’ Mo’, Kelly JoePhelps, John Mooney, Paul Geremia, Lonnie Pitchford, Lonnie Shields, RoryBlock, Alvin Youngblood Hart and Corey Harris, among others. He also madean impact on his two partners, Ray and Glover, and in return they helpedshape his musical vision.

John “Spider” Koerner was a folk blues inspiration as a solo artist orwith partners Ray and Glover. He reintroduced the importance of the meld-ing of the two styles during the revival in a way others had not thought pos-sible. A double threat instrumentalist, he urged Bob Dylan and many othersto take up the cause of American roots music capturing everyone in his spe-cially spun spider’s web.

DISCOGRAPHY:• SoloSpider 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 & GloverBlues, 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.


Judy Collins (1939– )A Golden Voice

Each individual performer of the folk revival is identified for at least oneparticular musical trademark. Bob Dylan was recognized for the quality ofhis lyrics, the Chad Mitchell Trio for their wonderful harmonies, Doc Wat-son for his dexterity and speed on several instruments and Joan Baez for hercrystal clear soprano delivery. There was another female singer who sang songsin a high- pitched golden voice. Her name was Judy Collins.

Judy Collins was born May 1, 1939, in Seattle, Washington. As a childprodigy on the piano, she provided early indications of following a musicalcareer. In her early teens, the determined artist made her public debut per-forming a Mozart piece, Concerto for Two Pianos. However, as an adolescent,the young songster discovered folk music and devoted full attention to thatstyle, teaching herself how to play guitar.

After high school graduation, she relocated to Greenwich Village in NewYork and became a street performer before graduating to small clubs. In a rel-atively short time, Collins made a strong enough name for herself on the localscene to garner a contract with Elektra Records. Like other labels, the com-pany was eager to cash in on the burgeoning folk boom. The young folkiesang mostly traditional material but with a voice that was sharp and drew alot 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 num-ber of performers who thrived during the revival. Although a well establishedinstrumentalist, her beautiful soprano vocals dominated the inspired mate-rial. With a high- pitched delivery that reached the highest octaves, it was inmany ways a voice better suited to opera than folk.

Her first album, as well as the second effort, The Golden Apples of theSun, featured mostly reworked traditional material sung in that inimitablestyle. She also utilized the bare essentials in the studio—her golden voiceaccompanied on acoustic guitar. While definitely unique among the myriadof folk singers, there was a similar, essential element that could be found inher music as well as in that of certain contemporaries.

Collins promoted folk music as much as any artist on the scene at thetime, plying her trade on the coffee house, club and major festivals circuit.A polished stage veteran, she was a popular concert performer who alwaysmanaged to leave the audience wanting more. While not the most importantfigure during the revival, she was a definite soldier in the army and quicklybuilt a solid career.


Her third album was much different in concept and content. First, var-ious musicians were brought in to augment the sessions, including RogerMcGuinn, later of The Byrds. Collins also recorded a different type of out-side material such as “The Bells of Rhymney” and “Turn, Turn, Turn.” Thechange in approach made it clearly evident that she was a viable entertainernot 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 dif-ferent styles. A good example was the album In My Life, which featured themusic of Jacques Brel and Kurt Weill, as well as the Beatles. There was alsoan essential element in the fourth effort that provided a glimpse of the typeof character she possessed. By including the writing of the then unknownLeonard 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 com-positions, “Since You’ve Asked,” and also contained a classic version of “BothSides Now.” The latter became a massive hit and won a Grammy. It alsoexposed her to a much wider audience, which enabled the strong singer tosell more records and concert tickets. Once again, on the album Collins show-cased a little known artist, Joni Mitchell, who was trying to establish herselfon the circuit.

The next effort, Who Knows Where the Time Goes, had more of a laid- back country sound than traditional folk. Highlights of the set included IanTyson’s “Someday Soon,” Sandy Denny’s “Who Knows Where the TimeGoes,” 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 toCollins, and sang it at Woodstock, one of the group’s first appearances. Aswell, 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, Collinswas forced to make adjustments to her career in order to maintain it. Thismeant recording different types of material that included “Amazing Grace,”“Send In the Clowns,” a Broadway ballad, a cover of the Joan Baez classic “ASong for David,” as well as an original composition, “Born to the Breed.”The variety in her repertoire demonstrated that she was a multidimensionalartist.

Collins became known as much for her own material as an interpreterof the songs of others. A good example was the album Living, which includedversions of Ian Tyson’s “Four Strong Winds,” Leonard Cohen’s “Famous BlueRaincoat,” and Joni Mitchell’s “Chelsea Morning.” The rest of the recordcontained some original material, “Song for Judith (Open the Door)” and “All

Judy Collins 85

Things Are Quite Silent.” Each successive release portrayed a different sideof her musical personality.

In the 1970s, interest in folk music waned, but it didn’t mean that polit-ical issues were to be ignored. A good example was her True Stories and OtherDreams effort, which contained one of the strongest political statements thechanteuse ever recorded with the song “Che,” saluting revolutionary CheGuevara. Although Collins possessed a social conscience, she had never beenlumped 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 afolk artist. The range of the material covered, plus the fact that the enter-tainer performed at halls instead of coffee houses, was another reason for thenew classification. This adjustment allowed her to continue a career when mostcontemporaries had faded into obscurity or were completely out of the musicbusiness altogether. In 1979, she created a minor sensation posing nude onthe 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 anumber of albums, none were considered a significant, critical or commer-cial success. In 1984, Home Again was released, which included a duet withcountry 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, shesigned to Gold Castle. The effort, Trust Your Heart, coincided with the pub-lication of the autobiography of the same title. Many of the songs found onthe Amazing Grace collection were included on The Life You Dream set witha few additions, including “Moonfall” from the Broadway musical The Mys-tery of Edwin Drood, as well as “The Rose” and “Morning Has Broken.”

After the live Sanity and Grace, she signed to Columbia and releasedFires of Eden. Songs like “The Blizzard,” “The Air That I Breathe,” “HomeBefore Dark,” “Fortune of Soldiers,” and the title cut proved that she had notlost any of her musical abilities. It brought her back into the limelight andreceived 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 tragedythrough her work and appeared with a series of books that included SingingLessons: A Memoir of Love, Loss, Hope and Healing and Sanity and Grace: AJournal of Suicide, Survival and Strength. Collins continues to tour and lec-ture about the subject throughout North America and other parts of theworld.

In 1993, Collins performed at President Bill Clinton’s inauguration,singing “Amazing Grace” and “Chelsea Morning.” She continued her activism


in political and social causes as a member of UNICEF and Suicide Preven-tion. 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 record-ing of the same name on Atlantic. In 1999, the ambitious artist establishedher own record label, Wildflower Records, which would issue many of herlater 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, Portraitof an American Girl appeared and two years later Judy Collins Sings Lennon &McCartney. Paradise is her latest release. The entertainer also continued toperform on stage, including as a cabaret artist in the prestigious Cafe Carlylein New York which has become an annual event. Collins continues to add toa 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 thatestablished her name in folk circles. It is a very different voice, one that isinstantly recognizable from the first note. Although criticized for being some-what inaccessible, her ability to mold any material into something special hassilenced many critics.

An artist who began to sing traditional folk tunes leaning on the mate-rial of the social poets Tom Paxton, Phil Ochs and Bob Dylan, she branchedout to include the work of The Beatles, Leonard Cohen, Jacques Brel, KurtWeill, Joni Mitchell, Randy Newman and Richard Fariña. The last three werescarcely known to the public, but her renditions of their songs enabled themto gain a wider acceptance. Over the years, she grew as an artist, experiment-ing 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 delveinto different styles. She sang Broadway songs such as “Pirate Jenny,” derivedfrom the Threepenny Opera; European tunes like Jacques Brel’s “La Colombe”;and the country rock “Poor Immigrant,” to list a small selection. Other diver-sions included making the Top 40 with the hymn “Amazing Grace.” A shortlist of other songs Collins brought to the world include “Albatross,” “The Bellsof Rhymney,” “Bird on the Wire,” “Both Sides Now,” “Golden Apples of theSun,” “Early Mornin’ Rain,” “Dress Rehearsal Rag,” “Daddy, You’ve Been onMy Mind,” “I Think It’s Going to Rain Today,” “It Isn’t Nice,” “In the Hillsof Shiloh,” “Maid of Constant Sorrow,” “Priests,” “My Ramblin’ Boy,” “Mr.Tambourine Man,” “Story of Isaac,” “So Early in the Spring,” “Sisters ofMercy,” “Turn, Turn, Turn,” “Who Knows Where the Time Goes” and “Win-ter Sky.”

Collins has always been drawn to social activism. The singer cut thesong “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 Yippiemovement headed by Abbie Hoffman and Jerry Rubin. In 1969, during theirtrial, witness Judy was dismissed when she sang openly in court. Later, as arepresentative of UNICEF, the activist campaigned against land mines. Thelatest cause has been suicide prevention.

She has been recognized for her contributions. In 1968, she won aGrammy 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 theClowns,” the Stephen Sondheim ballad featured in the Broadway musical ALittle Night Music. In 2009, she received an honorary Doctor of Fine ArtsDegree from Pratt Institute.

Collins has also been acknowledged for her writing. She published TrustYour Heart; Amazing Grace; Shameless; Singing Lessons; Sanity and Grace: AJourney of Suicide, Survival and Strength and The Seven T’s: Finding Hope andHealing in the Wake of Tragedy. The last two were in response to the death ofher son and the aftermath in dealing with the tragedy. The diversity of thematerial penned indicates a wide ranging talent.

During the folk revival she presented listeners with a much differentchoice 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 gainthe same attention of a Joan Baez or Joni Mitchell. But the universe Collinscreated was a rich, entertaining one that induced listeners who enjoyed asinger with a golden voice. She promoted the traditional sound as much asanyone of her contemporaries.

Although best known for her singing career, Collins has also appearedin a number of movies. A short list includes Baby’s Bedtime, Baby’s Morning-time, Junior (where she played opposite Arnold Schwarzenegger), Christmas atthe Biltmore Estate, and A Town Has Turned to Dust. An assortment of DVDsincluding 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 artis-tic talents. A performer who has been on the circuit working the craft for overfifty years, she always had something interesting to say. Although the enter-taining lady never reached the same level of fame as others during or after thefolk 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.


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 therevival, the acknowledged center was Greenwich Village in New York City.The bohemian- artistic community would spawn many an artist’s career overa span of less than ten years. One of these figures would infuse his traditionalstyle 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 inthe Bedford- Sturyvesant ghetto, the eldest of nine children. His father was a

Richie Havens 89

piano player, who sparked a musical interest in the young lad. At an earlyage, 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 hugeinfluence on rock and roll and soul. When he was unable to convince his matesto sing, he would perform solo on street corners for spare change.

At sixteen, he joined The McCrea Gospel Singers in Brooklyn. The outfitwas a more organized group than the few friends he had convinced to sing doo- wop on street corners. This professional experience enabled Havens tounderstand and gain valuable performance experience. He was able to honehis singing talents and expand on a rich, simple delivery which would be acornerstone of his career.

In 1961, he left Brooklyn, and after drifting around for some time, even-tually made his way to Greenwich Village. He had visited the area earlier inhis teens reciting poetry and fit in perfectly with the beatniks. Apart fromsinging and experimenting on the piano, Havens was also a writer, express-ing the thoughts and anguish of growing up poor and African American inthe United States during the 1950s.

He thrived in the Village because of the artistic atmosphere. He was alsoa sketch artist and drew portraits for a couple of years before returning tomusic full- time. At this point, the aspiring entertainer picked up the guitarand taught himself the rudiments of the instrument, developing an interest-ing and unique strumming motion that many would try to copy but neverfully duplicate. Also, after much experimentation, Havens began to play inopen E tuning, which would become one of his musical trademarks.

He would do some recording, including Electric Havens and The RichieHavens Record, which were comprised of material from solo demos. Many ofthe songs found on these discs were the same ones played at various clubdates. “Oxford Town,” “C. C. Rider,” Dylan’s “Boots & Spanish Leather”and “900 Miles from Home” were all staples of the live act. Despite the prom-ise of these cuts, the struggling artist was still a few years away from securinga recording contract with a major label.

He continued to serve an apprenticeship by frequenting the folk clubsand listening to performers all night long. Because of this lifestyle, he man-aged to cross paths with Phil Ochs, Bob Dylan, Judy Collins, Sonny Terryand Brownie McGhee, John Lee Hooker, Ram Jam Holder, Mississippi JohnHurt, Mississippi Fred McDowell, Joan Baez and a host of other folk bluesartists who played the clubs and coffee houses. Many were impressed withHavens’ expressive and unique ability.

Because he was such a dynamic performer, his appeal spread beyond theVillage 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 contin-ued the spirit but carried it in a different direction. There was some impres-


sive original material like “Adam,” “Follow,” “Three Day Eternity,” some bluesincluding Blind Boy Fuller’s “San Francisco Blues,” as well as the signaturetune, “Handsome Johnny.” The latter carried strong political clout, especiallywith protests over the Vietnam War raging like wildfire.

While the debut album created a certain level of excitement, it was thelive performances that truly made him popular. Havens was able to hook intothe outdoor festival circuit and played in front of large crowds. The engag-ing 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 ofnearly half a million.

Havens, the urban folk singer, resembled a tribal medicine man, even asoothsayer, dressed in splendid African tunic as he took the stage. He strummedthe battered guitar hard and powerful like some special spirit possessed hissoul. He emerged from the wings and enthralled the throng with the goodvibes driving the music to unimaginable heights while playing some of hisbest known songs including “Handsome Johnny” and “Freedom.” Originallyscheduled fifth on the billing, because of the confusion with band set- ups,equipment foul- ups and many performers stuck in traffic, the promoterspleaded with Havens to go on first. The performance was saved for poster-ity on the three albums Woodstock released later that year.

Before his appearance at Woodstock, Havens was known as a solidGreen wich Village figure, but critics believed his talent was contained. Becausemany artists had been delayed getting to the stage, he was forced to play forthree hours, stretching the limit of his repertoire. It would take some time,but that solo appearance at Woodstock would make him an international staras a live performer. The intense artist proved that he was more than therestricted artist that he had been pegged to be by pundits.

Despite opening up at the most famous outdoor festival that has sincepassed into music folklore, Havens was never able to parlay the Woodstockappearance into an explosive recording career. His only charted single was theBeatles remake of “Here Comes the Sun.” Although he covered the materialof Lennon- McCartney, Van Morrison, Bob Dylan and James Taylor with adefinite spirit and enthusiasm, eventually the lack of continuous original com-positions hurt his career. Also, each new Beatles cover sounded much like theprevious one.

However, in 1969, he managed to appear at the Isle of Wright festivaland returned the following year. Throughout the 1970s, he remained a pop-ular and reliable touring card and expanded his circuit to include dates in theMiddle East and Europe. Also during the same decade, he turned to actingand landed roles in Catch My Soul as Othello, Greased Lightning (alongsideRichard 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 enthu-siastic audience responses. Like so many other folk artists of the revival, whenthe style faded the soulful singer was forced to seek other outlets to earn aliving. As an actor, Havens was more than adequate and displayed a fairamount of talent. However, his first love was music.

Soon after the appearance at Woodstock, Havens created his own recordlabel, Stormy Forest, and released Stonehenge on it. The sets Portfolio andMixed Bag II also appeared on the company name, but did nothing to expandhis career. The albums Alarm Clock, The Great Blind Degree, Richie Havenson Stage and Catch My Soul all contained original material with a few coversthrown in.

Another passion was the environment. In the 1960s, it was an impor-tant issue and gave way to the current deep wave of interest in saving theplanet. Havens did his share by devoting much energy to educating youngpeople on ecological issues. In the mid–1970s, he cofounded the NorthwindUndersea Institute, an oceanographic children’s museum on City Island inthe Bronx. It would become the springboard for The Natural Guard, an organ-ization that enabled kids to have a better understanding of the environmentand play a leading role in their own community.

The urban folkie continued to record a steady stream of albums, but itseemed that his best music was behind him. He also continued to performlive all over the world, displaying the power and musicianship that kept hisname fresh on the circuit. Like many other folk artists of the Greenwich Vil-lage days, the heyday was over and Havens was forced to patch together acareer when the music he played was not very popular.

In order to sustain his career, he composed and performed the promoslogan for the big three TV networks, CBS, NBC and ABC. As well, herecorded commercials for various products and in support of the cotton indus-try. But, he always returned to music. In 1987, after a long absence from therecording studio, he released a rash of material including Simple Things, analbum of Dylan and Beatles covers, and a compilation of his mixed bag mate-rial. Albums such as Cut to the Chase continued to feature covers of the musicof 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 singingthe “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 TibetanFreedom Concert in front of over a hundred thousand enthusiastic fans.

In 2000, he combined his talents with electronic music duo Groove Ani-mals 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 thetune would be utilized in the films Domino and Tell No One. During the


decade he collaborated with Dayna Kurtz, Anton Fig, Steve Hackett and PeterGabriel of Genesis and Bill Perry. Havens was a restless soul and had the abil-ity to delve into many different media situations.

He co- authored his autobiography, They Can’t Hide Us Anymore, withSteve Davidowitz. A thoughtful work, it was a stream of conscious tale andreflected the way that Havens had always lived his life. He made other filmappearances, most notably in I’m Not There, where he portrayed an old manjamming on Dylan’s “Tombstone Blues.” In 2008, he performed at the CannesFilm Festival’s opening ceremony where he played “Freedom.” Later that sum-mer, he delighted crowds at the Windsor International Blues Festival.

In 2009, he was one of many to be invited to perform at Pete Seeger’s90th birthday party. Later, he would appear at the Mountain Jam Festivaland the other such venues. With these specialized appearances, Havens kepthis name fresh in music circles. There is also the fact that as time has passedby and the Woodstock concert has gained almost mythical proportions, ayoung generation was interested in witnessing the man who opened up at thecounterculture event. Havens continues to record and perform.

Richie Havens is a folk music warrior. He was never the flashiest per-former or the most popular on the tour, but came to play every night. Whilemany African Americans artists explored soul, jazz, blues, rock and even disco,he remained devoted to the folk music scene. There was something earthyabout 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 tak-ing on a voice of its own. With a vigorous strumming motion, the musicianbattered the instrument, simultaneously coaxing anger and beauty from it.Often, the entertainer let the music take over soaring with each chord andnote he ripped out. As well, the exclusive use of the open E tuning set himapart from others.

Havens possesses a smoky voice that is heavy, but also resonant. A mas-ter at combining the slightly gruff vocal delivery with the hammer down gui-tar style, he often imitated the blues hollers of the old days. One can hearmany 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 vocaldelivery, like a friend talking to each member of the audience on an individ-ual basis.

Havens could turn any song—rock, blues, jazz, classical—into a folktune, usually covering the material of others; but he was also able to writesome interesting pieces. A partial list of his pieces includes “HandsomeJohnny,” “Freedom,” “Adam,” “Three Day Eternity,” “No Opportunity Nec-essary, No Experience Needed,” “Inside of Him,” “Don’t Listen to Me,” “ForHaven’s Sake,” “What More Can I Say John?,” “Tiny Little Blues,” “Patient

Richie Havens 93

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- writ-ten 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 therespect it was due. Havens was very much antiwar and supported equality foreveryone including his own African American race. While there wasn’t alwaysa consistently strong social and political statement in his music, the vibeswere often present, especially on stage.

During the folk revival, there were few original African Americans. Asidefrom Odetta Holmes, Harry Belafonte and Miriam Makeba, the pantheon ofperformers were mostly Caucasian. Many of the blues artists who were redis-covered during that period had been on the circuit for years. Havens provedthat a black man could play inspired folk music, most notably his appearanceat Woodstock. The urban folkie brought a much different dimension to theroots boom.

Richie Havens is best remembered for being the opening act at Wood-stock. But his career comprised of more than just that one concert; the enter-tainer has been a consistent figure on the folk circuit for forty years. With amixed bag of song material, he was been able to please audiences with the musicthat 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.


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 whoemerged on the scene with a solid guitar beat and a protest song in theirheart. Some became innovators while others would fade from the scene bythe end of the decade in bitter disillusionment. There were others whoremained a recognized name, like the man who understood that the musicbusiness was a circle game. His name is Tom Rush.

Tom Rush was born on February 8, 1941, in Portsmouth, New Hamp-shire. In his teens, he picked up the guitar and developed a love for folk, bluesand early rock and roll. Before beginning a post- secondary education, a musiccareer 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. Atthe turn of the 1960s, he performed in Boston- area venues, especially TheClub 47, which was at the time the premier coffee house. He managed towork his way into a weekly spot and learned from many who passed through,including Joan Baez, Eric Von Schmidt, Phil Ochs, Tom Paxton, and FredNeil, 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 livesetting 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 “TalkingDust Bowl Blues.” Although it possessed certain shortcomings, the basic rudi-ments of Rush’s style were already in place.

He would release one more album, Got a Mind to Ramble, before sign-ing to a major label. The acoustic session featured standard fare with a fewsurprises, including Merle Travis’s “Nine Pound Hammer” and “Mole’s Moan,”

Tom Rush 95

which Maria Muldaur had written. More importantly, the set included oneof his own compositions, the interesting “Duncan and Brady.” Although therecord didn’t catapult him to stardom, it demonstrated that Rush was readyto make a significant career advancement.

In 1965, he signed to Elektra Records, then strictly a folk label, andreleased his self- titled record. An eclectic mix, it included “Long John,” “IfYour Man Gets Busted,” Woody Guthrie’s “Do- Re- Mi” and Kokomo Arnold’s“Milkcow Blues.” He continued to perform at coffee houses around the Bostonarea, as well as stretching out to different areas on the East Coast. Rush wasbuilding momentum both as a studio and live artist, but was yet to becomea national figure.

His next effort consisted of one side that was full- out rock and roll andincluded the classic Bo Diddley tunes “Who Do You Love?” and “Can’t Judgea Book by the Cover.” The second side contained country folk blues such as“Galveston Flood” and “Statesboro Blues.” He played twelve- string acousticand slide guitar on the record with equal comfort. Although it was a solidalbum, fans demanded acoustic folk songs.

By 1968, he was at the forefront of the folk movement and performedsongs from relatively unknowns such as Joni Mitchell, James Taylor and Jack-son Browne, giving their career a solid boost. His full maturity as a songwriter- singer- poet emerged with the effort The Circle Game. The title song, aMitchell tune, as well as her “Tin Angel” and “Urge for Going,” provided abalance and depth to the album. His own “Rockport Sunday” and “NoRegrets” only added to the strength of the work. During a period when therevival had faded and the singer- songwriter was coming into vogue, Rushprovided an inspiration to many aspiring musicians.

In 1970, Rush signed to the Columbia label and for the next five yearsgave numerous interviews, made many television appearances, toured andrecorded heavily. During this span, his career blossomed by adopting a folkrock sound that fans wanted and he was able to execute with his multipleabilities. After the release of Ladies Love Outlaws, the drained folkie decidedto 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 presti-gious Symphony Hall. The time off had rekindled the energy, and he was readyto resume his career. The concept to create a forum like the Club 47 wherehe played earlier in his career was initiated at the Symphony Hall. The ideawas to put on shows that combined well- known artists like Bonnie Raitt, BobDylan, Emmylou Harris with others just starting out like the unknown Ali-son Krauss or Mark O’Connor. The plan worked, and it was something hetook 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


his 20th anniversary in the music business. A second live effort, Late NightRadio, marked what would be the last product in more than a decade beforeany new material would be released. However, Rush continued to appear inconcert at smaller clubs, open air festivals and other venues.

In 1999, Columbia/Legacy released a Tom Rush retrospective album thatcovered the span of time from 1962 to that year, selecting material from hisColumbia, Elektra, Prestige and independent recording years. The work enti-tled The Very Best of Tom Rush: No Regrets included a new tune, “River Song,”which featured vocal contributions from Shawn Colvin and Marc Cohn. Theeffort returned him to the attention of the record buying public.

In 2003, Trolling for Owls, a live CD was released and appeared on hisown Nightlight Recordings label. It provided a complete performance andincluded the spoken stories that had been such a large part of the live showsand 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 theartist at his creative zenith. He established Maple Hill Productions and con-tinued to tour on a regular basis.

In 2009, he released What I Know, and despite the long layoff, Rushsounded fresh and eager to continue his recording career. The work includedthe 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. Therewere impressive guest vocal appearances from Bonnie Raitt, Emmylou Har-ris and Bonnie Bramlett. It was a long overdue project that thrilled fans andcritics alike, waiting for too many years for fresh product. He continues torecord and perform.

Tom Rush is a folk music survivor. His roots date back to almost thebeginning of the folk revival and stretch to the present day. Despite an unevenrecording career, he has continued to thrill audiences with his charming racon-teur abilities, as well as an integrity and familiarity that resonates through-out the entire catalog. Unfortunately, like many other folk artists, he wasseverely under recorded.

In any assessment of Rush, one must consider his vocal talents first andforemost. The good- natured, friendly and intimate timbre has been a trade-mark 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 thatradiates sincerity. There has always been something magical about the easilyaccessible delivery and the ability to transport the lyrics to songs into thehearts and minds of listeners.

A Tom Rush concert is a special treat. The first- class storyteller withinteresting, humorous, spoken stories are an integral part of his fame. He wasalways able to write and sing about the things people cared about. Moreimportantly, 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 balladswith a tinge of melancholy and the gritty energy of the blues has always madefor an enjoyable evening.

Because of the lack of studio production in the past thirty years, it wasthe live performances that sustained his career. The Club 47 concept wasingenious and enabled him to remain in the forefront of contemporary folkscene. It also afforded him the luxury to create a magical musical universe byinserting a perfect balance of older, established artists and younger unknownstrying to break through.

A variety of artists from across the musical landscape have performed atthe Club 47 shows. There have been folk stalwarts like Bob Dylan, Doc Wat-son, 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, AlisonKrauss, Emmylou Harris, David Bromberg, John Hammond, Jr., John Sebas-tian, Nanci Griffith, The Cambridge Harmonica Orchestra and The CharlesRiver Valley Boys. It has been a wonderful platform for all involved.

Rush made a strong impact in not just folk, but the entire Americanmusical landscape. He was one of the architects of the revival and an inspira -tion for the renaissance in the 1980s and 1990s. A variety of artists benefitedfrom listening to his music, including James Taylor, Garth Brooks, NanciGriffith and Shawn Colvin. Like he had done in the past helping unknownartists such as Joni Mitchell, Jackson Browne and Emmylou Harris gain wideracceptance by recording their songs, the gentle singer aided the new crop offolkies.

More than fifty years after hitting the folk circuit, Rush has survived andcontinues as strong as ever. His music and skills have matured and sound asfresh as they did in the heady days of the folk revival. Voted as one of Boston’sTwenty-five Greatest Pop Music Acts Ever, the possessor of that warm, richvoice continues to thrill all with a folkish sound. He has proven that he knowshow 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.


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 var-ious sources. That all changed when Bob Dylan came along and began to writehis introspective, Dylan Thomas–influenced music poetry. Many tried toemulate Dylan, including the folkie who, like a bird on a wire, balanced hismusic between personal vision and traditional material. His name was TimHardin.

Tim Hardin was born on December 23, 1941, in Eugene, Oregon. Theyoungster picked up the guitar at an early age and developed an ear for bluesand jazz long before he became enchanted with folk music. In 1959, the rebelquit school, joined the Marines for a couple of years, and then returned tofinish 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 musicdrew the curious individual to the folk clubs around Harvard where he beganto perform on a regular basis.

During the folk boom, when new coffee houses and clubs opened upseemingly overnight to accommodate the demand for the music, it openedopportunities for unknown musicians like Hardin. He made the most of thischance polishing his skills and material in the many venues up and down theEast Coast. The burgeoning songwriter was able to work original material intothe traditional set, slowly and properly.

By 1962, the talented singer- songwriter had made enough of a name thathe was able to make his first recordings; however, they weren’t released untilmuch later. It would be another four years before product was available tothe record buying public. In 1964, the discouraged artist moved to Green-wich Village and a year later relocated to Los Angeles where he continued toforge ahead with his promising career.

In 1966, his self- titled debut was released and featured a mature song-writer who had composed two gems, “Don’t Make Promises” and “Reason to

Tim Hardin 99

Believe.” While half of the album featured a string orchestra (which Hardinlater dismissed), the other boasted polished demo versions, the deep, heart-felt poetic pieces of blues, rock and folk. Other highlights included “GreenRocky Road” and “Smugglin’ Man.” Of note, he had written all of the songson 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 praisefrom Bob Dylan. In 1967, Tim Hardin II was released and contained the mas-sive hit “If I Were a Carpenter,” a song that sealed his fame as a noted singer- songwriter. A cross- section of artists would cover the tune including JoanBaez, Harry Belafonte, Ramblin’ Jack Elliott, Burl Ives, the English fingerpicker Bert Jansch, country outlaw hero Willie Nelson and Detroit rocker BobSeger. 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 onthe Ceilin’,” and the blues standard, “Hoochie Coochie Man.” The songsdated back to the early days in Greenwich Village when the struggling artiststill didn’t have a record deal. However, his next effort, Tim Hardin 3 Livein Concert, was a collection of concert recordings and remakes of previousdemo songs. It was an interesting assemblage of tunes that shed a differentlight on a very strange musical personality.

In the late 1960s he was a familiar figure on the folk circuit in the UnitedStates and Europe. He played Woodstock, dazzling the crowd with his reper-toire of introspective pieces. At the time, many weren’t that familiar with hismusic; 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 inthe rural, upstate New York community of artists and musicians that includedBob Dylan and The Band, among others.

In the early 1970s, Hardin, always a restless spirit, relocated to Los Ange-les and begun his downward spiral. While in the Marine Corps serving inVietnam, he had acquired a heroin habit that would lead to an early demiseand the ruination of a promising musical career. From this point on, therewould be moments of brilliance balanced with times of despondency as Hardinstruggled against the drug addiction.

In 1969, a greatest hits package appeared a little premature since hiscareer 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 featureany of the deeply emotional, beautiful lyrics of the earlier, past efforts. Despitea promising showing at Woodstock, the heroin addiction and stage frightwere making the live appearances frustrating affairs for promoters and fansalike.

In 1971, he released Bird on a Wire, which was a solid effort and his last


album to make any of the charts. However, it contained a number of coversongs in comparison to the all original material releases when the heroin hadnot been such a prominent force in his life. The work shed light on an artistthat was teetering on the brink of self- collapse. The title song was a LeonardCohen 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 withHarry Chapin in concert and performed like his old self. That same year, hereleased his final studio work, Nine. A comparison between the material foundon this record and the first releases reveals a shadow of the singer who hademerged to capture critical and public favor. In 1974, the singer moved toEngland where he performed semi- regularly in English clubs, delivering solidsets when the heroin was not consuming all of his energy and attention.

Eventually, he returned to Los Angeles and attempted to jump- start hiscareer 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 heroinoverdose, ending the career of one of the most promising and talented folksingers to emerge during the revival.

Tim Hardin was a folk enthusiast. He had much to contribute butarguably never tapped into his full potential. More than just an average singer,the musician included elements of blues and jazz into his very unique soundto create a special universe. That he was blessed with a songwriting prowesswas clearly evident with the many hits he penned that others eagerly covered.

A gentle, soulful singer, Hardin poured a bluesman’s emotion into hissongs. There was a lyrical timbre to a voice that caught the audience by sur-prise for its conviction. There was a definite subtle element in the best mate-rial he recorded, reflecting a calm individual who managed to push a messageacross without having to force the words or music. The subtle nature of thedelivery of all the tunes on record or live was the cornerstone of his style.

Because of the clever, sophisticated compositions he wrote, many otherartists were excited to record his songs. The chanteuse Nico, a member ofThe Velvet Underground, cut a version of the touching tribute, “Eulogy toLenny Bruce.” Scott Walker impressed with a cover of “Lady Came from Bal-timore” 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 fromHardin’s repertoire with at least a hundred artists having provided a personalinterpretation of the stone classic.

Hardin was much different than other folk artists because he was nevera pure folk musician. He incorporated dashes of blues and jazz into his stylethat 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 bandOregon 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 includesDavid Bromberg, Nico, Rod Stewart, George Usher, Hobotalk, JacksonBrowne, Randy Newman, Marc Benno, Jim Morrison, Jim Croce, Ramblin’Jack Elliott, Harry Chapin, Mary Chapin Carpenter, Nanci Griffith, MattCosta and Misty Roses. However, many of his contemporary folk singers ofthe time also were touched by the Hardin magic, including Joan Baez, BobDylan, Jesse Winchester, Tom Rush, Françoise Hardy, Tim Rose, Rick Nel-son, Sandy Denny, Gordon Lightfoot, Fred Neil, Buffy Sainte- Marie and PhilOchs.

Tim Hardin was an important folk singer and one of the most illustri-ous to emerge at the tail end of the revival. The songwriting skills were uniqueand his talent was undeniable. But from the onset there was always some-thing tenacious about his career; he was always the bird on a wire perform-ing 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 every-one was swept up in the fever. Numerous aspiring musicians picked up a gui-tar and attempted to emulate The Weavers, Pete Seeger, Woody Guthrie andThe Kingston Trio. For many the dream of stardom faded rather quickly,while others persevered and became vibrant performers. One of the folk per-sonalities that has weathered the test of time is the man with the blue riverstyle. His name is Eric Andersen.


Eric Andersen was born on February 14, 1943, in Pittsburgh, Pennsyl-vania. At age eight, he picked up the guitar and honed his skills by listeningto folk and blues records and playing along to the radio. Later, the youngman rode the rails West to gain experience to provide the foundation for acycle of songs and to secure a recording deal. Although he did gather someof the raw material through these experiences, a contract was not forthcom-ing and he returned East.

He began to play the folk clubs and coffee house circuit up and downthe 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 ofsingers 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 ofthe other new artists on the scene, the East Coast performer possessed a wealthof experience and was able to quickly find work in the local clubs like Gerde’sFolk City and the Gaslight Cafe. In a short time, the artist enjoyed enthusi-astic reviews.

It was through the live performances that he gained the much soughtafter 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 stylethat was quickly becoming yesterday’s method. Although his simple approachof acoustic guitar and vocals sounded dated compared to what others weredoing, at the Newport and Cambridge folk festivals, he shared top billing withthe 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. Thesecond album, ’Bout Changes & Things, contained a decided maturity in thesongwriter and well- known songs. It included “Violets of Dawn,” “ThirstyBoots,” and “I Shall Go Unbounded.” Once again, it was mostly self- writ-ten except for “That’s All Right Mama,” and “Champion at Keeping ThemRolling.”

In an effort to sound more contemporary, the album ’Bout Changes &Things, Take 2 was released, which featured nearly the same songs as the pre-vious disc. However, this version contained fuller folk rock arrangements ofeach tune and brought a whole new audience to Andersen that had never heardof him before, which boosted record sales. The folkie made the most of theopportunity.

He continued to perform at many folk clubs and coffee houses, as wellas open air festivals. At this point in his career, Andersen was attempting to

Eric Andersen 103

strike a balance between being a live performer and studio musician. On thenext release, More Hits from Tin Can Alley, the trend toward folk rock con-tinued as a number of session men including Al Kooper, Bobby Gregg, HerbLovelle, Paul Harris, and Paul Griffin appeared. The entire record was self- written, and once again proved his maturity as a composer.

In the 1970s, the singer- songwriter was in vogue; and although Ander-sen was one of the best, he was unable to break into the top echelon despitethe quality of the material. With the album Avalanche, he continued to writeand record songs of the folk rock ilk, utilizing session players including ChuckRainey, Bruce Langhorne, JayDee Maness, Eric Gale, and Lee Crabtree. Therewas a sensitivity to the music and a genuine talent that was blatantly appar-ent.

In 1972, Blue River was released and critics and contemporaries consid-ered it to be his masterpiece. Recorded in Nashville, it was the perfect set-ting for Andersen’s softer, poetic folk- drenched songs. Joni Mitchell appearedon the title track providing more than adequate support. Yet, despite thequality of the material that ranged from “Pearl’s Goodtime Blues” to “Is ItReally Love at All,” “Sheila,” and “Round the Bend,” none of the individualtracks made it to the top of the charts. However, the album was well receivedin the folk rock, soft country circles.

He continued to record, but to a lesser extent. Each subsequent albumcontained a couple of gems. For example, Be True to You featured the titletrack and “Time Runs Like a Freight Train,” which were both outstandingsongs. Although Sweet Surprise would be the last studio work for nearly adecade, Andersen kept performing at different types of venues because manyof 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 fea-tured reworked versions of songs that had been previously released. On“Woman, She Was Gentle,” Joan Baez, with her clear, soprano voice, pro-vided excellent backing vocals. The classic “Moonchild River Song” in its fulllength was also included on the disc. There were three new songs: “Make ItLast (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’sRick Danko and Norwegian guitarist Jonas Fjeld. The talented singer alsocontributed to Jack Kerouac and Phil Ochs tribute anthologies, and performedon a regular basis at a variety of venues. Andersen was determined to ride theromantic folk style even if it was yesterday’s sound.

In 1998, Memory of the Future, the first release of all new material in nineyears, proved that he had not lost any of his abilities. There were very stronglyrics 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. Fromthis point on, Andersen would be more prolific, releasing You Can’t Relive the


Past, Today Is Highway Plus and the tour de force Beat Avenue in a very shortamount of time.

He continued to record. In 2004, The Street Was Always There wasreleased, providing a retrospect of the Greenwich Village crowd that includedBuffy Sainte- Marie, Bob Dylan, Tim Hardin, Fred Neil, Phil Ochs, Peter LaForge and Paul Siebel’s music. The nostalgic tone to this work that harkenedto the exciting days of the revival received more attention in the installmentin the series.

The album Waves, an eclectic mix with featured songs from Tom Pax-ton, Fred Neil, Bob Dylan, Otis Rush, and Andersen, had its merits. In 2007,Blue Rain appeared and illustrated a singer- songwriter who had grown strongerover time. The CD included Neil’s “The Other Side of This Life,” and mostlyoriginals. He continues to record and perform.

Eric Andersen is a folk music survivor. As one of the prime participantsof the 1960s folk boom, years later, while many contemporaries faded fromthe scene, the engaging singer moved forward despite the fact that he neverscored a top hit. There was always something appealing to the East Coastfigure’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 tim-bre that was the opposite of someone like Dave Van Ronk’s brutish, grittyblues delivery. Later, the tenor would slip into baritone territory, but alwaysremained a good selling point. The soothing voice was perfectly suited forthe romantic and poetic style rather than the protest march like other prac-titioners in the style.

Andersen was an interesting guitarist. An adept finger picker who meldeda unique style to strong vocals, he was clever enough to project all talents asa precise package instead of featuring the instrumental skills as a prominentelement. He was not the most original axe man, but with the exception of afew, none of the folk revival artists were known for their virtuoso.

With such diverse talent as Rick Nelson, Judy Collins, Peter, Paul andMary, Johnny Cash, Joan Baez, the Grateful Dead, Fairport Convention andLinda Ronstadt recording his material, Andersen proved that he was morethan an adequate songwriter. He had a subtle, yet interesting influence onRonstadt, Judy Collins, Mary Chapin Carpenter, Suzy Bogguss and KathyMattea, among others. A tribute to his strength as an artist was that he per-severed despite never securing a top hit.

Eric Andersen was a folk mainstay during the golden era of the genreand remained a strong performer over a long, somewhat spotty career. Therewas 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 sceneswith his varied and enjoyable brand of blue river music is a test of characterand patience.

Eric Andersen 105

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 infolk music. The traditional songs that had been performed for centuries byeach succeeding generation was slowly replaced with more political content.The plight of millions struggling to survive the tough economic times spurnedon a bevy of artists including Woody Guthrie, Cisco Houston and Charlesand Ruth Seeger.

It was from these trendsetters that the political folk of the revival tooktheir cue. At the beginning of the golden period, there were few overtly socialor critical tunes, but when the Civil Rights Movement became a major issueand 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. Theenvironment, the real threat of nuclear war, nuclear energy, injustice aroundthe world, the right to smoke marijuana and the fight for individual rightsall became popular themes and song fodder. Although the acoustic accom-paniment didn’t change at the beginning, there was a drastic shift in lyricalcontent. The words were usually from a left- wing point of view taking adefinite stance on an issue. The hard hitting, biting, satirical words becametools of change.

The acoustic guitar reigned during the first part of the folk revival as themusical tool of choice. Later, the average folk recording artist began to bringdifferent instruments into the studio, including electric guitars, bass and drums.Purists scoffed at the intrusion, but since many folk- based performers hadaugmented their sound, it was necessary for others to follow suit.

The organizers of political and social rallies utilized folk music to drawin crowds. At the civil rights March on Washington, artists sang traditionalmaterial to push across the message of social justice. Often a single performeror a group of singers would begin and end the procession. Later, loud, ampli -fied rock music was the first choice since it drew larger numbers of youngpeople into protests.

The decade of the 1960s was the heyday of the protest song, but in the

107

past decades folk has been utilized to bring to attention a number of contro-versial issues. The image of a lone performer bent over an acoustic guitar hasnever grown old and became the voice of the meek versus something greaterin 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 thathas never died.

The following figures were prominent in elevating the traditional folksong to a position of cultural change. When artists began to write their ownmaterial, they often did it with one of the past protesters in mind, especiallyWoody Guthrie. The fervent material of the political folk still reigns to thisday as a new generation takes their cue from those who were at the forefrontduring the revival.

Odetta Holmes has often been called the Voice of the Civil Rights Move-ment, but she was more than that. She was one of the first African Americanfemales to assert her independence.

Utah Phillips was dubbed the Golden Voice of the Southwest, but madehis mark as a folk artist on the East Coast.

Peggy Seeger, the longtime wife of Britain’s Ewan MacColl, boastedstrong pedigree and devoted her energies to feminist causes.

Tom Paxton was a humorist, satirical folkie whose lyrics were funny, yetas reflective and thoughtful as the harshest songs created by others.

Phil Ochs was a brilliant songwriter who penned angry, violent songs tomake his point.

Joan Baez was the first superstar of the folk revival and brought a youngfemale presence to the genre that was long overdue.

Bob Dylan arrived from Minnesota totally unknown and quickly assumedstar status in Greenwich Village.

Country Joe McDonald was a folkie at heart, despite exploring differ-ent styles including psychedelic rock.

Arlo Guthrie attempted to stay away from his father’s imposing shadowby 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 issuesattached to the music. In the early 1960s, before the Vietnam War mush-roomed and divided the country, the Civil Rights Movement dominated thefolk songwriter’s imagination. One individual who had been at the cusp of

108 Part Three. The Political Folk

the revival and became a strong voice during the fight for equality was sim-ply known as Odetta.

Odetta Holmes was born on December 31, 1930, in Birmingham, Ala-bama, but grew up in Los Angeles, California. Her musical career began withoperatic lessons while a teen, since it was believed that she might follow inthe footsteps of famous opera singer Marian Anderson. However, Odettachose the musical theater path instead, but didn’t limit herself. She listenedto a variety of music including blues, jazz and spiritual.

In 1944, she became an ensemble member of the Hollywood TurnaboutPuppet Theatre. For the next five years, Odetta honed her acting skills anddeveloped her deep talent while performing in a variety of productions. In1949, she joined the touring company of Finian’s Rainbow. During this period she discovered folk music, in particular, the ballad. The teenager wasexposed to the folk blues harmonica of Sonny Terry. From this point on, theentertainer dedicated her career to concentrating on singing traditional mate-rial.

In 1950, Holmes returned to summer theater stock in California, thistime 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 todevelop the reputation as a strong local folk scene, a place the beatniks calledhome. Upon her return to Los Angeles, she found work as a domestic. Whilenot cleaning house, she shared a bill with the famous Paul Robeson.

For a relatively unknown singer, her career developed rapidly. Despitethe fact that America was still segregated, Holmes managed to work in a num-ber of venues that were considered “white” establishments. She appeared intop clubs like the Blue Angel in New York City, as well as The Hungry andTin Angel in San Francisco. Odetta established a solid reputation through-out 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 andwanted 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 revivalhad taken hold. The debut featured a simple formula: Holmes’s plaintivevoice and basic acoustic guitar. There were well- known songs like “MuleSkinner Blues,” “Jack O’ Diamonds,” “Alabama Bound,” “Joshua,” and aLeadbelly tune “Easy Rider.”

In 1957, her sophomore record, The Gate of Horn, was released. It was alive album and featured backup musicians as well as slew of traditional clas-sics; “Greensleeves,” “Devilish Mary,” “Lowlands,” “The Fox,” and “The Gal-lows Pole.” A much stronger effort than the first disc, it showcased her voiceas well as Odetta the musician stretching out on guitar. Undoubtedly, one of

Odetta Holmes 109

the authentic folk singers at the time, she dazzled people with a voice thatranged from coloratura soprano to baritone.

She continued to perform and record. The fact that Holmes was anAfrican American in a time when segregation was still rampant, plus one ofthe few females on the circuit, worked both in her favor as well as against thesinger. However, one thing was evident: with each new release she was becom-ing 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. MyEyes Have Seen featured some traditional material, but also daring numberssuch as “Bald Headed Woman,” “Motherless Children” and “Ox- DriverSong.”

With My Eyes Have Seen and Christmas Spirituals, the latter a collectionof songs that emerged from the sufferings of slavery, she was gradually becom-ing a voice for the African American people. Another powerful album addedto the collection was Ballad for American and Other American Ballads, whichfeatured the Earl Robinson classic “Ballad for Americans,” as well as WoodyGuthrie’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 inspiredbecause she was instilling the controversial material into the sets. Before,Odetta had been a traditional folkie on stage, strumming acoustic guitar andworking through static material in a slow, high- pitched voice. The singerwith the new image appeared stronger and bolder, creating a much differentmusical universe that some found offensive. Despite the negative press, shecarried on.

Her next effort, Odetta at Carnegie Hall, captured the singer live and ather creative heights. Bill Lee, the unsung hero on string bass, backed her onceagain. The albums At Town Hall and Odetta and the Blues followed. The lat-ter was a respect and tribute honoring the classic female blues singers from abygone 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 folkrevival 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 andplaced 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 MyBucket,” with the very popular Harry Belafonte. The fight for equality hadbeen a long, tough battle, and the fact that she championed the cause onlyincreased her status.

The famous singer continued to increase her status as a political andsocial folk singer before Bob Dylan, Joan Baez and Phil Ochs were recog-nized as that type of performer. With each recording and live show, Odetta


pushed the envelope and the level of fame rose in accordance. In 1963, itcrystallized with arguably her greatest moment when she stunned audienceswith the rendition of “O Freedom” at the civil rights March on Washington.While there were many singers in attendance that day, including Bob Dylanand Joan Baez, Odetta delivered the most powerful set.

In 1967, with the end of the revival over, Odetta attempted to adjust tofinding a place in the entertainment world. Like other folkies, she recordedan album, Odetta {1967}, with full electric accompaniment. It featured a con-fusing number of styles including The Beatles’ “Strawberry Fields Forever,”some gospel, “Child of God” and “African Prayer,” a show tune, “Little GirlBlue,” and a children’s song, “Little Red Caboose.” Also that year, she per-formed at Woody Guthrie’s memorial concert.

She expanded her talents to the big screen and appeared in CineramaHoliday and Sanctuary (the latter based on a William Faulkner novel). In the1970s, she joined an all- star cast to appear in the film Autobiography of MissJane 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, dur-ing an interview Odetta talked about her influences, spirituality and involve-ment in the struggles for racial equality.

During the bicentennial year, she performed in the opera Be Glad ThenAmerica, appearing as The Muse For America. An interesting work, the PennState University Choir and the Pittsburgh Symphony backed her. At thispoint in time, she had almost given up the recording side of her career, releas-ing only two albums between 1977–1997. In 1987, Movin’ It On was releasedand a year later, Christmas Spirituals.

But, in 1998, she changed career paths and dedicated more energy torecording and touring. The To Ella CD (dedicated to old friend Ella Fitzger-ald upon her death two years earlier) was a success. It featured Odetta backdoing what she became famous for: playing acoustic guitar, singing folk mate-rial mixed with African American spirituals and rural blues. The albumincluded nearly a thirty minute recording entitled “Suite : Ancestors/900Miles/Red Clay Country/Another Man Done Gone/No More Cane on theBrazos/Pretty Horses/Poor Wayfarin’ Stranger/Shenandoah/Can’t Keep fromCryin’/Trouble.”

In 2000, Blues Everywhere I Go, was released and nominated for aGrammy. The blues jazz CD was a tribute to those who sang about the AfricanAmerican situation including Leadbelly, Victoria Spivey and Big Bill Broonzy.There were other recording highlights during the last part of career, includ-ing 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 albumGonna Let It Shine. To augment the new material, she toured extensivelythroughout the world.

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Odetta also made many guest appearances on the albums of countlessother artists and saw many older recordings re- released on CD so a youngergeneration could discover her musical charm. One of the more interestingprojects at this time was the involvement in the 2005 documentary, No Direc-tion Home. It included a forty- year clip of her performing “Waterboy”; butmore 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 onher own tour covering Canada, the United States and Europe. She remainedthe political activist with an appearance during the tour as the keynote speakerat a human rights conference in Latvia. There was also a concert in Riga atthe prestigious and historic Maza Guild Hall.

In 2007, Holmes toured throughout North America to support therelease of Gonna Let It Shine, which was nominated for a Grammy. The singeralso took part in the Fall Concert Tour in the “Songs of Spirit” show thatincluded artists from around the world. She continued to combine concertdates with social activism. A perfect example was her speech in San Diego onMartin Luther King Jr. day, followed by concerts in a number of Californiacenters. Later, in the spring, Odetta delivered a part documentary concert inOberlin, Ohio.

Despite the activity, it was apparent that Odetta was slowing down andfacing tough physical challenges. Her 2008 summer tour was performed froma wheelchair and included old standards such as “House of the Rising Sun.”Although her mobility was limited, the strong spirit remained and the feistyindividual was determined to continue her career and make selected appear-ances. An example was the effort made to attend the Liam Clancy tribute con-cert in Greenwich Village.

After a few last concerts, most notably at San Francisco’s Golden GatePark to a large audience and another in Toronto, she entered a New York hos-pital. On December 2, 2008, Odetta Holmes, the revered, enthusiastic folkblues singer and political activist passed away, succumbing to heart disease.

Odetta Holmes was a folk blues treasure. For five decades, she dedicatedher life to spreading the gospel of equal rights, justice and the beauty of musicto audiences all over the world. This effort made the singer famous, but theactivist was always more interested in change rather than notoriety. In a careerthat included many more highlights than low points, she persevered and leftan undeniable impact on the folk genre.

Odetta possessed a voice built to belt out blues- speckled folk music thatincluded anthems of protest, chants of freedom and tunes of justice. Therewas an unmistakable element in her voice which touched a nerve impulse inpeople. The rich alto- mezzo- soprano- baritone enriched every song covered,


no matter what style it was recorded in. In later years when health problemscropped up, the devoted entertainer never lost the power and enthusiasm thathad been trademarks since the folk revival.

With such a versatile vocal delivery, Odetta was able to cover a wide rangeof material from old blues to spirituals to folk to pop and show tunes. Hercatalog is scattered with an assortment of songs she wrote and interpreted.The artist approached material with a time- tested style which sounded yearsaway from the modern singers she so heavily influenced. A short list of treas-ures she gave the world includes “This Little Light of Mine (I’m Gonna LetIt 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, JanisJoplin, Bob Dylan, Maya Angelou, Pete Seeger, Harry Belafonte, GeoffreyHolder, Steve Earle, Sweet Honey in the Rock, Peter Yarrow, Tom Chapin,Josh White Jr., Judy Collins, Whitney Houston, Dionne Warwick, and DianaRoss, to name a few. The power of her voice, the conviction in what she wasdoing and the determination overcoming many health, racist, and politicalobstacles was an inspiration to many.

She received many tributes long before she passed away. In September1999, then President Bill Clinton presented her the National Endowment forthe Arts National Medal of Arts. A few years later she was honored at theKennedy Center with the Visionary Award. Tracy Chapman, another vocal-ist who owes a debt to Odetta, performed that evening in tribute to the guestof honor. In 2005, the Library of Congress honored her with its “Living Leg-end Award.” In 2006, the Winnipeg Folk Festival awarded Odetta the Life-time Achievement Award. A year later, the International Folk Alliancepresented her with Traditional Folk Artists of the Year.

In 2007, a concert held at the Rachel Schlesinger Theatre by the WorldFolk Music Association was a tribute to Odetta. Performers included PeteSeeger, Madeleine Peyroux, Harry Belafonte, Janis Ian, Sweet Honey in theRock, Josh White Jr., Peter, Paul and Mary, Oscar Brand, Tom Rush, JesseWinchester, Eric Andersen, Wavy Gravy, David Amram, Roger McGuinn,Robert Sims, Carolyn Hester, Donald Leace, Marie Knight, Side by Side, andLaura McGhee, a Scottish singer.

In 2008, she was honored at a historic tribute night. Wavy Gravy, theone time leader of the Hog Farm Commune, hosted the event and fellowmusicians David Amram, Guy Davis, Vincent Cross, and Christine Lavin per-formed. In February 2009, her memorial service was held and included MayaAngelou, 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 JoshWhite), Emory Joseph, Rattlesnake Annie, the Brooklyn Technical HighSchool Chamber Chorus, and videotaped tributes from Tavis Smiley and JoanBaez.

Odetta was an architect of the folk revival with her interpretation of tra-ditional folk, blues- drenched material and spirituals. She was one of the fewwho had established a career before the boom came and made the most of thenew opportunities that were available. With a keen, strong voice, Holmesthrew her support behind one of two main causes during the decade, the CivilRights Movement, as the classic singer utilized that crystal voice to gain equal-ity and social justice.

Odetta made enormous contributions to the folk blues field and tohumanitarian causes. She was a revered singer whose influence continues tomake an impact to this day. Her power as an artist stretched from before thefolk revival to long after the era was over. Although dubbed the Voice of CivilRights 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.


Utah Phillips (1935–2008)The Golden Voice of the Great Southwest

The link between folk music and the labor movement was established atthe 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 theinitiator 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 manknown 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 becomeproficient enough on it in order to play in front of an audience. However, hechose a different path. As a worker on a road crew at Yellowstone Park, whenthe 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 oflabor, as well as a love for the theater. He acted in a number of plays honinghis talents as a thespian. Later, when the young boy’s parents divorced andhis mother and her second husband moved the family to Utah, the interestwas 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 musicfrom the cross- section of people he met. At the time he was a country musicaficionado citing Hank Snow, Roy Acuff and T. Texas Tyler as personalfavorites. It was from the latter that he devised his new moniker U. UtahPhillips. With a different name, he continued the voyage of self- discovery andtaught himself the guitar and wrote his initial songs. The young man workedas a dishwasher, stock clerk and printer to support the nomadic lifestyle.

His enthusiasm and adventures as a train hopper fueled his songwritingimagination, which parlayed into later albums such as Good Though!. It con-tained the songs “Daddy, What’s a Train?,” “Queen of the Rails” and “MooseTurd Pie.” Another example was Starlight on the Rails released in 2002. Butat this point, he was many years away from recording his own material andremained broke and depressed, so he joined the Army.

Some time later, Phillips became a soldier fighting in the Korean conflictwhere 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 enthusi-astic response. At the same time, the devastation of post- war Korea shapedhis blossoming political and social conscience making him realize that therewere many problems in the world that could be solved with music.

Upon his return home, he tramped around riding the rails before return-ing to Utah. It was there that Phillips met Ammon Hennacy, a pacifist andsocial worker from the Catholic Worker Movement. Together they joinedforces to establish a mission house of hospitality named after the activist JoeHill, both acknowledging their deep respect for the many sacrifices he madein order to advance the labor movement. For the next eight years, the ex- soldier balanced a singing career while working at the Joe Hill House, whichhad a profound influence on him.

Although he had been performing for some time, Phillips had neverwritten any serious material. The hobo tales from the rail hopping days werenothing but brief character sketches. The young musician began to incorpo-rate some of the thoughts and beliefs learned from his new friend and lifeexperiences into serious songwriting efforts. Finally, the first professional piece,entitled “Enola Gay,” was finished. A political tune, it proved to be strongencouragement and he began to pen more. Like the devotion to learning howto play an instrument and singing, the writing development was nurturedalong slowly.

He continued to struggle as a musician and often worked taverns play-ing for what little money was thrown in the guitar case. In the 1950s, he metfolk singer Rosalie Sorrels and the two established a lifelong friendship. Shewas the first performer to sing Phillips’ material, spreading about his namein areas where he was totally unknown. The two remained in contact and col-laborated on occasion sharing a passion for music, as well as different politi-cal causes.

Despite the encouragement from Sorrels, Phillips’ career seemed stalledand needed some kind of spark. He had very little understanding of com-mercial appeal in order to broaden a fledging career. All of this changed whenKenneth S. Goldstein heard Utah play and decided that he was worth record-ing. In quick succession, the aspiring entertainer recorded a first album, NoOne Knows Me.

In the early 1960s, he was living in Utah where he juggled a connectedbalance between a musical career and a political perspective. Phillips cham-pioned different causes including the Cuban missile crisis and housing oppor-tunities 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 onthis ticket that he ran for a Senate seat; but the aspiring politician riding onthe Peace and Freedom platform failed in the bid.

A long- standing member of the Industrial Workers of the World, he was


considered more of a Christian anarchist. Phillips donated much of his timeto performing for free in order to reach people with the message of the impor-tance of labor unions and their struggles against management. In these freeconcerts, 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 exposureof 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 otherspursued. However, despite the lack of attention, the burly individual was well- known in a different light than someone like an Odetta Holmes or Coun-try Joe McDonald.

In 1969, because of his radical views, he found it impossible to find workin Utah and relocated to the East Coast. Originally, Phillips had planned tofind work to finance his next campaign; but instead he arrived at SaratogaSprings, New York, and discovered old friend Rosalie Sorrells had recordedand introduced some of his songs to the Northeast audience. She encouragedhim to perform at the Caffe Lena club, which the gruff old songster did andbecame a professional singer.

That same year he cut another album, El Capitan, on the Philo label. Itcontained a number of Phillips originals, including “The Telling Takes MeHome,” “The Goodnight Loving Trail,” “Scofield Mine Disaster,” “EnolaGay,” and “She’ll Never Be Mine,” mixed with traditional songs “JohnnyThurman” “John D. Lee,” and “Jesse’s Corrido.” While others would amassa larger, more spectacular catalog, the great voice of the Southwest was neverthat prolific. However, there was a quality to the scant material that wasrecorded.

Phillips began to tour many of the coffee houses in Greenwich Village.The enterprising folkie incorporated the strong political causes that he hadfought for into his stage presentation. The half- serious politician ran for thepresidency every single election, more as an anarchist then a serious con-tender. When he wasn’t pursuing office, the poet- storyteller- troubadour washolding court at the Caffe Lena as the house singer. Many who had heard ofthe Southwest legend came to greet the man in person.

In the 1980s, the old protester began to slow down due to medical ail-ments 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 onestudio album We Have Fed You All for a Thousand Years. It contained sometraditional material that he had played live for years, including “Hallelujah,I’m a Bum,” “The Preacher and the Slave,” and the “Popular Wobbly.” Iteven included a version of the union- activist anthem “Joe Hill.”

In 1991, Phillips teamed up with Ramblin’ Jack Elliott and “Spider” JohnKoerner, 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 asLegends of Folk. Phillips contributed two songs, “Here with You,” and “TouchMe,” to the project. They also reworked some traditional material including“Railroading on the Great Divide,” “Hallelujah, I’m a Bum” and “DanvilleGirl.” The political folk singer proved that he was on par with some of thestyle’s most highly noted performers during this emotional collaborationbetween old cohorts.

He also found time to record an album, the masterful concept work I’veGot to Know. It was cut during the first Gulf War, and through songs andwords it banished the entire idea of war and killing. There were angry tuneslike “Killing Ground” and “Stupid’s Pledge.” The thirty- three songs on thedisc emphasized Phillips the humanist, activist and anarchist. It was consid-ered one of his best efforts, if not the strongest ever released.

In 1996, Phillips retired from active performing, but it was never his fullintention to completely leave the stage. He appeared on average once a monthat various venues. He juggled this with a weekly, one- hour radio show, Loafer’sGlory: The Hobo Jungle of the Mind, broadcast on KPSA in Berkeley, Califor-nia. The aging folk singer also teamed with the younger Ani DiFranco torecord Past Didn’t Go Anywhere. The modern folk album contained the high-lights “Bridges,” “Nevada City,” “California,” “Anarchy,” and “Mess with Peo-ple.”

In 1999, Phillips proved that he could still make a valued solo record-ing and emerged with Loafer’s Glory, which captured him in his essence—telling stories, singing topical songs and reciting poems with a warm, genuineenthusiasm. The effort contained many gems including “Budgie Lore,”“Blackie and the Duck,” “Amtrack,” “Suspenders” and “Jesse James’ FarewellBlues.” The poet’s ability as a raconteur with a sharpness and ease was oneof his essential calling cards.

The gnarly, boisterous folk singer with the assertive voice and politicallyand socially charged material was a larger than life figure. Phillips continuedto perform until his death on May 23, 2008, in Nevada City, California, fromcomplications of heart disease. He was seventy- three years old. Sadly, the folkworld lost one of its most genuine performers.

Utah Phillips was a rambling folk artist. He was a roamer, an enthrallingstory teller, a political activist and a man of principle. His patchy career wasone that never quit evolving and continued to reach different levels up untilhis death. There was a genuine honesty to the man and the songs that enabledhim to carve out an interesting career. He was a person who had somethingimportant to say and did it through song.

The gruff singer had a tough voice. There was an edge to it but at thesame time a charming element that could hold audiences spellbound. Thestorytelling ability was his strongest suit and Phillips knew how to play it to


the fullest potential. He was dubbed the golden voice of the Southwest forgood reason. An intelligent singer, he never wasted words and his economi-cal delivery sparked many to follow suit.

Although he was a good guitarist, Phillips was never a flashy instrumen-talist; but he could hold his own until later on when health problems ham-pered his ability to play. There was a starkness in his approach that was parttalent and part lack of skill. He always managed to push the music acrossdespite not having a total command of the fret board. However, the musicalaccompaniment was never foremost in his attack; the words and the stylewere of greater emphasis. Once he was no longer able to play as much as hewanted to, the great ranter relied more on his skill as a raconteur and monolo-gist in order to entertain the crowd. It was this flexibility which enabled himto string together a career that spanned almost fifty years. He did it more onguts and savvy than pure talent.

Phillips was also an engaging harmonica player, a skill picked up dur-ing the early days when he jammed with the men after the work was done inthe lumber camps. Although, not a great musician, the old artist was able tocombine all of the instrumental and singing talents into one cohesive pack-age. His ability on the mouth organ was equal to that on the guitar.

Phillips’ influence spilled into many different areas. He was a protégé toKate Wolf, the prominent performer who employed acoustic instrumentationand was more of a contemporary singer- songwriter than a folk based inter-preter of traditional songs. Like her mentor, the young woman’s music wasnot about flash, but about substance and entertainment. She was able to pickup 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 twentyalbums. They met at a time when neither was a big star, but they con-nected and continued a musical friendship and mutual admiration society foreach other that endured throughout their respective careers. Sorrels, based inBoise, Idaho, was a strong regional folk singer who gave Phillips’ career ahuge boost.

The old rambler also made a strong impact on others, including pro-tégé, Ani DiFranco, one of the bright, young folk artists on the contempo-rary scene. Together they recorded The Past Didn’t Go Anywhere and FellowWorkers, which was nominated for a Grammy Award. Emmylou Harris tookhis song “Green Rolling Hills” and turned it into a country tune. Many artists,including Ian Tyson and Tom Waits, among others, recorded “The Good -night- Loving Trail.”

More than a just a plain folk singer, Phillips was a spokesman for thecauses he truly believed in. His political activism included being a memberof 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 pro-tected 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 ideol-ogy was to change the world and make it a better place for everyone. As anelder statesman of the folk music community, the burly singer preserved thestories and songs from becoming lost and forgotten. Many, including Wolfand DiFranco, looked up to him because of a larger than life personality.

Utah Phillips was a man of many different dimensions. The guise of per-former was just one of many he donned during his long, colorful life. Althoughnot the most talented individual in the history of the genre, he was appreci-ated in many different circles for a variety of reasons. The man who forged acareer through hard work managed to earn the moniker, “The Golden Voiceof 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 thatparticular style. While the Guthries and Lomaxes made enormous contribu-tions to the field, one familial unit has surpassed the aforementioned to earnthe title as the first family of folk. Parents, Charles and Ruth, and sons, Peteand 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 influ -ential composer and folklorist and father, Charles Louis Seeger, was a pio-neering ethnomusicologist—it was only natural that she would follow in thefamily’s rich folk footsteps. Older half- brother, Pete, was a huge influence,


as was brother Mike. Also, as a child, the revered Libby Cotten was the nurse-maid and taught her many time- honored tunes.

At age seven, she began to learn the piano and would add a plethora ofinstruments in quick succession including the guitar, five- string banjo, auto-harp, Appalachian dulcimer, and English concertina to become a multi- instrumentalist. Seeger also learned to transcribe music, as the love of folkwas enriched with a sense of pride and responsibility. Her parents were seri-ous collectors and protectors of the traditional musical legacy. It was this veryimportant lesson that would shape and define Peggy’s career.

As a teenager, the fine young singer teamed up with her brother Mikeat local venues. Once college age, Peggy entered Radcliffe and majored inmusic. But she did more than just study; she began to perform in public asa solo artist. Although it was just a couple of years before the folk boom, theaspiring musician was able to find a spot to play in Cambridge, Massachu-setts, and received enthusiastic reviews.

In 1955, Seeger relocated to the Netherlands to continue musical stud-ies. Although a champion of folk, she had not chosen a clear path in musicat the time. The wanderlust took the traveler throughout much of Europewhere she absorbed the various ethnic strains of sound. Later, the world tourincluded a trip to Africa. Each mile traveled was a valuable lesson that shapeda political and social outlook and would have a serious impact on the mate-rial written throughout her career.

In 1956, she cut her first set of songs, Folksongs of Courting and Com-plaint. In 1957, Animal Folksongs for Children was released, and Seeger con-tinued to travel venturing into Communist China against the wishes of theAmerican government. Later, the talented folk singer was blacklisted through-out much of Europe, but did not return to the United States. Instead, shesettled in Great Britain in order to begin a musical career.

In 1959, Seeger’s life took a permanent turn when she met the Britishmusician, playwright and social anarchist, Ewan MacColl. Although marriedat the time, he left his wife to be with Peggy. Eventually they would wed, butnot before the pair made all of the gossip pages. It seemed that everyone wasoverlooking the fact that the duo demonstrated a potent musical united force.

The couple would create The Critics Group, a class that guided youngsingers in performing traditional songs and helped them to compose new oneswith a dedication to a connection between the roots and socio- political top-ics. The sessions would evolve into a performance ensemble featuring a mix-ture of song, comedy and satire. There was an annual production entitled “TheFestival of Fools.” It was Seeger’s way of continuing the work of her parents.

Although an American, she quickly became a champion of the Britishfolk revival and dedicated much of her career to talking, singing and empha-sizing 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 Mac-Coll’s subject matter concerned itself with war, prejudice, freedom and socialinjustice, Seeger’s material took on more of a feminist slant. The determinedsinger became an ardent vocalist for the suffragette cause at a time before thesexual revolution had begun. In this way, she was a pioneer.

Her song “Gonna Be an Engineer” was a rallying call for females aroundthe globe. “Nine- Months Blues” dealt with contraception and abortion rights;“Different Tunes” was a comment on mother- daughter relations; “Winnieand Sam” warned against domestic violence; and “Reclaim the Night” tack-led rape. She also wrote songs about other political matters, including union-ism, “Union Woman II”; apartheid, “I Support the Boycott”; the rights ofthe disabled, “Woman on Wheels”; and nuclear disarmament, “Carry Green-ham Home.”

MacColl and Seeger were prolific recording artists. In 1960, they cutNew Briton Gazette, Vol. 1, The Unfortunate Rake, Songs of the Two Rebellions,Popular Scottish Songs, and Bothy Ballads of Scotland. They also recorded assoloists. In 1961, she released Two Way Trip. In between it and her next soloeffort, Peggy Alone, she and MacColl would release New Briton Gazette, Vol.2 and Traditional Songs and Ballads. Each successive effort only enhanced theiralready strong reputation.

When they weren’t recording new material, the couple toured exten-sively throughout the United Kingdom and other parts of Europe. The duooften 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 accompa-nied Seeger and MacColl on stage. The couple brought many different dimen-sions of the folk song to the audience, including material that she had learnedas a child from her nanny, Libby Cotten.

By the 1970s, the McColl- Seeger duo were as well established as anyother icon of the British folk music revival and continued to write political,social and feminist product. She would record At the Present Moment, Pene-lope 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 per-form but with greater selection. In 1977, the couple married and concentratedon raising their three children. In 1979, when Peggy’s father, Charles, passedaway, it was the end of an era and meant that the generation of Pete, Mikeand their sister now had to carry on the family tradition with pride and dis-tinction.

In the 1980s, the couple began to slow down considerably, performingat selected venues and recording less frequently. In 1989, MacColl died. Afterhis death, the Manchester angel traveled to Australia and the United States.


She eventually began to collaborate with Irish singer Irene Scott; the twodubbed themselves No Spring Chickens. They released Almost CommerciallyViable, 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 Car-olina. 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 firstday they met and the large influence that he had on her life. It was duringthis time she began to compile material for a number of songbooks includ-ing The Pegg y Seeger Songbook, Warts and All and The Essential Ewan Mac-Coll Songbook.

Seeger returned to England in order to be with her three children. Thismove also allowed the folk artist to collaborate with her two sons, Callumand Neill. Together they released Heading for Home. Two more albums wouldfollow, Love Call Me Home and Bring Me Home. In 2007, a live album enti-tled Three Score and Ten was released in honor of her 70th birthday. She con-tinues to record and perform in Great Britain, the United States and all overthe world.

Peggy Seeger was a generational continuum. She managed to extend thework of her parents, half- brother and brother, keeping the family traditionalive. A folk song institution, her solo material and that which she recordedwith husband MacColl remains fresh and vibrant to this day. There was aspirit, an energy in her writing that made the feminist singer an importantfigure of the revival.

Peggy Seeger has a voice that soars free and clear. There is a directnessin her vocal delivery whether she is singing one of her own compositions, acover from someone else’s catalog or dusting off some long lost traditionaltune. There is a soothing element that is purely traditional, boasting a home-spun, folksy appeal that has always enabled the engaging singer to capturethe listener’s attention and retain it.

The MacColl- Seeger union saw them operate the Singers Club inEngland, a venue where they performed frequently. Because of her previousventures into China, she was afraid to go home to the United States. Mac-Coll 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 lightof the day. Because of their wide social and political viewpoints, no subjectwas considered taboo. There was a fierce determination in their attempt tobring 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 agroundbreaking 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 revolu-tionary because prior radio documentaries had utilized either professionalvoice actors or prepared scripts. In 1958, the first such creative work, The Bal-lad of John Axon, was aired. To this day, it remains an interesting and utilizedformat.

Although they were pioneers, the couple were also very traditional in dif-ferent ways. For example, the duo never used electronic instruments in anyof their recordings, preferring the simple accompaniment of an acoustic gui-tar, harmonica, piano or other string instrument. This method didn’t changeeven during the era when most folk artists decided to augment their soundin a variety of different settings.

Although a multi- instrumentalist, Seeger never became known as a greatvirtuoso. She utilized the skills to advantage in the studio and on stage, butwas never considered a truly gifted musician. With a musical understandingand a strong intuition, she was able to add the specific instrumental touch atthe proper place to create something special. Her instincts were always verysharp.

Peggy Seeger was an important figure in the British revival along withhusband MacColl. The pair produced a solid body of music that was verysocial and political. They contributed in different ways, like starting theirown label to give new performers a chance, operating a club in order forartists to have somewhere to play and give concerts for the benefit of a variety of charities. The tireless efforts earned her the title, “ManchesterAngel.”

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.


Tom Paxton (1937– )Ramblin’ Boy

One of the greatest elements of the folk revival was the individuality ofeach performer. While they all sang traditional material (often the same songs)and cited similar influences, each expounded on the basic style in a personalmanner. Later, when many began writing more political and social pieces,every artist still maintained a unique voice. One of the most specialized figuresaccomplished 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. Althoughhe settled in the Windy City quite nicely and was ready to absorb the richmusical tradition, at age ten the family moved to Bristow, Oklahoma. Soonafter 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, addingthe ukulele and finally the guitar while a teenager.

He enrolled at the University of Oklahoma as a drama major. It was therethat he developed an initial interest in folk music and began to write his firstsongs. In 1959, Paxton graduated and found temporary work in summer the-ater. The aspiring musician had began to hone vocal skills in an effort toround out his musical abilities. He was determined to make it in the musicbusiness instead of becoming an actor.

In 1960, he joined the army reserve and was stationed in Fort Dix, NewJersey, 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 themetropolitan area and thrive in the rich folk movement that vibrated withsuch intensity, especially in Greenwich Village. During this period, he putthe 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 asinger, appearing at the famous Gaslight and the Bitter End. As well, theambitious young man was writing songs at a furious pace and publishingthem in the Broadside and Sing Out! magazines. However, the rhythm of hiscareer seemed too slow, so in an effort to accelerate this slow drag, he audi-tioned to replace Mike Pugh in the Chad Mitchell Trio. Although Joe Fra-zier won the spot, Paxton made an impression with his material, which ledto a key association with the publishing company Cherry Lane. That workhelped pay the bills.

Action was happening at different ends. The Chad Mitchell Trio includedPaxton’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 hearand admire. After much struggle and initiative, Paxton finally recorded hisfirst album, I’m the Man Who Built the Bridges, a live set captured at theGaslight. 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 reunionat Carnegie Hall, included “Ramblin’ Boy, which appeared on the Reunionat Carnegie Hall 1963 album, released on Vanguard Records. More impor-tantly, as a solo act at the prestigious hall, Seeger performed “A Little NewBaby” and “What Did You Learn in School Today?” The latter established areputation as a political- satirical writer with humorous overtones.

Although Paxton was caught up in the left- wing political action of thetimes, 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 underthe title We Shall Overcome. Years later, it would be issued as a double CDentitled We Shall Overcome: The Complete Carnegie Hall Concert. The abilityto deliver a political statement with a humorous tone was a rare gift and insharp contrast with the material of Phil Ochs.

It seemed that Paxton would enjoy more success as a result of others per-forming his songs than he would playing them himself. When the ChadMitchell Trio released their next album, Blowin’ in the Wind, it contained twoof Paxton’s compositions; “Willie Seton” and “The Marvelous Toy.” Whenthe 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 NewportFolk Festival, an event recorded by Vanguard. A later compilation from thelabel entitled Newport Broadside included the performer’s “The Willing Con-script.” Once again, the song displayed a very humorous side that lightenedthe inflammatory political message. However, despite the power of the num-ber, it did very little to advance his career.

In 1964, he returned to the Newport Folk Festival with the event onceagain recorded by sound people from the Vanguard label. However, the mate-rial wouldn’t see the light of day for nearly forty years, doing nothing for theprogress of Paxton’s career. The revival had created a serious rivalry betweenlabels to scoop up the young talent. Elektra walked in and signed Paxton rightunder Vanguard’s nose.

His debut album for the Elektra label, Ramblin’ Boy, contained the titlecut and two superior gems, “The Last Thing on My Mind” and “I Can’t HelpBut Wonder Where I’m Bound.” Both tunes helped define the Tom Paxtonsound and placed him firmly amongst the leading folk lights of the day, includ-ing the ever popular Bob Dylan. Once again, the ramblin’ boy had managedto deliver a strong political message tinged with humor. The two aforemen-tioned songs illustrated the artist at his creative zenith.


“I Can’t Help But Wonder Where I’m Bound” was the type of song thatmany other artists immediately latched onto. The Chad Mitchell Trio cuttheir 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 KingstonTrio would include the tune on their Atay Awhile record, as well as anotherPaxton composition, “Bottle of Wine.”

Although he had recorded some very successful material, “The Last Thingon My Mind” was probably his most recognized song and definitely the mostcovered. The Chad Mitchell Trio; Peter, Paul and Mary; and Marianne Faith-full all quickly released interpretations of the song. It spread to the countryartists including Charley Pride and Hank Locklin, as well as Porter Wagonerand Dolly Parton, who hit the Top Ten with it on the country charts. Evenrock acts like The Move, featuring Keith Emerson, later of Emerson, Lakeand 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, BillAnderson, Chet Atkins, Joan Baez, Harry Belafonte, Glen Campbell, JudyCollins, Sandy Denny, José Feliciano, Flatt & Scruggs, Anne Murray, WillieNelson, The Seekers and Hank Snow all boasted a cover version.

Despite his acknowledged strength as a songwriter and performer, bythe fall of 1964 in the wake of the Beatles and the British Invasion, the folkrevival was waning. Nevertheless, Paxton marched on and cut Ain’t That News,the second album for Elektra. In 1965, the opposition against the VietnamWar was beginning to take hold, but it had not reached the feverish pitch itwould later on in the decade. However, Paxton addressed the issue with thesong “Lyndon Johnson Told the Nation.”

Although Paxton’s records didn’t sell so well, the cover versions of hissongs continued to pour forth, providing him with much needed royalties.In 1966, the third Elektra album, Outward Bound, continued a dedication tofolk bypassing the current folk rock fusion that The Byrds and Simon andGarfunkel had initiated. The record featured the social statement “Don’t LetNobody Turn You ’Round,” the subtle antiwar message “My Son, John,” lovesong “One Time and One Time Only,” and tunes about wandering “Leav-ing London,” “Outward Bound,” and “I Followed Her into the West.”

In the era of the changing face of popular music, pop psychedelia was invogue when Paxton recorded his fourth effort, Morning Again, which con-tained a different style. It seemed to work, as the song “The Things I NoticeNow” rose through the charts. As well, Tom Paxton 6 gained some attentionfrom different sources. Two numbers, “Forest Lawn” and “Whose Garden WasThis?,” were drawn from the last record. The usual assortment of artists cov-ered the songs including rising star, John Denver, who also recorded versionsof “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 singerenjoyed a loyal cult following. Here Comes the Sun was released on the WarnerBros. 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 UnitedStates and settled in Long Island, he recorded the live New Songs for OldFriends 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 sta-tus around with the goodtime number.

In the following decade he would record for a number of smaller com-panies. 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 wouldreturn to Vanguard and released New Songs from the Briarpatch, which included“Did You Hear John Hurt?,” a tribute to the fame blues singer MississippiJohn Hurt who had rejuvenated his career during the revival and made astrong 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 theSouth African civil rights leader. The second was “Phil,” in honor of fellowfolkie Phil Ochs who had committed suicide. Paxton proved with both songsthat he had not lost any of the special songwriting touch displayed a decadeearlier. However, both lacked the satirical touch of some of the past work.

Paxton continued to record and perform. His Up & Up, featured a col-laboration from longtime folk artist friend Bob Gibson. It included “MyFavorite Spring,” a song dedicated to baseball, one of his favorite passions.The clever songwriter demonstrated that he never lost his sense of humor andwit in the song “I Am Changing My Name to Chrysler,” in response to thegovernment’s bailout of the financially troubled car company. While notreceived well in certain quarters, others added it to his catalog of witty social- political numbers.

In 1982, another cover version of “Every Time,” which the Fureysreleased, managed to place on the British charts. In 1983, Paxton releasedBulletin on Hogeye Record, which once again contained material that made people take notice. “A Little Bitty Gun” needled then first lady NancyReagan after her comments on handgun legislation following the assassina-tion of John Lennon. As well, “There’s Something Wrong with the Rain” wasan environmental effort that explored the acid rain issue, irking governmentofficials.

A tour with friend Bob Gibson and Anne Hills entitled Best of Friendsproved to be a solid, enjoyable experience. Although they never recorded anyof their material, the shows were broadcasted over the radio. Later, Apple-seed Records released one of the performances to enthusiastic reviews. Thecomparison between the three very distinct artists was a pleasure to hear


because it proved that Paxton was still head and shoulders above many of hiscontemporaries.

In 1985, his second record for the Flying Fish label, One Million Lawyersand 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 coun-try had drastically changed since he had emerged as a major folk force, Paxtoncontinued to pen tunes with fresh content that were humorous but also con-tained a message. The clever songwriter had lost none of his creative powers.

After years of recording for a variety of recording establishments, bothlarge and small, he formed a company entitled Pax Records. The prolific artistreleased 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 FlyingFish issued And Loving You, the live Politics, The Very Best of Tom Paxton andIt Ain’t Easy.That Paxton steamrolled material out on a regular basis was insharp comparison to Tom Rush and Ramblin’ Jack Elliott who were suffer-ing through a dearth in their recording careers.

He spent the first part of the 1990s working on a series of children’salbums 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 andLive: For the Record. The song “Johnny Got a Gun,” which appeared on theWearing the Time effort, dealt with youth and gun violence, proving that hisrich songwriting remained intact over the long period of time.

The next few years proved to be an interesting time via the recordsreleased 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’tHelp But Wonder Where I’m Bound joined Vanguard’s Best of the VanguardYears. A series of Mountain Stage radio series from 1994 to 2000 appeared onBlue Plate’s Live from Mountain Stage. Paxton continued to build momentumlong after many of his contemporaries had faded from the scene.

In 2001, he began to record for the Appleseed label, which released AnneHills’ Under American Skies. With the Red House Records company, he cutYour Shoes, My Shoes. The next effort, Looking for the Moon, was nominatedfor a Grammy. Unlike others, Paxton enjoyed performing, and one of thoseconcerts was captured on Live at McCabe’s Guitar Shop. He continues to recordand perform.

Tom Paxton is one of the most durable of the singer- songwriters toemerge from the Greenwich Village folk scene of the late 1950s and early1960s. While many have faded into the pages of history, he has maintained acareer until the present time. He has succeeded with his musical abilities, per-sonal attitude and, especially, songwriting abilities which enabled him to com-bine humor with political and social comment that placed the clever artist ina special universe.

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Paxton possesses a common man’s voice. There is nothing superior orinferior about it. It is easily accessible and suitable to the wide variety ofmaterial he has covered during his long, distinguished career. An entertainerwho has released nearly as many children’s albums as adult records, he wasable 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 nevera great virtuoso. Similar to his voice, the guitar skills were adequate andenabled him to produce the work he wanted to in an easy format that wasaccessible. There was never anything exciting about his instrumental ability,but the common sound it presented enabled him to cover a wide range ofmaterial.

Arguably, Paxton’s greatest strength as a folk artist has been songwrit-ing. There was always an emotional balance in the lyrical content. He couldbe light- hearted and comical in songs such as “What Did You Learn in SchoolToday?,” while delivering a criticism of how children are taught. At the otherend of the spectrum, he wrote material like “Train for Auschwitz,” whichdealt with the holocaust. The number “Jimmy Newman,” about a dying vet-eran, was a universal tune that portrayed the human cost of conflict acrossthe planet. There were other war songs including “My Son John,” the tale ofa soldier and his inability to adjust to civilian life. “A Thousand Years” riv-eted attention to the neo–Nazi uprising and served as book end to “Train forAuschwitz.” “On the Road to Srebrenica” tells the story of the Muslims killedin the Bosnia and Herzegovina massacres.

He dealt with other issues. “Bravest” depicts the courage of the fire-fighters who lost their lives in the 9/11 terrorist attack. The war songs andportraits of fallen heroes was always balanced with material such as “Florida,”which attacked the 2000 election scandal. “Bobbitt” covered the John andLorena Bobbitt soap opera. The political material, “Little Bitty Gun,” “TheBallad of Spiro Agnew,” and “Lyndon Johnson Told the Nation” updated to“George W. Told the Nation,” represents some of his best material and in-demand songs during live performances.

Because of a deep talent as a songwriter, many others covered his mate-rial. Judy Collins and The Fireballs, a band which featured Felix Pappalardion 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 LastThing 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, JoséFeliciano, Bob Gibson, Arlo Guthrie, Carolyn Hester, Nancy Griffith, HoytAxton, Gram Parsons, Doc Watson, Harry Belafonte, Peter, Paul and Mary,The Kingston Trio, the Chad Mitchell Trio and John Denver. Also, country


superstars Dolly Parton, Porter Wagoner, Willie Nelson, Johhny Cash, theCarter Family and Flatt & Scruggs have sung and played his material.

Paxton has always boasted a variety of talented musicians with him atvarious studio sessions and concerts. A partial list includes David Grismanon mandocello, Paul Harris on keyboards, Herb Brown on bass, DavidBromberg on multiple instruments, Richard Davis on bass and Hubert Lewson flute, among others. He was never one to augment his simple musical skillswith 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 receiveda plethora of honors. In 2002, the ASCAP honored him with the LifetimeAchievement Award in Folk Music. Three Wammies, a Washington, D.C.,area Music Award, were given to him as Best Male Vocalist in the traditionalfolk and children’s music categories and for Best Traditional Folk Recordingof the Year for Under American Skies. In 2004, the Martin Guitar Companyintroduced the HD-40LSH Tom Paxton Signature Edition acoustic guitar.

In 2005, the BBC Radio Folk Awards gave him a Lifetime AchievementAward. A year later, the North American Folk Music and Dance Alliance alsohonored him with a Lifetime Achievement Award. In 2008, the World FolkMusic Association presented Paxton with a special lifetime tribute. A concertwas held at the Rachel Schlessinger Concert Hall and Arts Center at theNorthern Virginia Community College in Alexandria, Virginia. Performersincluded the Chad Mitchell Trio, Peter Yarrow and Noel Stookey, CarolynHester and Anne Hills.

Tom Paxton is a true folk icon. He has survived for decades by deliver-ing his simple, yet evocative brand of music that has enriched the lives of allthose he connected with. A man with a multiple number of genuine abilitiesas 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 Green-wich Village were mostly political and social foot soldiers. Many had takentheir cue from the previous generation that included Woody Guthrie, Cisco


Houston, Josh White, Pete Seeger, Fred Hellerman, Ronnie Gilbert and LeeHays, 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 makingthe planet a better place and was known as the Texas songbird.

Carolyn Hester was born in 1937 in Waco, Texas. She discovered musicat 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 theguitar through instructional magazines and by listening to records. She wasalso bitten by the acting bug and planned on a dual career as a singer andactress.

She honed her skills on the guitar and vocals until proficient enough toperform in front of an audience. Hester joined a few bands as a teenager butnever found the right formula. The young, yet determined individual decidedto 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 tomake 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 downsome tracks in the studio. Ironically, the songs were recorded in New Mex-ico, which was not far from Lubbock, Texas, the home of Buddy Holly, oneof the first rock and roll stars. In fact, Norman Petty, who recorded thebespeckled musical genius, was in charge of Hester’s first recording session.In 1957, Scarlet Ribbons was released on Coral Records and included coversof “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 withOdetta Holmes, had a high- pitched voice with precise control that foreshad-owed the recordings made by several other soprano singers, including JoanBaez and Judy Collins, just a few years down the road. Strictly a folk record-ing, in the studio Holly, Jerry Allison of The Crickets, and George Atwoodbacked her. Unfortunately, the recordings were never issued, presenting a dif-ferent angle since there were few collaborations between folk and rock artistsat the time. From this point on the Texas songbird drifted around the coun-try playing at different venues before ending up in Greenwich Village.

Hester was on the cutting edge of the folk boom and waited patientlyas 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 Broth-ers operated. Her renditions of standard fare, such as “The House of the Ris-ing Sun” and “She Moves Through the Fair,” put her on the fast track tostardom.

This pace was accelerated when the third album (also self- titled) fea-tured a young, unknown harmonica player named Bob Dylan. John Ham-mond, 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, hesigned the young man to his prestigious label. The effort also included BruceLanghorne on guitar, who would often accompany Dylan, and bassist BillLee, 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 Brook-lyn, New York, 1937, and spent his youth in Brooklyn, Cuba and Ireland. Hebecame a poet and writer before meeting Hester. They recorded and per-formed together before the union dissolved. Later, Fariña would hook upwith Mimi Baez, sister of Joan. The couple would record a couple of albumstogether before his tragic death in a motorcycle accident in April 1966.

Despite great promise, Hester didn’t make the same rocket progress asDylan, Joan Baez or Judy Collins. In a decision that would alter the courseof not only her career but folk music as well, she turned down an offer toform a group with Peter Yarrow and Paul Stookey. The part went to MaryTravers instead. The trio, Peter, Paul and Mary, would become a force in thegenre in a very short time and remain active nearly fifty years later.

Hester continued to record, including a cover of Buddy Holly’s “Lone-some Tears,” which included drums, a rarity in folk music. The failure toignite her career rested in a decision to record traditional material rather thancut songs from the emerging talent pool of singer- songwriters, or write freshtunes herself. However, she was never afraid to take a chance. After signingto Dot records, the folk- based singer added rock elements to the traditionalsound with support from artists like guitarist George Tomsco of The Fire-balls. Although never established as a folk rock pioneer, she set the table forothers to follow including The Byrds and The Lovin’ Spoonful.

In 1966, Hester re- signed with Columbia. By this point she had begunto include the songs of such notable folkies as Tom Paxton in her repertoire.Still searching a definitive direction, the chanteuse recorded material fromCat Stevens, Tim Hardin and Jackson Frank without any success. She alsocut a solid version of “Early Morning” and a Beatles tune, “Penny Lane,” aswell as a strange cover of Indian sitar player Ravi Shankar’s “Majhires” thatproved to be a commercial failure.

Never one to take failure lightly, she formed the Carolyn Hester Coali-tion, which drifted into psychedelic rock, a style that would soon domi-nate the charts. Some of the more interesting songs the outfit recordedincluded “East Virginia” and “Last Night I Had the Strangest Dream.”Throughout this period Hester jumped labels and recorded for Decca, RCAand Capitol. Despite the unevenness, she still believed that music could changethe world.

Eventually, she formed the Outpost label with her husband, DavidBlume. Born in Boston, he discovered a love of music at an early age devel-


oping a particular ear for jazz. He studied composition and honed his skillson the piano, his instrument of choice. Later, the talented artist penned thesong “Turn Down Day,” which the garage band, The Cyrkle, recorded andenjoyed a Top 40 hit with it. The couple also started an ethnic dance clubin Los Angeles.

Over the next thirty years, Hester continued to record and perform spo-radically. One of her best efforts was Carolyn Hester {1973}, which featuredcontributions from L.A. session musicians Hal Blaine, Earl Palmer, Joe San-born and Larry Knechtel. The work included solo material as well as coversof the band Lobo and glam rocker Elton John. It would be over twenty yearsbefore she entered the studio again.

In 1996, Texas Songbird was released and featured mostly original mate-rial from Hester as well as collaboration with her husband, Blume. She alsoreturned to performing in partnership with Nanci Griffith when the duoteamed up on the occasion of a Dylan tribute at Madison Square Garden. Itwas a highlight to see the once promising singer perform after being out ofthe spotlight for so many years. The songster who had caused a stir duringthe revival received an enthusiastic response.

In 1997, she toured Germany and a year later appeared at a festival inDenmark. The album From These Hills was a deeply autobiographical workthat spoke of her early years in Texas, “Flatlands of Texas.” It also includeda song about her brief marriage to Richard Fariña, “Pack Up Your Sorrows,”a tribute to Buddy Holly, “Lonesome Tears,” and a song that harkened backto her days in Greenwich Village, “The Crow on the Cradle.”

During her time in the Village, she had befriended Tom Paxton. Theyoften performed together and jammed every Sunday at Washington SquarePark. In 2000, she recorded Tom Paxton Tribute, a collection of his mostfamous songs including “Ramblin’ Boy,” “Bottle of Wine,” “Peace WillCome,” “Come Away with Me,” “Last Thing on My Mind” and “I Can’t HelpBut Wonder Where I’m Bound.” Blume backed his wife on the record play-ing bass, piano and keyboards, as well as arranging the songs.

In 2006, after Blume died, Hester continued operating the club. How-ever, the most satisfying project was the album We Dream Forever, because itfeatured her two daughters, Karla and Amy, who co- produced, wrote andperformed with their mother. It included many highlights like Dylan’s “Bootsof Spanish Leather” and Ed McCurdy’s “Last Night I Had the StrangestDream” and “Love to Be Deceived.” The Texas songbird continues to recordand perform.

Carolyn Hester was a spirited folk revivalist. Perhaps more than anyoneelse during the era, the young singer firmly believed that one could changethe world through song. Although the best part of her career was limited toa 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 thesame massive success that others did, her contributions are noteworthy.

She has a beautiful, bell clear soprano voice that is haunting. There issomething engaging, an element of accessibility in her delivery that enticesthe listener to want to hear more. The range of her vocal delivery stunned lis-teners because it was very unusual in the annals of folk. Later, when JoanBaez and Judy Collins arrived on the scene with high- pitched voices and dis-playing more control, Hester faded in the background.

Although Odetta Holmes also boasted a soprano voice, her delivery wasmuch different than Hester’s unique tone. There was a deliberate slownessand calculated effort in the musical approach of the woman many consideredto be the Voice of Civil Rights Movement. Hester, however, had more swingand syncopation in her vocal articulation, and was therefore a greater influenceon singers like Baez and Collins.

Hester’s guitar work was adequate but never truly special. However, shewas always clever enough to surround herself in the studio with top musi-cians who adequately provided excellent support to the sound of the simpleacoustic guitar. Later, when the artist experimented with psychedelic andjazz, there was never a shortage of first- rate instrumental ability. An experi-menter in the studio, she brought in drums before almost any other artist pre-dating 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 manyothers. Before Hester, with the exception of Ronnie Gilbert and MalvinaReynolds (Odetta arrived as the same time as Hester), there were few femalesingers on the folk circuit and the expressive singer blazed the path for manyto follow.

Despite a checkered recording career, she delivered versions of manyclassics in the high- pitched voice that gave each cut a special dimension. Apartial list of her most famous songs includes “The Praties They Grow Small,”“Yarrow,” “Summertime,” “Half the World,” “I’ll Fly Away,” “LonesomeTears,” “Once I Had a Sweetheart,” “Boots of Spanish Leather,” “BraveWolfe,” “Galway Shawl,” “Dear Companion,” “Rise Like a Phoenix” and “BeYour Baby.”

Essentially, there were two types of performers in the early years of thefolk revival. The first was the artist with staying power who maintained acareer 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 thepages 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


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 managedto maintain a sporadic career. From the start, the Texas songbird was a dif-ferent type of performer, a message that she exercised throughout her entirecareer.

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 indi-viduals who left their mark through sheer talent. During the revival, therewere dozens of aspiring musicians plying their trade in the numerous coffeehouses and clubs that dotted the main centers. One of the most powerfulfigures 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 thento Perrysburg in the more rural part of the Empire State. Later, they made afinal relocation to Columbus, Ohio. The Great Depression, coupled with theoutbreak of World War II and his father’s erratic behavior due to mental ill-ness, 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 wouldadd another dimension of escape and peace of mind.

His first instrument was the clarinet, and he showed such promise on itthat Ochs was able to land a spot with the orchestra at the capital UniversityConservatory of Music in Ohio. He rose to principle soloist while still in histeens and was a classical music devotee. But the jungle rhythms of radio starsBuddy Holly and Elvis Presley made him re- evaluate his musical path. Later,Faron Young, Ernest Tubb, Hank Williams, Sr., and Johnny Cash would beadded to the list of musical heroes.

In 1956, Ochs moved to Virginia in order to attend Staunton MilitaryAcademy. It was while in college that he discovered the beat writers AllenGinsberg and Jack Kerouac; both had a large influence on his writing. Healso was introduced to the folk music of Woody Guthrie, Lee Hays, PeteSeeger, and The Weavers. Two years later, after graduating from the institu-tion, 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 inci-dent that truly changed his perspective in life. From this point, he decidedto be a journalist and fight injustice.

He returned to Ohio State to study journalism. His political consciencewas nurtured and fueled by the Cuban Revolution. The onetime cadetbecame a left- wing protester organizing campus marches against mandatoryROTC training. He learned how to play guitar and began to write topicalsongs. A true radical side blossomed with the creation of his own under-ground newspaper after the school rag wouldn’t publish some of the blossom-ing writer’s more controversial pieces. Although Ochs formed a duo with aroommate, 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 inCleveland and frequented Farragher’s Back Room, a local folk club. He metinteresting individuals such as the Smothers Brothers. More importantly, thestruggling musician befriended Bob Gibson, who had a huge influence on thesinging journalist’s development as a songwriter. The chaos at home was toomuch to take, and he left for the bright lights of New York and GreenwichVillage.

It didn’t take Ochs very long to feel comfortable in the Bohemian cul-tural center of Greenwich Village. By this time, he had polished his musicaland 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 under-ground figures of the folk boom with topical songs covering such issues asthe injustice of war, civil rights and labor struggles.

Ochs established himself as the “singing journalist” because he derivedhis material from news sources. His first recordings formed part of compila-


tions for different labels including Broadside, Folkways and Vanguard. By1963, the enterprising young man was a powerful enough figure to be invitedto perform at the Newport Folk Festival. He delivered three songs; “Too ManyMartyrs,” “Talking Birmingham Jam,” and “Power and the Glory,” receivinga standing ovation.

Also, in 1963, the budding musician performed at Carnegie Hall andTown Hall. He appeared at civil rights rallies, antiwar demonstrations, laborprotests and concert halls. Ochs didn’t limit himself to music; he also flexedhis writing muscles contributing many articles to the magazine Broadside.There was a sincere passion to every endeavor undertaken. Undoubtedly, thetalented individual was one of the strongest topical singers on the circuit offer-ing an alternative to Bob Dylan’s efforts.

In 1964, he made his first solo recording for Elektra Records havingbefriended company owner Jack Holzman years before. All the News That’s Fitto 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 pres-ent in such songs as “Power and the Glory,” “Too Many Martyrs,” “One MoreParade” and “Celia.” He even added an Edgar Allan Poe poem “The Bells.”

While the debut recording sported glaring flaws, the second effort, I Ain’tMarching Anymore, was much better because he played and sang with tighterconfidence. The material was richer, more polished and professional. Therewere 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 Missis-sippi” and a reworking of Ewan MacColl’s “Ballad of the Carpenter.” Per-haps, the greatest single aspect of this work was the fact that it was anindividualistic effort; Ochs didn’t jump on the Bob Dylan- Joan Baez band-wagon like so many other songwriters had done.

It was inevitable that Ochs and Bob Dylan would cross paths since theyworked many of the same venues. Although they admired one another grudg-ingly, 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 tooperate in at the same time. The singing journalist was a much different artistthan the folk troubadour, even though they operated in the same circles.While both were visionary writers, they drew their inspiration from distinctand separate sources.

In 1962, Ochs married and the couple later had a little girl. In 1965, theyseparated but never divorced, and the time apart served as fuel for his song-writing. Another important source of material was President John F. Kennedy.Despite questioning some of the head of state’s decisions, when he was assas-sinated, the folk singer was devastated. It demonstrated the fact that thesinging journalist had a very innocent side to him, one that expected anddemanded change.

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In 1964, he returned to the Newport Folk Festival, but was not invitedthe following year. For a time he shared managers with Dylan (Albert Gross-man), before moving on to Arthur Gorson who was linked to Americans forDemocratic Action, Student Nonviolent Coordinating Committee and Stu-dents for a Democratic Society. He also continued to write songs at a furi-ous rate, most of them of a very heavy political and social nature.

The third album, Phil Ochs in Concert, captured the rising star solo withhis acoustic guitar and voice. Although it was a fair representation of an Ochsconcert, the recording techniques at the time were not adequate enough toproduce 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 andoutspoken folk artists on the circuit.

In 1967, Ochs left Elektra to sign with A&M Records. He also relocatedto California. Pleasures of the Harbor showcased a talented individual stretch-ing out musically. More of a commentary on complex social issues than polit-ical 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 rockand the Beatles had emerged with Sergeant Pepper, all folk artists hoping tokeep up had to expand, which is exactly what Ochs did by hiring an arrangerand a pianist with classical backgrounds to help him attain a grander vision.

With the folk revival waning, Ochs, like all others who had thrived dur-ing the era, strived to continue a career. On his next effort, Tape from Cali-fornia, he combined the simple, acoustic angle of his previous, earlier effortswith the big production ideas of the most recent release. Once again, thesongwriting was powerful, detailing in sharpness one of the most turbulenttimes in the country with songs such as “When in Rome,” “White BoatsMarching in a Yellow Land” and a very distinct version of “Joe Hill.”

Ochs continued to perform at various venues and release albums. How-ever, 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 But-ler Yeats Visits Lincoln Park and Escapes Unscathed,” a song depicting thedespair felt of the aftermath of the bloody Chicago Democratic riots that hadshocked 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 criti-cized. Ochs fought back with sarcasm and joked about the nasty reviews, butit left a deep impression on him. Although the new material included strongsongs 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 wouldtake “There But for Fortune” to the Top Ten of the U.K. charts.

Ochs continued to be an outspoken critic of everything that offended


him. A longtime movie buff, he was infuriated with John Wayne’s role in TheGreen Berets. He was a founding member of the Youth International Party,known as the Yippies, along with radicals Jerry Rubin, Abbie Hoffman, StewAlbert and Paul Krassner. The singing journalist would later be indicted withthe others in the infamous Chicago Seven trial.

The events of 1968, the political assassinations and the growing distresswith the Vietnam War influenced his writing. The album entitled GreatestHits (the title was a joke because it contained all new material), including thesong “Fifty Phil Ochs Fans Can’t Be Wrong,” was about the same numberwho bought the record. He had become part Elvis Presley, but retained apolitical conscience by also adapting the ideas of Che Guevara. Ochs went asfar as wearing a gold lame suit a la Elvis, which served as the cover for thealbum.

He toured the album backed by a rock band and performed material fromBuddy Holly, Elvis and Merle Haggard. His live performance at Carnegie Hallwas eventually released as Gunfight at Carnegie Hall. The series of concertswere a critical success. However, at the time he was heavily into drugs andalcohol, which had a profound effect on the songwriting. But he found thestrength to perform at the initial Greenpeace benefit that also included JoniMitchell and James Taylor.

Ochs sought a change in direction and traveled to Chile where he metfolk singer Victor Jara, a supporter of Marxist President Salvador Allende. InArgentina he was arrested. He escaped to Peru before eventually returning tothe United States. The incidents didn’t inspire new songs, which demon-strated the fact that his musical skills were diminishing. However, one of themore interesting artistic achievements was the tune “Here’s to the State of Mis-sissippi,” rewritten as “Here’s to the State of Richard Nixon.” However, hewas still thought of highly in music circles and accepted John Lennon’s invi-tation to perform at the “Free John Sinclair” benefit concert, which alsoincluded performances from Stevie Wonder, Allen Ginsberg and Yoko Ono.

In order to overcome his writer’s block, the frustrated artist traveled toAustralia, New Zealand, Ethiopia, Kenya, Tanzania, Malawi and South Africa.It was in Tanzania that he was attacked, and during the struggle his vocal cordswere damaged. In September 1973, Alliende was assassinated; yet Ochs, whowas suffering from mental problems and paranoia, still managed to travelthere and organize a benefit concert. The event “An Evening with SalvadorAlliende” included Pete Seeger, Arlo Guthrie and Bob Dylan. The singingjournalist continued to struggle, but managed to appear at the “War Is Over”rally in Central Park, which also featured performances from Harry Bela-fonte, Odetta Holmes, Pete Seeger and Joan Baez.

From this point on, Ochs declined quickly. The drinking combined withhis 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 per-son for some time, unrecognized as the man who had been a star during thefolk revival. On April 9, 1976, he hanged himself at his sister’s house in FarRockaway, New York.

Phil Ochs was a folk music jewel. A master songwriter, he composedmaterial that made people think and feel uncomfortable. The rather thin, butvery impressive catalog left behind is a solid starting point for many contem-porary folk singers. There was a definite power in the music of the singingjournalist that boasted many shades. Years later, although some of the songssound a little dated, the strength and dark poetic beauty remain as vibrant asthe day they were written.

Ochs was an interesting singer; there was a familiar element in his vocaldelivery. Despite the harsh, violent lyrics, there was nothing forced or over- the- top about the way he emoted the treasured words to the songs. He caressedevery syllable, but never dwelled on them, emphasizing certain phrases inorder to make his point. There was a balance to the man’s singing that madeaudiences take notice of the message that the artist was attempting to putacross.

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 thatnever spilled over into something that was unpleasant. There was a balanceto the instrumental skills that combined with a vocal delivery to create aneven, polished, yet not overly glossy product. Ochs understood restraint andcontrol, the cornerstones of his musical sound, a concept that has reverber-ated throughout the folk music world the past forty years.

More than thirty years after his death, Phil Ochs’s music continues tobe celebrated. The family—brother, Michael, sister, Sonny, and daughter,Meegan Lee—have done their best to keep his memory alive. Their activityincludes a series of concerts where a rotating group of singers perform hissongs. A box set entitled Farewells & Fantasies was released, which was a prod-uct fans had waited for a long, longtime. Although he never received the sameamount 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 whorecorded his songs. A short list includes Eric Andersen, Peter Asher, JoanBaez, Bastro, Celia Black, Black 47, Billy Bragg, Eugene Chadbourne, Cher,Gene Clark, Judy Collins, Allison Crowe, Jason and the Scorchers, My King-dom for a Car, Kevin Devine, Ani DiFranco, Mark Eitzel, Marianne Faith-full, Julie Felix, Diamanda Galás, Dick Gaughan, Thea Gilmore, John WesleyHarding, Henry Cow, Carolyn Hester, Pat Humphries, Jim and Jean, Gor-don Lightfoot, Ray Naylor, Harry Nilsson, Will Oldham, Brian Ritchie,David Rovics, Melanie Safka, Pete Seeger, The Shrubs, Crispian St. Peters,


Teenage Fanclub, Tempest, They Might Be Giants, Dave Van Ronk, EddieVedder, and The Weakerthans.

There have been many tributes including What’s That I Hear? The Songsof Phil Ochs, Poison Ochs: A Tribute to Phil Ochs and Learn the Songs of PhilOchs. Jello Biafra and Mojo Nixon recorded a version of “Love Me I’m a Lib-eral” on their album Prairie Home Invasion. Evan Greer updated the wordsto 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 punkrock group utilized some of the words to “United Fruit” in their song “Up inHeaven (Not Only Here).” Jefferson Starship recorded “I Ain’t Marching Any-more,” while Richard Thompson added different poetic dimensions to theaforementioned 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.” Othersincluding Latin Quarter, Schooner Fare and the Josh Joplin Group immor-talized 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 depthand power. His brand of folk was not for the purists or traditionalists, butthose on the edge of the genre.

Phil Ochs was a political folkie and left his stamp on the revival and thegenre long after his unfortunate, sad demise. He presented, and still does tothis day, an alternative to every other folk singer in the past fifty years includ-ing the political and social commentators. There will always be a special placein 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 tovarious causes as activism became a strong dimension in the careers of manyperformers. The strength of personal convictions injected the music with afiery passion that bordered on power and anger. One of these artists from theonset proved that she was determined to change the world and to make rightall that was wrong. Her name was Joan Baez.

Joan Baez was born on January 9, 1941, in Staten Island, New York. Thedaughter of a Mexican- American physicist and Scottish mother, she movedaround during her childhood years until the family settled in California whenJoan was in her teens. Although bestowed with an incredible voice, musicwas not an ambition, and it was while attending Boston University that shedeveloped a folk music persona.

In 1959, she appeared at the Newport Folk Festival and made an imme-diate impression with her three- octave range and determined stance. Thegifted soprano made incredible strides after the splash made at the vauntedevent. A year later, her first self- titled album was released on the Vanguardlabel 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 therewas 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 per-formers like Ronnie Gilbert and Malvina Reynolds. Baez was a fresh, nine teen- year- old singer full of bluster with an angelic voice.

Her second album, Joan Baez 2, continued the momentum of the firstrelease and accelerated the pace. Made up of mostly traditional material, shedelivered these songs with sparkling arrangements with her ringing voice.“Trees They Do Grow High,” “Engine 143,” “Banks of the Ohio,” and “TheCherry Tree Carol” were played and replayed throughout the country. Thefolk revival had found its first true superstar.

The third effort, Joan Baez in Concert, Pt. 1, captured the then undis-puted queen of folk music at the height of her powers. The material rangedfrom African tradition “Kumbaya,” to gospel “Gospel Ship,” negro spiritual“My Lord What a Morning,” West African “Danger Waters,” Brazilian “AteAmanha” and blues “Babe, I’m Gonna Leave You.” The spark and vitality


accentuated the power of the first two releases and cemented her title as oneof the most powerful voices in American music at the time.

As Baez matured as an artist, so did the choice of material that appearedon the subsequent releases. She continued to record and scored a Top Ten hitwith “There But for Fortune,” a cover of a Phil Ochs song. From 1962 to1964 she flexed her creative muscle and growing political conscience, attach-ing herself to the Civil Rights Movement. The rendition of “We Shall Over-come” was the rallying call for African Americans everywhere. It was alsoaround this time that she began to push the material of Bob Dylan.

On the album Joan Baez 5, she demonstrated a drastic maturity as anartist, partly in response to Beatle mania, as well as the increasing complex-ity of Bob Dylan’s folk rock material. Instead of just a simple acoustic gui-tar, other instruments were added to beef up the sound; however, her voiceremained the focus. The album opened with Phil Ochs’ “There But for For-tune” and included the Dylan classic “It Ain’t Me Babe,” as well as the sor-rowful “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 visi-ble couple on the folk circuit, recognized as the king and queen of the folkmovement. Unfortunately, the relationship did not last; but despite the factthat they eventually split up, there remained a mutual respect for one another’smusical talent. There would be different collaborations to support variouscauses over the years.

The album Farewell, Angelina was a title taken from a song Dylan neverput on vinyl. It was just one of many of his songs featured in the set includ-ing “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 effortto project a contemporary sound and keep up to the changing times, electricinstruments were utilized on a Baez recording for the first time.

She continued to experiment in the studio. Noel featured seasonal mate-rial 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 interest-ing release. Baptism, a Spoken Word record, proved that Baez had not for-saken political and social causes. Any Day Now, a double album of Dylansongs, was cut in Nashville with a complete army of top session musicians.

In 1968, she married David Harris, a serious antiwar protester, whowould be jailed for draft evasion, fueling Baez to record strong political offer-ings, David’s Album and One Day at a Time. She appeared at Woodstock andopened with a chilling version of “Joe Hill” dedicated to her spouse. Thepower 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 halfa million throng.

By the early 1970s, Baez had shed her country- political persona headingtoward a more poporiented direction. Early in the decade, she visited Hanoiand some of the Where Are You Now, My Son? album was taped there. Theartist would hit the charts with a cover version of The Band’s “The NightThey Drove Old Dixie Down.” The talented chanteuse also began to writemore of her own material, beginning with the gold certified Diamonds & Rust.A later release, Gulf Winds, was the first complete collection made up ofentirely Baez originals.

Baez kept busy with a variety of projects throughout the decade that oftenrevolved around political and social principles. She supported South Ameri-can causes, including the coup in Chile, as well as human rights issues in avariety of countries in South America. A mid–1970s tour was met with has-sles and bomb threats, but the feisty singer persevered and never backed downfrom delivering music to the fans. By this time she had also divorced hus-band Harris.

In 1976, she would team up with Dylan for the second time to appearin his Rolling Thunder Revue, as well as the TV special Hard Rain. Also thatyear, despite her decidedly Spanish ethnicity, Baez traveled to Northern Ire-land and marched with the Irish Peace People, calling for the end to the vio-lence in the country. Later she fought on behalf of jailed Czechoslovakianmusicians. The spirit inside her had never died and only grew with each newexperience.

In 1977, she returned to Kent State, a traumatic place where four studentshad been gunned down seven years earlier in a demonstration against theViet nam War, to protest the lack of sacrament on the site of the event. Everthe rebel, while on tour of Spain, she sang “No Nos Moveran,” ignoring thefact that the song had been banned from being performed in concert. Baezended the decade by forming the International Human Rights Committee, ahuman rights organization that the singer herself would lead for a dozen years.

In the early 1980s, Baez kept up her political causes, appearing in con-cert for Amnesty International, the Live Aid Concert, and many free perform-ances for the rights of gays and political prisoners. In 1980, the album EuropeanTour was released, only outside the United States; and it would be anotherseven years before she signed to another American label. That same year, thedetermined one received honorary Doctor of Humane Letters degrees fromAntioch University and Rutgers University for political activity and the manymusical gifts bestowed upon the world. Later, the engaging performer deliv-ered a free concert at the steps of the Cathedral at Notre Dame on Christ-mas Eve.


A disastrous tour of Latin America included police surveillance and deaththreats, 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, shepresented a free concert at the Place de la Concorde attended by over a hun-dred thousand people. Later, Live Europe 1983 received a gold record and wascited as the Live Album of 1983. The popular singer was bestowed the FrenchLegion D’Honneur Award. On home soil, she appeared at the Grammy awardsfor a first time performing “Blowin’ in the Wind.”

In 1985, she returned to some of her old haunts including Club 47’s 25thanniversary concert and performed with the Boston Symphony. It was broad-cast on PBS as An Evening at Pops. That same year, Baez was on the artist listfor the Newport Folk Festival, the first time the event had been staged in adecade and a half. A globetrotter in support of a myriad of causes, the singerventured to Poland to meet solidarity hero Lech Walesa.

In 1987, Recently, the first studio album in eight years, was released onthe 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 singerto the Middle East where she sang for the people of Israel, West Bank andGaza Strip. Then she returned home to perform at a benefit concert support-ing the coalition Countdown ’87, a lobby group formed to counter the U.S.support of the Nicaraguan contras. Another concert included sister Mimi Far-iña at a fund raiser for the AIDS cause.

Although she divided her career between that of a musical figure and afighter for a number of political and social issues, Baez managed to maintainboth fronts. In 1988, “Asimbonanga,” from the album Recently, was nomi-nated for a Grammy in the Best Contemporary Folk Recording category. Tworeleases, 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 andin Czechoslovakia, were noted performances. The American Civil LibertiesUnion of Southern California awarded her with the Leadership Award. In abenefit performance for Humanitas International Human Rights Commit-tee, Joan performed in a vocal quartet, appropriately titled Four Voices ForHuman Rights, with the Indigo Girls and Mary Chapin Carpenter in Berke-ley, California. The four women performed together numerous times through-out the next few years.

Also, because Baez had been such an inspiration to so many young femalesingers for three decades, it was only understandable that they would quicklyaccept any opportunity to work with her. In 1990, she toured with the UnitedStates 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 har-mony 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 Car-penter, “Stones in the Road”; Janice Ian, “Amsterdam”; and John Hiatt,“Through Your Hands.” A year later, Vanguard released Rare, Live & Clas-sic, a boxed set retrospective. Since Baez was an artist with a very large cata-log, it was not surprising that it would be consolidated into differentarrangements. This was the start of the releases of numerous greatest hitspackages of her material as labels scrambled to gain some mileage out of themultitude of recordings.

Throughout the entire decade she maintained a musical and activist career,sometimes intertwining the two. A world tour was interspersed with a perform-ance in war torn Bosnia and Herzegovina in Sarajevo. Despite her best efforts,Humanitas International Human Rights Committee stopped operations afterthirteen strong recording years. While Rare, Live & Classic, the retrospectivechronicling her career from 1958–1989, was released including a good selectionof unreleased material, she was performing at Alcatraz Island (former federalpenitentiary) on behalf of her sister’s Bread & Roses organization.

In 1994, she attended the gala at the Kennedy Center in honor of long-time friend and fellow folk artist, Pete Seeger. The record Ring Them Bells, analbum title taken from a Dylan song, was recorded at the Bottom Line club, alegendary venue that included guests Rory Block, Mary Chapin Carpenter,Mimi Fariña, Tish Hinojosa, Janis Ian, the Indigo Girls, Kate & Anna McGar-rigle and Dar Williams. Sometime later, she would team up with Williams andthe Indigo Girls to perform once again for the Bread & Roses foundation.

The albums Greatest Hits, Live at Newport and Gone from Danger werereleased, providing fans with ample product to choose from. She toured thelatter CD through Europe that lasted into the next year. The Live at New-port edition featured her performances at the legendary venue from 1963 to1965. In 1999, Baez and Bonnie Raitt encouraged environmentalist and activistJulia Butterfly, who had decided to live in a giant redwood tree in order toprevent it from being cut down.

In 2000, she received a Lifetime Achievement Award at the British FolkAwards. It was a deserving honor for a woman who had given the world atremendous amount of great music as well as being a devoted champion for theless fortunate and their plight and for environmental causes. A good examplewas the participation in the Honor the Earth benefits on reservations in Mon-tana. In this phase of her career there were many awards and honors handedout, 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 sangat the funeral. In an attempt to try something different, Baez acted in the


Teatro ZinZanni in San Francisco, portraying La Contessa. It was a role thatshe would tackle on three separate occasions. Her material continued to be re- released in different packages, including the entire catalog that comprisedall of the original albums each digitally mastered with bonus cuts and newartwork, as well as liner notes.

In 2003, the activist joined Emmylou Harris, Steve Earle, Billy Braggand Chrissie Hynde in London for the Concert for a Landmine Free World.In a different kind of honor, Sharon Isbin debuted the performance of TheJoan Baez Suite, Opus 144, which John Duarte composed, featuring songs thatwere part of Baez’s earlier career.

In 2004, Dark Chords on a Big Guitar was released and the subsequenttour began in England at the beginning of the year. After presenting SteveEarle with a Lifetime Achievement Award at the BBC2 Folk Awards, they per-formed a series of concert dates together. In 2005, she returned to the TeatroZinZanni as the Gypsy Calliope. Bowery Songs was a recorded concert at theBowery 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 specialhonor from the Legal Community Against Violence and later traveled to theCzech Republic to help honor Vaclav Havel. NARAS, the National Academyof Recording Arts and Sciences, gave her a Lifetime Achievement Award. Therecord Day After Tomorrow featured Steve Earle as producer, demonstratinga deep respect for one of his major influences. In 2009, she interspersed thelyrics of the song “We Shall Overcome” with Persian words to help the peo-ple of Iraq. Baez continues to record and perform.

Joan Baez is a classic folk singer. She embodied the spirit of the early1960s folk revival with sincerity, musical gifts, commitment to traditionalmaterial and social activism. A unique artist, she has matured with age andremains a prolific recording artist long after many of her contemporaries havefaded from the scene. The influence on two succeeding generations is prac-tically incalculable. The fiery singer created a fifty- year career with manyhigh lights 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 theworld from the tiniest clubs to the grandest halls and arenas. The haunting ele-ment in her vocal delivery that covers original material and that of countlessothers, forces the listener to reflect on the intensity of the lyrics. While therewere others with high- pitched voices, including Judy Collins and Carolyn Hes-ter, none quite possessed the intensity of the determined one. There is simplyno other voice quite like hers in the annals of American or international music.

Her musical intuitions are concise and precise. A chameleon who hasmoved 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 heraudience is a major achievement. In the studio, Baez always knew when toadd 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 onlyenhanced a distinguished reputation.

Baez has always been a champion of the cause. The activist honestlybelieved in every mission that she has fought for, from the Civil Rights Move-ment to the foundation of the Institute for the Study of Nonviolence and laterto the Humanitarian International Human Rights Commission. Musically,she has always supported the songs of the first generation of folk singers andcountless examples are spread throughout her vast repertoire.

She has had an influence on a majority of singers during her long, illus-trious career. A small list includes Mary Chapin Carpenter, Dar Williams,the Indigo Girls, Tish Hinojosa, Tracy Chapman, Buffy Sainte- Marie, JoniMitchell, Kate Wolf, Kristen Lenns, Laura Nyro, Lucy Kalansky, Melanie,Rebecca Riots, Sarah Lee Guthrie, Rachel Bissex and Wendy Waldman, amongothers. Baez appeared on the folk scene when it was a male dominated indus-try, and, along with Joan Collins, Sylvia Tyson and Miriam Makeba, changedthe concept.

She also had a major impact on Bob Dylan. At one time a romantic cou-ple, after their breakup they remained solid professional friends. Baez hasrecorded a tremendous number of Dylan’s songs that are scattered across avast catalog. She has been a confidante, a musical companion and a voice ofreason during his most troubled times. Their relationship is a complicatedone, but also illustrates a deep respect that has benefited folk music.

As a songwriter, she matured from the writer of simple, original materialto topical songs of social and political comment. She has recorded numerousclassics. A partial list includes “Swing Low, Sweet Chariot,” “We Shall Over-come,” “The Night They Drove Ole Dixie Down,” “My Way,” “Diamonds &Rust,” “Amazing Grace,” “Ate Amanha,” “Ave Maria,” “Babe, I’m Gonna LeaveYou,” “Banks of the Ohio,” “Battle Hymn of the Republic,” “Blowin’ in theWind,” “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,” “PrettyBoy 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 andsocial reform to many causes. The talent, drive, vision, political activism, voiceof reason and elegance are all part of the winning package. She was deter-mined to make the world a better place through her music, and there is nodenying that she accomplished the mission.


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 genera-tion to the other has kept the genre vibrant for centuries. In the first half ofthe 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 middleof the revival, one individual appeared to become the spokesman of his gen-eration, assuming the title of folk troubadour. His name was Bob Dylan.

Robert Allen Zimmerman was born on May 24, 1941, in Duluth, Min-nesota. His family would later relocate to Hibbling, and it was here that hediscovered music. Soon, the young aspiring musician picked up the guitarand the harmonica, honing his skills until each instrument complimented oneanother to form a powerful combination. Like many of his generation, Zim-merman came of musical age when the first wave of rock and rollers—ElvisPresley, Chuck Berry, Jerry Lee Lewis, Buddy Holly, Eddie Cochran, FatsDomino, Carl Perkins and Gene Vincent, among others — were passingthrough. They would have an incalculable influence on his future musicaldirection, as would the early figures of folk and country. In an effort to imi-tate those he admired, the budding musician formed his first band, the GoldenChords, playing their songs in high school.

There was another side to his blossoming talent; he was learning how towrite songs. A serious poet who greatly admired the work of Dylan Thomas,the Welch bard famous for some of the richest, most complicated pieces inmodern English. Thomas would provide inspiration, as well as a name change.While attending college, Zimmerman adopted Dylan as his last name andused 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 Alabamawho captured the hearts of country music fans across the nation. This mes-siah of the modern country movement died young due to alcoholism. Dylan’sother main inspiration was the rebel, socialist sympathizer and folk stalwart,Woody Guthrie.

The college experience opened Dylan up to a number of different stylesof music including the blues. He became an aficionado and quickly incorpo-rated the simple music into his ever growing repertoire. In between his firstand second year of college, he met bluesman Jesse Fuller, the Georgia nativewho had emigrated to the West Coast where he became a legend and gavethe world the classic “San Francisco Bay Blues.” While Dylan was keen onhis music, it was the bluesman’s ability to play more than one instrument ata time which provided the attraction. Fuller would be “rediscovered” duringthe folk revival.

Upon his return to begin his second year of college, Dylan continued toperform in coffee houses, but the young artist had matured. His determina-tion became stronger and now he focused all of his energies on becoming aprofessional folk musician. In January 1961, he left college and eventuallymade his way to New York City. A new era in folk music had begun.


He performed at various venues in Greenwich Village and quickly cre-ated attention with his strong instrumental skills and voice. The nasal, off- key delivery didn’t possess the power of some of the other folk singers on thecircuit, especially someone of Cisco Houston’s stature, but Dylan cleverlyused his lack of vocal talent as another instrument. Although his lyrics werepenetrating, as a writer he had not yet reached a full maturity.

In 1961, Dylan connected with his hero, Woody Guthrie, visiting thedying folk icon in the hospital where he was wasting away because of Hunt-ington’s disease. The following spring, the young folkie matched skills withanother legend, the bad boy of the blues, John Lee Hooker, at the famousGerde’s Folk City club. Dylan returned to Gerde’s in the fall to perform onceagain and caught the attention of reviewer Robert Shelton.

Suddenly things began to happen quickly. John Hammond, Sr., the driv-ing force behind Columbia records, kept adept of new talent by readingreviews and checking out clubs, both large and small. The record companyexecutive recognized true talent and signed Dylan to the label. A year later,Bob Dylan was released, mostly comprised of folk and blues standards withonly two originals. This format would change greatly for his next effort.

Between the release of his first and second albums, Dylan wrote a wealthof 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 cre-ate songs which catapulted him to the top of the folk movement in ratherquick time. The folk revival had been looking for a leader, and the youngpoet from Minnesota answered the call.

The Freewheelin’ Bob Dylan demonstrated a mature artist who was gain-ing rapid momentum by pushing the boundaries of the accepted lyrical phrasesof the day. More importantly, the album was comprised of all original mate-rial. The profound impact on the folk community was immense, especiallywhen others began covering some of his songs. One of the better exampleswas Peter, Paul and Mary’s version of “Blowin’ in the Wind.” A true tour deforce, 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 becomeromantically involved, and as a result she recorded many of his songs, which only redoubled Dylan’s forces. The upheaval of such social issues asthe civil rights movement provided excellent fodder for someone of his lyri-cal talents.

In early 1964, The Times They Are A- Changin’ proved that Dylan wasthe greatest songwriter of the day, since the material was far superior to any-thing else anybody was creating at the time. He was also prophetic with lyricsthat 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, whichwas appropriately entitled because he was moving away from a pure folk soundand exploring his rock and roll side. Ever the restless artist, Dylan was toocreative to remain mired in one slot forever. When groups like The Byrdsrecorded his “Mr. Tambourine Man,” giving it a distinct rock edge, coupledwith The Animals release of the old Leadbelly classic, “House of the RisingSun,” Dylan fully understood his next musical direction.

There were also changes in his personal life. He subsequently broke upwith Baez and began dating model Sara Lowndes, whom he would later marry.A highly publicized figure, he began to retreat slightly from the constant mediaattention—a trend that would grow to greater proportions as fame began toengulf him at intolerable levels. He became reclusive in order to avoid thespotlight.

The album Bringing It All Back Home proved that Dylan had outgrowntraditional music and was keen on pursuing more of a rock and roll path. Thefolk music community was outraged and displayed their anger at the New-port Folk Festival when he appeared on stage with some members of The PaulButterfield Blues Band. The rock and roll community had already embracedhim, and he added to this with a tour of Britain captured in the film Don’tLook Back. He was now a rocker.

In order to make the transition complete, he needed a rock and roll songthat illustrated his genius, determination and musical direction. The track was“Like a Rolling Stone,” which became a number two hit. For many, it crys-tallized the young poet’s songwriting talent at its highest point. The lyrics,always a source of discussion, became the subject of even greater study. Folkrock acts like The Turtles and The Byrds covered Dylan’s tunes and enjoyedhits with them, which only enlarged his circle of influence.

Highway 61 Revisited, his first genuine rock and roll album, boasted thehits “Positively 4th Street” and “Rainy Day Women #12 & 35.” His nexteffort, 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, hewas one of the best- selling artists on the current scene and rivaled the Beat-les.

It was in the fall of 1965 that he began to perform with a group calledThe Hawks. They had been the backing band for Ronnie Hawkins, the funloving rockabilly icon, before joining Dylan. They would later change theirname to The Band. It was with this creative outfit that he toured Britain.England was no more impressed with the electric Bob Dylan than Americahad been, and the tour suffered many heated insults.

The momentum and pressure continued to build. There were already


many bootleg albums circulating from various performances, but his regu-lated issued material was selling well. Dylan had invested a deep interest inanother documentary about himself, Eat the Document, and was writing abook. He was also working frantically on his next album.

On July 29, 1966, all momentum was destroyed when Dylan suffered aserious motorcycle injury near his then home in Woodstock, New York. Theincident was pivotal to his recording and personal life. The reclusive lifestylewhich had begun a few years before now assumed Greta Garbo–like propor-tions as he concentrated on raising his children with wife, Sara.

His musical endeavors at the time consisted of jamming with The Bandon old folk, country and blues numbers. The sessions, never intended to bereleased, became known as The Basement Tapes. In 1975, the album was offi-cially 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 musi-cal terms, confused many with the effort John Wesley Harding, a country rockalbum in the midst of the psychedelic rock era. But the influence on The Byrdsand The Flying Burrito Brothers, as well as the fact that it became a hit inthe U.S. and a number one chart topper in the U.K., proved that he remainedhis own man. Nashville Skyline, recorded in the heart of country music ter-ritory 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 col-lection of covers, live tracks, reinterpretations and some new material. Itreceived harsh reviews. He followed with New Morning, which won him backsome favorable press. But if the old folkies hoped that he would return towhere he had begun at the beginning of the decade, they would be sadly mis-taken.

The following few years were a period of unrest for Dylan. The frustratedartist attempted many projects, including delivering the long awaited bookTarantula, as well as a return to Greenwich Village, and an appearance at theGeorge Harrison organized Concert for Bangladesh. He also made his actingdebut in the movie Pat Garrett and Billy the Kid and provided the soundtrackfor 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 wouldissue 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 Dylanreturned to the Columbia fold. The subsequent tour, with the support of TheBand, 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 careerthat was desperately sagging.

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In 1975, Dylan changed directions again with the release of Blood on theTracks, the lyrics fueled by the breakup of his marriage. He jammed with folkartists in Greenwich Village and embarked on an engaging concert tour styledon the old medicine show format. The supporting cast included Joan Baez,Joni Mitchell, Ramblin’ Jack Elliott, Arlo Guthrie, Mick Ronson, RogerMcGuinn 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 “Hur-ricane,” a protest number about boxer Rubin Carter who had been unjustlyimprisoned for murder. At the end of the on and off again Rolling ThunderReview, the live album Hard Rain was released. In 1978, a film, Renaldo andClara, 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 per-formance in that Japanese city. However, the biggest newsmaker was his claimto be a born- again Christian. He followed with a number of religious basedalbums including Slow Train Coming, Saved, and Shot of Love. In 1983, herecorded the secular Infidels.

In 1984, he resumed performing live and released the album Real Liveand the strange Empire Burlesque with its odd mixture of dance tracks androck and roll. But, the multi disc retrospective box set Biograph appeared andmaintained that Dylan was still a force in popular music. It was the longawaited compilation that his many fans had hoped would one day arrive. Thecritics also liked it.

In 1986, Dylan joined Tom Petty & the Heartbreakers on tour and foundtime to release another album, Knocked Out Loaded. While the effort was notwell received, he continued to write material for future recording projects. Inbetween the tours and the studio work were the many charity events andcauses he attended as well as guest appearances on the efforts of musicianfriends. Although he had seemingly abandoned the folk roots over twenty yearsbefore, he returned to them often.

In 1988, he joined The Traveling Wilburys, which included George Har-rison, Jeff Lynne, Tom Petty and Roy Orbison, spanning three generations ofrock and roll. Friends for years, they came together to record one song; butinstead, to the delight of fans, cut a whole album, yielding two hits, “Han-dle with Care” and “End of the Line.” Sadly, the death of Roy Orbison laterthat year seemingly ended further projects. However, the remaining quartetrecorded a second work, but with less impressive results. Also that year, Dylanteamed with the Grateful Dead who served as his backup band on tour andproduced the subsequent record Dylan & the Dead, which appeared two yearslater.


In the span of two or three years, he released a series of albums includ-ing Down in the Groove, which featured mostly cover songs. It was ironic, sincethroughout Dylan’s career so many of his tunes had been interpreted by acountless array of artists from every genre. In 1989, Oh Mercy appeared andearned him the highest critical appraisal in twenty-five years. However, Underthe Red Sky was a failure. But fans rejoiced with the arrival of The BootlegSeries, Vols. 1–3 (Rare & Unreleased), a collection of rarities and outtakes ofsome 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 werewidely acclaimed; the latter winning a Grammy for Best Traditional FolkAlbum. In 1997, Time Out of Mind, an album of original material—the firstin several years—sparked a Bob Dylan renaissance of sorts. His loyal fansremained, but a new generation of the listening audience had discovered theiconic figure.

He appeared on the cover of the national magazine Newsweek, and sud-denly it became chic to attend a Bob Dylan concert; his performances becamesellouts again. Time Out of Mind would win three Grammy Awards—Albumof the Year, Best Contemporary Folk Album and Best Male Rock Vocal. Ina 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 ownfilm that included an accompanying soundtrack, Masked and Anonymous. In2006, he self- produced the album Modern Times, which received two GrammyAwards for Best Contemporary Folk/Americana Album and for Best SoloRock Vocal Performance for the song “Someday Baby.” It received high praisefrom different corners, including Rolling Stone magazine.

Also that year, he premiered as a DJ on a radio program Theme TimeRadio Hour, with songs selected from a chosen theme. Dylan played obscurerecords from the 1930s, as well as modern stuff from Prince, Blur, The Streetsand rap star, L.L. Cool J. The show was well received. Three years later, hebroadcasted his 100th and last show with the theme of “Goodbye” with thefinale 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 num-ber 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 continuedas he became more visible to a wider audience. In 2004, he appeared in a TVad 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 rapperWill.i.am in a Pepsi commercial during the Super Bowl, one of the mostwatched telecasts of a single day event in any given year. They sang differentverses to the song “Forever Young.”

In 2009, Together Through Life appeared with guests David Hildago ofLos Lobos and Mike Campbell of Tom Petty & the Heartbreakers. He wouldalso release the holiday charmer, Christmas in the Heart, with the proceedsgoing to various charities around the world. It contained versions of “LittleDrummer Boy,” “Winter Wonderland” and “Here Comes Santa Claus.” Hecontinues to record and perform.

Bob Dylan is a folk icon. During the revival, the artist gained the stylemore respect that it had ever experienced. But, the troubadour was also aninfluence on rock, blues and modern music. While the talented lyricist seemedto abandon his roots, he returned to the traditional sound many times dur-ing a long, interesting career. His contributions to popular music are consid-erable, and he is one of the most single important individual artists of the lastfifty years.

Dylan was never a great instrumentalist, but he managed to be more thanadequate as he blended all aspects together as well as played one off anotherto create a stronger musical foundation. More than anything, the clever enter-tainer knew when to interject with a harmonica lick or add a touch on theguitar. His intuition as a musician was one of his strongest assets which enabledhim to project a positive image. In the studio and on stage, the troubadourwas always surrounded with quality talent.

Dylan has a very distinct vocal delivery; there is none other like it inmusical history. Although many in the listening audience were unable to copewith that nasal, off- key voice, they didn’t realize that he utilized it as an instru-ment in harmony with the guitar and harmonica. The instantly discernablevoice has made him of the most recognized, if least favorite, vocalists in theannals of popular music.

At the forefront of any discussion of Dylan’s musical gifts is his song-writing ability. A poet- musician in the tradition of the old minstrels with aprowess as a wordsmith that surpassed all contemporaries, no other singlefolk 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 beat the same level. Yet, the troubadour’s vision was much different and clearlyindividual and unique.

Dylan wrote at least a half dozen classics. A very short list includes “Likea 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 TimesThey Are A- Changin’,” “Rainy Day Woman #35 & #12,” “Hurricane,” “Tan-gled Up in Blue,” “Lay, Lady, Lay,” “Knockin’ on Heaven’s Door,” and “Mr.


Tambourine Man.” Any selection of his catalog deemed to be a classic is apersonal 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 enrollat the University of Mississippi. “Hurricane” was an effort dedicated to therelease of the boxer. “The Times They Are A- Changin’” was sung at the Marchon Washington and displayed a very satirical side of his musical personality.

There were many others, including “The Lonesome Death of HattieCarroll,” which told the story of the death of black hotel barmaid Hattie Car-roll 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 minersand their struggles. Arguably, no one has written as many political tunes asDylan.

Dylan is responsible for expanding the role of the songwriter in popu-lar music. The modern bard pioneered the confessional singer- songwriter,the stream of consciousness narratives. The clever writer introduced the intro-spective songwriter, which had an enormous influence on The Beatles. Healso blazed the trail in shifting the folk song from traditional toward personalsongwriting, a path many have followed.

He has won numerous awards over his career. He has been inducted intothe Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame andSongwriters Hall of Fame, to name just a few. Dylan was awarded a specialcitation from the Pulitzer Prize jury for his vast contributions to Americanculture. The number of awards and prizes bestowed upon him are countless.

Dylan was also an experimenter. Never one to be comfortable or satisfiedwallowing 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. Themusical visionary had a hand in creating electric folk rock and country rock,two genres that continue today. He changed the way blues was interpretedand brought respect to the idiom.

He influenced a number of individuals. The list includes Bono, leadsinger of U2, Joe Strummer, John Lennon, Paul McCartney, Neil Young, SydBarrett, Nick Cove, Jim Morrison, Bruce Springsteen, Patti Smith, JoniMitchell, Gordon Lightfoot, Cat Stevens, Tom Waits, Bryan Ferry, DavidBowie, The Byrds, The Flying Burrito Brothers, The Band, and literally hun-dreds of other artists.

Dylan has also had his fair share of critics. A number of individuals fromthe time he appeared to the present day have attempted to degrade hisinfluence on contemporary music. He has been labeled a fake, a plagiarist, aminor 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 Christi-anity during his career, which only brought down more criticism.

Dylan’s son Jakob has been an active musician for a number of years andthe lead singer of the band The Wallflowers. The Los Angeles group hasreleased five studio albums and won a couple of Grammy awards for theirefforts. There has been collaboration between father and son on different occa-sions. Another boy Jesse is a film director.

There have been a number of books written on Dylan. A short listincludes Trailblazers of the Modern World, Formative Dylan: Transmission andStylistic Influences, 1961–1963, Down the Highway, The Life of Bob Dylan,Encounters with Bob Dylan, Like a Bullet of Light, and The Bob Dylan Com-panion. Although there are several volumes that have captured a certain aspectof the folk icon, none have truly managed to paint a complete picture.

Dylan the writer has also penned a number of books including ForeverYoung, The Definitive Bob Dylan Songbook, Tarantula, Bob Dylan Revisited: 13Graphic Interpretations, Chronicles: Volume One. He is also an artist, and anexhibit of his work opened at a gallery in Germany. In 2010 into 2011, fortylarge acrylic paintings entitled The Brazil Series was shown at the NationalGallery of Denmark.

Fifty years after he started his career, Bob Dylan continues to exude amastery of influence on popular music as new generations discover his magic.The long run has created more controversy and conversation than arguablyany artist to appear on the scene. A truly original and iconic performer, hewill be a major contributor long after his death and remembered as the folktroubadour.

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.


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, Colum-

bia/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 theirmusic. Often, they were associated with a specific cause and carried the flagfor that particular conviction with a fervent passion. One of the most ambi-tious and satirical performers became known for his anthem opposing theVietnam War and claimed that he was fixin’ to die. His name was Joe McDon-ald.

Joe McDonald was born on January 1, 1942, in Washington, D.C., butgrew up in El Monte, California. His parents had moved to the West Coastin order to avoid the political atmosphere of the nation’s capital. The youngboy’s childhood was filled with a variety of music; he attended many con-certs at the local stadium. Among his favorite style was Dixieland, and heindulged this passion at a local club in Hermosa Beach, not far from his home-town.

Following a three year stint in the U.S. Navy, McDonald attended CityCollege in Los Angeles, then moved on to Berkeley. Although an intelligentstudent, his heart was firmly committed to music and he majored in playingin bands. One of the highlights at the time was a chance to record. A band-mate at the time, guitarist Blair Hardman, backed McDonald on an initialrecording with the First American Records label. Much of the original mate-rial would be polished and released in the solo effort, Goodbye Blues, whichappeared long after Country Joe had reached folk cult status. The initial trackswere rough and lacked the maturity of later material, but the bare essentialsof the feverish musician’s style were present.

By this time, McDonald was strictly a left- wing political activist, evenpublishing his own magazine, Rag Baby. A creative individual, he decided torecord a talking issue of the magazine. The EP included two of his most


famous songs, “I Feel Like I’m Fixing to Die Rag” and “Superbird.” The for-mer, a Dixieland arrangement, was a satirical view of the Vietnam War, whilethe latter was directly aimed at then President Lyndon Johnson, a favorite tar-get of the radical set in the nation at the time.

McDonald was the right man for the times. In 1965, the Free SpeechMovement organizers, who had been a vital part in the Civil Rights Move-ment, shifted their emphasis on the Vietnam War. Anti- protest demonstra-tions were set up, and it was decided that music played before and after woulddraw a greater audience. He organized two groups, the Berkeley String Quar-tet that included Bob Cooper on 12-string guitar, Toby Lighthauser on bassand Carl Shrager on washboard; and the Instant Action Jug Band, comprisedof a floating membership, ready at a moment’s notice to show up at whateverrally or street demonstration as they arose. In this ensemble was one BarryMelton, a talented guitarist who had played at The Ash Grove on differentoccasions.

McDonald, along with friend Melton, agreed to form a band, and Coun-try Joe & the Fish was born. In the beginning, there was a constant changein personnel as the lineup tried to solidify itself. Eventually, Bruce Barthol,a high school student, held down the bass position, David Cohen played gui-tar and keyboards, Paul Armstrong joined in on guitar, bass, tambourine andmaracas and John Francis Gunning, a jazz enthusiast, occupied the drumchair.

They began as a folk and jug band outfit and played mostly coffee housessuch as the Jabberwock. The group evolved into a rock outfit using electricinstruments as they shed their folk skin to appeal to the new left portion ofthe rock audience. They gained instant notoriety in the San Francisco Bayarea, performing at the famed Avalon and Fillmore Auditorium. Their sec-ond EP boasted “Bass Strings,” “Section 43,” “(Thing Called) Love,” andthree 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 “SuperBird.”

Their second effort, entitled I Feel Like I’m Fixing to Die Rag, includedthe title song that perfectly defined the sound and image they were trying toproject. Lost in all of the lyrical excitement was McDonald’s fine voice, asimportant as Melton’s stirring lead guitar work. Because of the blatant mili-tant messages found on the record, it sold well enough to establish them asprime artists in the burgeoning political rock and roll market.

The band continued to release a steady stream of material. In 1968, the

Country Joe McDonald 163

album Together was enthusiastically received and featured the band at theircreative 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 thelatter half of the decade, the group was starting to fall apart so the inclusionof an all- star cast of psychedelic musicians was attempted to save a sinkingship.

They were one of the most active live bands performing all over thecountry at the Cafe Au Go Go as well as the major festivals Monterey andWoodstock. At Monterey, they were one of the featured artists in the film ofthe 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 theconfusion and congestion, many acts were unable to make it to the stage ontime. However, because he was milling around backstage, McDonald wasgiven an acoustic guitar and coerced into doing a solo folkish set. He playedfour or five songs and then led the obscene Fish cheer, where five hundredthousand strong participated. It catapulted Country Joe to international fameas 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 wouldrelease 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 groupdisbanded. Before this, McDonald had already released two solo efforts,Thinking of Woody Guthrie and Tonight I’m Singing Just for You. From thispoint on, he toured and recorded alone. In England, he cut a live album, HoldOn: It’s Coming, with featured guest Peter Green of Fleetwood Mac, amongstothers.

He was still an entertaining performer and wowed audiences at the Bathand 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. BigPig” and “Air Algiers,” which detailed complaints against police harassmentand 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 Hun-gry World,” for the film Quiet Days in Clichy. While there were some legalhassles in releasing the film, it eventually appeared in the United States. Laterhe 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 andjoined actress Jane Fonda and actor Donald Sutherland as part of the FTA


(Free the Army) tour. Eventually, he became disillusioned with the wholeproduction and dropped out, but not before incurring the wrath of then Pres-ident Richard M. Nixon and making the infamous Enemies List. He remaineda radical in the eyes of the authorities and seemed comfortable in this role.

Upon returning to the United States, Country Joe recorded an EP withGrootna, 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 inconcert with The All Star Band, a group that included alumni from the Fishand 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 join-ing a California outfit, Energy Crisis, that included former Fish memberBruce Barthol and Phil Marsh. They would back him on his next effort, Par-adise with an Ocean View. One of the tunes from the album, “Save theWhales,” indicated that McDonald was leaning toward a strong environmen-tal point of view.

From 1975 until the end of the decade he released seven albums. Love Isa 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 pro-lific periods of his musical career. The highlight of this time frame would bea temporary reunion with members of the Fish. The result was the Reunioneffort.

Most of the 1980s saw McDonald returning to a favorite cause: TheVietnam War. He dedicated his time and music to helping the Vietnam vet-erans and worked with a variety of action groups on their behalf. In 1988,Vietnam Experience, an album and video, was released. While many had movedon, Country Joe was unable to forget the event, as well as all of the direct andindirect causes linked to the U.S. involvement in Southeast Asia.

In 1991, he released Superstitious Blues, an interesting effort for severalreasons. 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 Coun-try Joe’s musical personality. Although the singer had dabbled with a num-ber of different styles throughout his career, it was clearly evident on thisalbum that he was a folkie at heart.

In 1995, burdened with the tragedy of losing his parents, he releasedCarry On, which included the song “The Lady with the Lamp,” a tribute toFlorence Nightingale. Once again, Garcia played guitar on the work. The pairwho had emerged from the San Francisco folk rock scene around the sametime matched skills well together, but unfortunately the leader of the Grate-ful Dead would die from natural causes not too long after the disc was cut.McDonald carried on despite losing one of his best collaborators.


In 2003, Country Joe was sued for copyright infringement over his signature song. Kid Ory, an early jazz cornet player, had written “MuskratRamble,” from which his daughter claimed McDonald had stolen the lyrics.Eventually, the folkie won the suit on a technicality, as well as a huge settle-ment. In 2004, he reunited with a few former members of the Fish, includ-ing Bruce Barthol, David Bennett Cohen, and Gary “Chicken” Hirsh. Theytoured the United States and the United Kingdom. Although it was a suc -cess ful venture, it was only meant to be a brief adventure.

In the past two years, there have been a couple of major causes he hasdedicated his time and music to. The first is Florence Nightingale, the warnurse. He discovered her special position when interviewing the caretakerswho had served in Veteran’s Hospitals during the Vietnam War. He becamea scholar on the subject of the pioneer caregiver and even traveled to Turkeyto do further research on her activities during the Crimean War. He latertoured England to do more investigation. He established a Web site dedicatedto her efforts, which has been a major resource for school children doing proj-ects on the famous nurse.

The other cause has been a dedication to Woody Guthrie. He began tocollect and perform a cycle of songs attributed to the great folk artist fromOklahoma. McDonald honed the show entitled “Tribute to Woody Guthrie,”a mix of music, spoken word, and his personal vision. On tours around thenation, 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 polit-ical edge. He continues to record and perform.

Country Joe McDonald was a folk experimenter. He took the basic rootsof folk and stretched them beyond breakable boundaries to serve his politi-cal agenda. The passionate individual had a vision about a new world andcreated it through the myriad of songs he composed. While not a prime artistin the revival, the radical musician appeared on the edge of it and took thestyle 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 manmanages to convince the listener to side with him. There is an authenticityand uniqueness in the vocal delivery that not only made Country Joe aspokesman for a generation with one song, “I’m Fixin’ to Die,” but it alsoenabled him to sustain a career that has spanned almost fifty years. While thevoice might not be recognized by the casual listener, those who grew up lis-tening to him can instantly acknowledge it.

McDonald was a solid folk enthusiast, despite delving into psychedelicrock, especially during the days with the Fish. He was cut in the same moldas 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


during the McCarthy “Red Scare” days, McDonald would have written somesarcastic song to counteract any false charges. His role in the revival was slimbecause the singer appeared at the tail end of the boom.

In many ways, he began where Dylan left off. In 1965, when the folktroubadour went electric, symbolically ending the folk revival, Country Joewas waiting in the wings to take over and be more overtly political than hispredecessor. In many respects, McDonald was the militant musical voice ofthe latter generation of the turbulent 1960s.

Aside from his vocal prowess, he possessed an incredible imagination asa writer. There was an accessibility to the songs that covered an array of polit-ical and social issues. Some of McDonald’s best work includes the VietnamWar. The song “I’m Fixing to Die Rag” was the most in your face, antiwartune written during those turbulent times. The famous, expletive Fish cheerwas exactly what everyone wanted to say to a government that had over-stepped its boundaries. Years later, long after the troops had returned home,he continued to express his views on the debacle with the number “AgentOrange Song.” The biting, stinging lyrics haunted the current administra-tion.

Other “cause” songs include “Save the Whales,” “Mr. Big Pig” and “AirAlgiers,” which personified McDonald’s and his generation’s disapproval of police tactics (a current complaint from today’s avant garde youth muchthe same as then) and the harassment by the Nixon administration of dissentand direct political action. While many were scared and angry when theymade the dangerous “Enemies List,” McDonald was proud of the accom-plishment.

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 aboutchange, McDonald did not follow. Instead of sure action, he chose to pointout the problems and sing about them, but offered no real solutions.

Whatever shortcomings others are able to point out, Country JoeMcDonald was a major voice of his generation on political and social issuesthat has transcended the years. Forever a folk artist at heart, he always returnedto its roots and embraced the idiom with pure vigor. The man who claimedhe was fixin’ to die was always present to point out what was wrong with theworld 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.


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 FishElectric 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.


Arlo Guthrie (1947– )Family Link

Folk music is about tradition. For centuries the lyrics and melodies ofthe treasured songs were passed down from one generation to the next withlittle lyrical change. The familial link was one of the strengths of the genreand spawned many inside careers. Alan Lomax followed in the footsteps ofhis father, John. Pete, Mike and Peggy Seeger took a cue from their parents,Charles and Ruth. The family chain continued with Woody Guthrie whoinspired many, in particular, his son, Arlo.

Arlo Davy Guthrie was born July 10, 1947, in Coney Island in Brook-lyn, New York. Despite being able to boast of having a father who was oneof the most famous folk singers in the history of the style, he saw very littleof his dad because the latter was hospitalized with Huntington’s disease. However, the little boy grew up surrounded by his father’s friends, whichincluded folk icons such as Pete Seeger, Cisco Houston, Fred Hellerman, LeeHays, Ronnie Gilbert, Ramblin’ Jack Elliott, Sonny Terry and BrownieMcGhee.

By the age of six, Arlo could play guitar proficiently and often joined inthe hootenannies that included Seeger, Houston and others. He learned fromthese older players, not just acquiring an accessible rhythmic beat, but howto work a crowd, how to properly interpret traditional material to give it amodern sound without losing its essence, and how to write topical song thatwould capture the moment and prove to endure the test of time.

In his early teens, Guthrie was playing coffee houses. He was a constantperformer at Gerdes Folk City, the Gaslight, and the Bitter End—all inGreen wich Village—as well as Club 47 in Boston and The 2nd Fret and theMain Point in Philadelphia. He would later make friends with the beat poetAllen Ginsberg, jam with the Father of Bluegrass, Bill Monroe, and trade lickswith another folk revivalist, North Carolina’s Doc Watson.

Arlo Guthrie was one of the many performers during the revival whoremained in the shadows. The struggling musician never gained any degreeof popularity, but did benefit from the many coffee houses and clubs thatopened up to serve the folk crowd. During the era, Arlo was still trying toescape the enormous shadow that his father had cast over the entire scene. Inorder to move away from that immense shadow, Guthrie needed to find his own sound and persona. As the 1960s unfolded, he adapted the antiwarshaggy hippie slant, which worked very well and set him up for his greatestmoments.

Arlo Guthrie 169

Like his father, Arlo had developed a social conscience and deliveredpolitical statements with an immense and intense amount of humor. As a long- haired, antiwar, anti- draft enthusiast, he was clearly a counterculturefavorite and hero to the young masses of those of a like mind. The draft boardand 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 howan unkept hippie and radical in the eyes of the law dealt with such oppres-sive forces, catapulted him to stardom overnight. He had always been on thefringe of success, but this signature tune put him center stage in the hippiefolk world. The timing of the appearance was impeccable. The album wouldgo gold and produce a film that ranked high among must- see movies in thecounterculture catalog. It was on par with Easy Rider, another hippie favoriteof the era. The movie, Alice’s Restaurant, turned into a cult classic and thesong became a staple during U.S. Thanksgiving, being played several timesa day on radio stations.

He debuted “Alice’s Restaurant” at the Newport Festival and overnightbecame a leading voice of the social conscience and active political left. Hewould add “Coming into Los Angeles,” a song banned from many radio sta-tions, which only increased his rebel status among fans. Guthrie not only sangabout the radical left- wing hippie, he lived the life and was the genuineembodiment 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 likehis 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 yearsas 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 thecharts since “Alice’s Restaurant,” which was too long to be played on mostradio programs, with the Thanksgiving Day exception. However, an abortedversion 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 maintaina career.

Guthrie remained in the public eye and in the hearts of old hippies fight-ing for important causes like the environment, government oppression, ban-ning of nuclear weapons, basic freedom and rights in the United States as wellas around the world. Because he was such a singer of causes, Arlo’s style wouldnever 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,


had learned from the folk legends who were his father’s friends on how toentertain any and all crowds. He could perform anywhere on the planet, andhis set was usually always well received.

In the 1980s, he formed his own folk rock label, Rising Son, and con-tinued to record on it. Later, much of Guthrie’s earlier material was re- releasedby 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 aworking business that enjoyed a certain degree of success and was not justanother vanity agency.

In 1986, he began publishing The Rolling Blunder Review, a popularnewsletter that presented him with a vehicle to spread his message of socialand political reform. Later, Guthrie would write an award- winning children’sbook, “Mooses Come Walking.” He also collaborated with Irion on the lat-ter’s new release, Ex Tempore. Through technology the son was allowed toput his voice alongside that of his father on the re- recording of This Land IsMy Land. In 1997, it would garner a Grammy nomination for Best MusicalAlbum for Children.

He also turned to acting. He accepted roles on Byrds of Paradise andRenegade. Perhaps not an Oscar caliber actor, the thespian always gave a strongperformance and a reasonable account of himself. Like many of the folk chil-dren of his generation, the style had suffered a severe fluctuation in popular-ity and in leaner times Guthrie was forced to find other ways of sustaining acareer.

One of his most satisfying projects was to purchase a piece of history.In 1991, he bought the old Trinity Church where the Thanksgiving eventstook place that inspired him to write his most famous tune, “Alice’s Restau-rant.” It was named The Guthrie Center, in honor of his parents, and becamea nonprofit interfaith church foundation dedicated to helping others. Theoutreach 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 envi-ronment, health care, cultural preservation and educational exchange. Althoughknown for his antiwar musical slogans and concert tours, Arlo’s humanitar-ian causes have always been at the forefront of the activity schedule.

Guthrie continued to perform and record, albeit sporadically, through-out the years. However, he continued to fight for what he believed in and theflame in his hippie heart never burnt out. Every November, he enjoyed aresurgence of sorts when his signature piece was played three or four timesin 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 fairamount of airplay.

Arlo Guthrie 171

In 1998, he began to perform his music with symphony orchestras. Hewas never afraid to experiment and eventually would collaborate with overforty such ensembles from across the United States. One of these concertswas with the Boston Pops in July 2001, and featured an audience of nearly amillion people. His work with the Boston Symphony was recorded for PBStelevision. Another noted performance was with the Kentucky SymphonyOrchestra. The concert was released on his 60th birthday and received crit-ical acclaim.

In 2006 and right through 2007 he toured the United States, Europeand Australia with the Arlo Guthrie Solo Reunion Tour—Together at Last.It was a successful endeavor and proved that he retained the same wonderfulstorytelling ability that has always been one of his strongest trademarks. Theolder musician also continued humanitarian work which occupied half of histime. Like Joan Baez, there was a balance to his career.

There have been other tours. From the summer of 2009 to the springof 2010, the Guthrie Family Rides Again tour that featured Arlo and all ofhis four children, as well as more than half a dozen grandchildren. They sangGuthrie family songs that range from Woody’s material to Arlo’s to that ofthe new generation. It received interesting and enthusiastic reviews.

Another tour, Journey On, commenced in October 2010 and is sched-uled to end in the spring of 2011. The performers include Arlo, Abe Guth-rie 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 atmos-phere that has something for the entire family. He continues to record andtour.

Arlo Guthrie is a folk soldier. While many saw him very much a manof the times, he astounded everyone with a forty year plus career that is stillrunning strong. The man was able to write material that appealed to the coun-terculture crowd, which has transcended generations, enabling him build asolid reputation as one of the more entertaining individuals left over from theturbulent 1960s. He achieved these goals with different tools.

He has an engaging voice. There is something familial about his deliv-ery that was very much antiestablishment. The sarcastic edge places him firmlyon 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 genuinesinging, but the storytelling ability shines through and continues to appealto a new generation of listeners.

He has a solid ragtime guitar stroke. There is nothing original about hismusic and he is no great virtuoso, but has always been able to push messagesacross with limited musical abilities. What Guthrie lacked in virtuosity, hemade up for in heart. Over the years, the entertaining individual would stretch


out musically on the harmonica, piano, and six and twelve- string guitars, aswell as a number of other instruments.

Guthrie is a solid songwriter, but never produced the catalog his fatherdid. However, he could pen interesting material. Some critics have dubbedhim 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 LosAngeles” and “City of New Orleans” proved he could lean on more than onetune.

He often performed the songs of others, including his father, Leadbelly,Steve Goodman, Pete Seeger, Bob Dylan, Lee Hays, Jack Guthrie, HollyNear, Hoyt Axton and Jimmy Webb, among others. With his plain, yet inter-esting voice and multi- instrumental abilities, Arlo was able to give every songhe covered a proper treatment. Although the son performed some of hisfather’s songs, the younger Guthrie strived to stay away from the material asmuch as possible in order to escape the elder Guthrie’s shadow.

In some ways, he was a much different performer than his father, but atthe same time very much alike. The fact that they lived in different times,with Arlo enjoying the use of more modern technology, enabled him toaccomplish things his father could never have imagined. The son never reachedthe same high level of influence as his famous dad, but persisted nonethelessand has carried on the family name for the past five decades.

Like his father, Arlo was a historian. Both witnessed history being madewith many changes occurring during their respective careers. The youngerGuthrie was a child surrounded by Cisco Houston, Pete Seeger, RonnieGilbert, Ramblin’ Jack Elliott, Sonny Terry and Brownie McGhee; he watchedthem pass through singing mostly traditional folk material. However, grow-ing up he saw the transformation of the folk singer from ballad chanter andblues enthusiast, to singer- songwriter. There was also a shift of material asdifferent causes, including the environment, the Vietnam War and the CivilRights 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 Cen-ter and Foundation. Another special project was the collaboration with HansTheessink. They co- produced Banjoman as a tribute to their late friend Der-roll Adams. Some of the noteworthy musical guests on the album includedDonovan, Dolly Parton, Billy Connelly, and Ramblin’ Jack Elliott.

Aside from continuing to record his own material, he has appeared onthe works of others. This includes a Tribute to Leadbelly, Tribute to Steve Good-man, Other Voices, Other Rooms by Nanci Griffith, The Bitter End Years, Trou-badours of Folk, Vol. 4., Southbound by Hoyt Axton, Me & Bobby McGhee by

Arlo Guthrie 173

Ramblin’ Jack Elliott. Also, through sophisticated technology was able to singwith his father, Woody.

He also was a powerful believer in social consciousness and activism andis a hero to many of the current political and anti- folk performers such asMary Chapin Carpenter and Nanci Griffith, among others. His thin catalog,which includes “Alice’s Restaurant,” “Coming into Los Angeles,” and “Cityof New Orleans,” was controversial, satirical and very much part of the under-ground movement.

Arlo Guthrie has carved a multidimensional career by utilizing music ashis springboard. He has devoted his talents to entertaining millions and send-ing a message of concern to those willing to listen. He raised the politicalconscience of others around him. The man who gave the world a forever per-sonality was born into the role of folk singer- protester-fighter of causes; itwas 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 attentionduring the folk revival, groups and duos also made their mark. Many patternedthemselves on The Weavers, the seminal outfit that boasted a sterling lineupof Pete Seeger, Ronnie Gilbert, Lee Hays, Fred Hellerman, Erik Darling, FrankHamilton 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 manydifferent reasons. They were able to blend the different voices and personal-ities into one coherent unit. There were male and female parts that wereclearly defined, something that a few later groups would also contain includ-ing Peter, Paul and Mary; the Mamas & the Papas; The Rooftop Singers; andIan and Sylvia; among others.

Although each group shared essential elements of harmonies and specificassigned roles, what divided them was their choice of material. Some delvedinto folk- pop, uniting both styles in order to reach a larger audience, mostnotably the college age crowd. The formula worked because melting the bestelements of both genres created an exciting, mainstream, catchy style thatappealed to a cross- section of the music listening audience.

Others followed a folk rock path. The initial moment in the new hybridstyle occurred when Bob Dylan went electric at the Newport Festival and wasbooed off the stage. Overnight, a number of groups that favored traditionalmaterial began to utilized drums and electric instruments. A partial listincludes 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 toperform folk music, many felt it was necessary in order to reach larger audi-ences and lead to a number of other styles namely psychedelic, acid rock, andheavy metal. Led Zeppelin, acknowledged as the greatest of all the hard rockbands, had a definite affinity for lighter, bucolic folk etudes.

The idea of individuals uniting their skills and abilities to form a grouphad a strong effect on the folk music of other countries, including England,

175

Ireland, Scotland and Canada. During the revival, the sounds of the ClancyBrothers with Tommy Makem and Ian & Sylvia, both outside exponents,would make strong inroads in the American market. They were able to breakthrough without sacrificing any of the charm and appeal that existed fromtheir initial starting point.

In Great Britain, the revival linked English, Irish and Scottish tunes witha harder edge sound. The simple melody and lyrics of the early Beatles inspiredmany to follow suit. The Dave Clark Five, The Animals, the early version ofFleetwood Mac, and The Zombies all boasted a folkish bent. The BritishInvasion was really a reflection of the American blues, the first wave of rockand rollers and the inspired folk revival.

There were a great number of folk groups and duos to emerge duringthe revival that gained a certain amount of notoriety, but aren’t included inthis book. A list includes The Mamas & the Papas, Beau Brummels, TheTurtles, The Grass Roots, The Brothers Four, The New Christy Minstrels,The Highwaymen, The Springfields, The Wayfarers Trio, The SerendipitySingers, The Even Dozen Jug Band, The Gateway Singers, The FreedomSingers, The Au Go- Go Singers, The Brandywine Singers and Buffalo Spring -field. Many of the aforementioned outfits benefited from the folk revival,playing the songs of Bob Dylan, Pete Seeger, Woody Guthrie and a numberof other earlier figures.

The Kingston Trio sported a clean- cut college image and scored the firstbig hit of the folk revival with their reworked harmonized rendition of “TomDooley.”

The Clancy Brothers and Tommy Makem revived the Irish ballad andadded a distinct foreign sound to the American folk revival.

The Chad Mitchell Trio were a group of college students who managedto rival The Kingston Trio and The Limeliters with their smooth harmoniesand overall fun presentation.

The New Lost City Ramblers revived old jug band and string band songsfrom the early part of the century, giving them a modern sound in order toappeal to the college audience.

Ian and Sylvia Tyson were a Canadian duo who formed at the start ofthe revival and influenced many with their female- male harmonies and out-standing original material.

The Limeliters were a bunch of college kids who found a successful for-mula and became a dominant force in the early years of the folk revival.

Peter, Paul and Mary were three very talented individuals who combinedforces to create a high level brand of folk.

Simon and Garfunkel began their careers in the sixth grade, but wouldn’tattain success until much later as one of the most engaging folk duos in thehistory of the genre.

176 Part Four. Groups and Duos

The Byrds arrived at the start of the folk revival and were the leadingexponents of the folk rock movement.

The Lovin’ Spoonful were a goodtime folk music band who scored anumber 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 whogained popularity, only a handful changed the course of folk music. The secretof their success was an ability to update traditional material and put it in amodern context for the college age students who had embraced the genre toappreciate. One of the major trendsetters who inspired legions of young peo-ple to pick up a guitar and sing the old songs, as well as write their own, wasThe 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 hediscovered music by picking up the banjo and guitar. Like all practitioners,the aspiring musician honed his skills as a solo artist before joining variousgroups, including one with good friend, Bob Shane. This apprenticeshipwould serve both of them well later on in their careers.

Bob Shane was born February 1, 1934, in Honolulu, Hawaii. He pickedup the guitar and developed his skills until proficient enough to play in frontof an audience. However, the opportunities to advance a musical career inhis native state were not very plentiful, so eventually the hopeful musicianmoved 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, Cal-ifornia. His father was an enthusiastic guitarist and this fueled the boy’s inter-est in music. As a student he drifted from San Diego State to the Universityof Arizona and finally Menlo College in Palo Alto, California; but academiaand a regular job was not a burning passion. The determined musician, whowas a proficient guitar player, met Bob Shane in school, who in turn intro-duced him to Guard.

The trio bonded, talking shop, harmonizing together and working onthe rough song ideas each one had brought along. After some time, they formeda trio, playing at frat parties and various other small venues. But Shane returnedto Hawaii and devoted his time to a solo career, while the other two recruited

The Kingston Trio 177

bass player Joe Gannon and singer Barbara Bogue to become Dave Guard &the Calypsonians.

There would be further changes. Reynolds left and Don MacArthurreplaced him for a brief time. The remaining members began to call them-selves The Kingston Quartet and continued singing at dead- end venues withlittle hope of breakout success. After a series of more personnel shuffling,Reynolds and Shane were brought back into the group, and the three ofthem—Shane, Reynolds and Guard—christened themselves The KingstonTrio.

All the pieces fit perfectly as each member had their part in the groupfor definite reasons. Shane sang most of the lead parts because of the qualityof his voice and lack of experience singing harmony. He also played guitar.Reynolds and Guard shared the melody, with the former on second guitarand the latter on banjo. Individually, they were good, but together they weresomething special.

They secured a one- week engagement at the Purple Onion, one of thepremiere spots in San Francisco, backing comedienne Phyllis Diller. In a wisemarketing move, they sent out invitations to all of their college friends, whoshowed up for the concerts creating a series of sell outs. The group would beelevated as headliners and remained at the club for the next five months, dur-ing which time they acquired a manager who hustled them a recording con-tract with Capitol.

During their ensuing run at the Purple Onion, the lads polished theiract to include a comedic side. They were able to woodshed to the point thattheir confidence grew with each successive show as their name spread throughthe grapevine: The Kingston Trio was a hot act. The momentum would buildfrom their stand at the Purple Onion and develop into a national tour. It wasthe beginning of the folk boom and The Kingston Trio was a leading figure.

About this time, they released their first self- titled album, containing anumber of classics including “Scotch and Soda,” “Hard, Ain’t It Hard,” and“Tom Dooley.” The latter would spend some four months in the BillboardTop Ten ensuring the group star status, which was enhanced with appear-ances on The Dinah Shore Show and The Kraft Music Hall. An old standard,“Tom Dooley,” sparked interest in the group’s recorded material that equaledenthusiasm for their hot, live show. The three lads were a double threat act.

When they returned to San Francisco, they appeared at the more pres-tigious 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 audi-ence, those not yet lucky enough to have seen them perform. During thistime, a movie was made based on the song “Tom Dooley.” While it wasn’t ablockbuster hit, fans associated the film with The Kingston Trio name, whichhelped sell more records and concert tickets.


At Large, the group’s third album, illustrated the trio expanding on theirsolid base without losing the values that had brought them fame. The recordwas released in stereo, which at the time was a technological marvel and show-cased an extensive use of overdubbing, including multiple voices, guitars andbanjos. 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 thefolk circuit.

The year 1959 was a banner one for the group. In the thick of the folkrevival, they appeared on the cover of Life magazine and were later voted BestGroup of the Year in the issues of Billboard and Cash Box. They would addtwo Grammy awards to the increasing recognition that had swept across thecountry and spilled into international zones. They also appeared at the New-port Folk Festival and enjoyed a solid reception increasing their strong pres-ence in the folk world.

Despite their success, the opinion on the group was a mixed one. Themass audiences embraced The Kingston Trio for their talent, unity and musi-cal appeal. However, the serious folkies rejected the group because they werenot from the old guard, but upstarts who had cashed in by updating the tra-ditional material that had been part of repertoires for years and putting it ina modern context. But the three of them boasted a large fan base made upmostly of college age students and rode the wave of popularity.

The trio continued to dominate the charts and assume their role as oneof the leading lights of the folk revival. With their clean- cut presence, thereworking of traditional folk standards, and their youthful exuberance, coin-ciding with the Kennedy administration and the Camelot image, their musicdefined the folk- pop genre like no other group on the circuit. They were insuch 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 othersrecorded repeatedly.

However, in 1961, a crises took place when Dave Guard left the groupciting creative differences. Although he found some success, he never againenjoyed the same level of popularity experienced as a member of The KingstonTrio. He would go on to form the Whiskeyhill Singers, which included JudyHenske, David “Buck” Wheat and Cyrus Faryar. They recorded one albumtogether and later appeared on the soundtrack of the western film How theWest Was Won. That same year, Wheat left the trio and Dean Reilly replacedhim on bass.

Reynolds and Shane needed to find a replacement. John Stewart wasborn on September 5, 1939, in San Diego, California. He formed the Cum-berland Three, which recorded three albums before joining The KingstonTrio. He would later go on to write “Daydream Believer,” which The Mon-kees would take to the top of the charts. His contributions were instantly


strong as he sang lead on “Take Her Out of Pity” and wrote “Coming fromthe 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 toThe Kingston Trio, had achieved some chart success with. Although theyavoided confrontational material for most of their career, they slipped in theoccasional edgy song, including “Pastures of Plenty,” a Woody Guthrie com-position, as well as the anti–Nazi “Reuben James.” They also introduced moreof a political point of view in their live shows.

Their version of “Where Have All the Flowers Gone?” changed the per-ception of the group through the eyes of those who perpetuated the folkrevival: the college kids. Those who had enjoyed “Tom Dooley” now likedthe idea of their favorite group making a political statement. In 1962, theCuban Missile Crisis encouraged many academics to assume a stronger polit-ical and social conscience and to become more involved in what was goingon in the world.

The trio continued to participate in the hottest debates of the day withtheir recording of “Road to Freedom,” a song that was an integral part of theCivil Rights Movement soundtrack. However, just as it seemed as if theywere becoming hip for the times, others such as Peter, Paul and Mary pullahead 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 song-books almost exclusively, Peter, Paul and Mary were recording the tunes ofthe more contemporary Bob Dylan.

By 1963, the folk music audience was quickly being split into two verydifferent camps. The first was the left- wing protesters who took on social andpolitical challenges via their folk material, led by Dylan, Joan Baez and PhilOchs. The other was the pop- folk crowd, which was dwindling quickly. Whilethe three lads still placed songs high in the charts, their clean- cut image putthem squarely on the other side of the ledger. With the arrival of The Beat-les and the subsequent British Invasion, the Kingston Trio’s fate was sealed.

Time had passed the group. While they would record solid material suchas “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 theimmensely popular Fab Four, Dylan and the Rolling Stones. In June 1967,The Kingston Trio broke up after making their farewell appearance at theHungry I. It was an end of an era in folk music.

The members of The Kingston Trio went their separate ways. Stewartwould continue a musical career. Reynolds left the business and became afarmer and businessman in Oregon. Guard remained active and eventuallydrifted into world sounds. Shane took some time off and reformed the groupas The New Kingston Trio amid the 1950s nostalgia boom. The 1969 lineup


included Pat Horine and banjoist Jim Conner, accompanied by bassist FrankPassantino and drummer Frank Sanchez. They carried on for some timerecording 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 withRoger Gambill, born on September 10, 1928, in Wilkes County, North Car-olina. The new member of The Kingston Trio developed a taste for countrymusic and became a musician at Nashville’s Opryland before joining thegroup. He brought another side of the traditional element with him that hadnever existed in any lineup of the original trio.

The other member recruited was Bill Zorn, born in Bridgeport, Con-necticut; but because of his father’s traveling salesman job, he lived all overthe country including rural Pennsylvania, Ohio, and finally Phoenix, Ari-zona. He picked up a guitar at an early age and formed different groups.Eventually, the young man became a member of The New Christy Minstrelsand enjoyed success with that group before finally joining Shane and Gam-bill.

Despite the nostalgia boom, it was difficult for the group to find the kindof fan base they had once enjoyed because their type of music didn’t appeallike it had over a decade before. The current edition of the college set wouldnever embrace the new trio. However, they forged on, appealing to the crowdthat had first bought their records and attended their concerts back in theday.

In 1975, Tom Green joined in order to augment their sound. He playedwith the outfit Nightsmoke, an opening act for The Kingston Trio, before hejoined Shane and the others. Therefore familiar with their music, he was agood fit bringing in strong vocal talents. Green would remain for some twentyyears making enormous contributions on record and in concert before leav-ing.

In 1976, Zorn left the group and George Grove replaced him. Grove wasborn on October 9, 1947, in Hickory, North Carolina. As a young boy, theLive at the Hungry i made a huge impact on him, dictating his future coursein life. The determined man became a musician and worked at Opryland fora few years until he joined the group. He played trumpet and guitar and alsobrought along a fine singing voice.

They continued to roll on recording and performing but never createdthe excitement they had during their formative years. In 1981, a reunion con-cert was taped for PBS. Shane, Reynolds, Guard, Stewart, Grove, and Gam-bill all shared the stage singing the songs that had kept the group on the roadfor over twenty years. Mary Travers of Peter, Paul and Mary hosted the showand Lindsey Buckingham of Fleetwood Mac fame added his strong musicaltalents to the mix.


They recorded 25 Years Non- Stop, a greatest hits package that was repro-duced to include the trio’s biggest songs such as “Tom Dooley” and “The FirstTime Ever I Saw Your Face.” In 1983, the album Looking for the Sunshine fol-lowed and was well received. The band was picking up momentum and seemedto 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. Hewould learn to play the guitar, mandolin, banjo and flute, as well as develophis singing talents. The young musician was part of a number of folk outfitsbefore joining the somewhat popular Brothers Four. He made invaluable con-tributions to the group, who enjoyed a moderate level of success throughoutthe years. In 1986, he became part of The Kingston Trio—an ensemble hehad always admired.

In 1988, Reynolds rejoined the group and remained with them for thenext eleven productive years. They had found their target audience made upof those who enjoyed the ringing harmonies of the early days of the folkrevival, so they continued to record and perform. Reynolds retired a secondtime and Bobby Haworth returned. This lineup — Shane, Haworth andGrove—stayed intact for some five years.

In March 2004, Shane suffered a heart attack that left him unable to goon the road. Bill Zorn entered and rejoined the group. A year later, BobbyHaworth left and Rick Dougherty filled in. The college kids who had beentheir biggest fans during the revival now brought their children and grand-children to the concerts. The group had managed to survive a couple of gen-erations. Despite the constant shift in personnel, The Kingston Trio continueto record and perform.

The Kingston Trio was a folk revival jewel. One of the first groups tocatch the wave, they rode it for a few years and enjoyed a level of popularitythat few before them or after ever did. While they managed to carve out theirown niche, the outfit also changed the musical landscape in the process, bring-ing the genre a tremendous amount of respect not long after the McCarthywitch hunt had devastated the industry.

Any discussion of The Kingston Trio begins with their harmony vocalswhich made them famous. Despite a revolving door of personnel, they man-aged to always create a rich balance between lead and background vocals thatadded depth to any material performed. The interplay between group mem-bers was the foundation of their entire sound and remains so to this day. Eachmember always knew their role in the group and never overstepped theirboundaries, which created a clean, organized sound that enabled them to takeany song and put a personal stamp on it.

They recorded a wealth of material A partial list includes “Tom Doo-ley,” “When the Saints Go Marching In,” “Blow Ye Winds,” “Fast Freight,”


“Haul Away,” “Round About the Mountain,” “The Unfortunate Miss Bai-ley,” “Blue Tattoo,” “New York Girls,” “The First Time Ever I Saw Your Face,”“Scotch and Soda,” “All My Sorrows,” “The Long Black Rifle,” “FarewellAdelita,” “The Tattooed Lady,” “Goodnight My Baby,” “Bye Bye Thou Lit-tle Tiny Child,” “The Last Month of the Year,” and many, many more. Nomatter the source of the song they were able to make it their own.

The Kingston Trio inspired many others to form groups and sing thetraditional material. The Limeliters, The Highwaymen, Bud & Travis, TheJourneymen, The Halifax Three, The New Christy Minstrels, SerendipitySingers, 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 actstrying to imitate the popularity of the Trio. In retrospect, they opened as manydoors as Bob Dylan did with his personal brand of folk.

But their influence spilled into different styles. Lindsey Buckingham ofFleetwood Mac, Timothy B. Schmit and Bernie Leadon of The Eagles, AlJardine of The Beach Boys, Peter Albin of Big Brother and the Holding Com-pany, Denny Doherty of The Mamas & the Papas, ABBA, Marty Balin andPaul Kantner of Jefferson Airplane, Richie Furay of Buffalo Springfield, GeneClark of The Byrds, David Grisman, Tony Trischka, Tom Paxton, HarryChapin, Jimmy Buffett, Tim Buckley, Steve Goodman, Steve Gillette, MichaelSmith, Jerry Burgan, Jerry Yester and Manhattan Transfer all benefited fromThe Kingston Trio’s impact.

The Kingston Trio was one of the more commercial, yet influential ofall folk acts and spawned many imitators. While they remained mostly polit-ically inert, their music pleased audiences and has done so for some fifty yearsbecause of its wholesome quality. Although plagued by several personnelchanges during a long, colorful history, the spirit never died. They remainone of the most interesting stories of the folk revival, and to many, they weretrendsetters.

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.


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 tra-ditional material. One of the best, if not the greatest, sources of these songswas derived from the rich British, Irish and Scottish music veins. One groupof brothers arrived in America, hooked up with a hometown friend and pro-ceeded to bring to light the material of their ancestors with genuine Irishhearts.

Tommy Makem was born on November 4, 1932, in Keady, CountyArmagh, Ireland. Unlike many others who were forced to learn their folkthrough records or on the street, his mother, Sarah Makem, a legendary singerand ethnomusicologist long before the term was coined; taught him manysongs. These formed the foundation of a repertoire that included hundredsof old tunes some dating back over a hundred or more years.


Although music was one of his burning passions, Makem wanted mostto become an actor, so in order to pursue his dream, he relocated to the BigApple as a young man. The aspiring thespian struggled for a few years untilone 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 tobe made in America singing traditional Irish songs. Later, the curious youthattended a performance of The Weavers and received encouragement fromthe group, particularly Pete Seeger, who was already a giant in the field. Whilea good singer in his own right and the possessor of an encyclopedic knowl-edge of English, Irish and Scottish numbers, a partnership with the ClancyBrothers—Tom, Liam and Paddy—accelerated his career.

Paddy Clancy was born on March 7, 1922. He sang Irish songs, but neverenvisioned a musical career. His brother Tom was born on October 29, 1924,also in Carrick- on- Suir, County Tiperrarey, Ireland. They served in WorldWar II, before emigrating to Toronto, Canada. They worked odd jobs beforerelocating to the United States, first in Cleveland, Ohio. Later, after theycaught the acting bug, they had plans to go to Hollywood. When that adven-ture failed the pair ended up in New York City.

In 1951, they arrived in Greenwich Village where legends Billie Holidayand Charlie “Yardbird” Parker had starred. The Irish brothers establishedthemselves on Broadway finding great success and also appeared on TV per-forming in plays they had written. In order to finance their own productioncompany, Trio Production, to the delight of the gathered crowds, they heldMidnight Special concerts every Saturday night, harmonizing old Irish tuneslearned during their childhood. It was an easy and enjoyable way for themto make money.

Bobby Clancy, born on May 14, 1927, also in Carrick- on- Suir, CountyTipperary, Ireland, joined them. He had toured Europe absorbing differentcultures and musical styles before going over to the United States. The threewere the first unofficial version of the Clancy Brothers. Despite the promiseof great success, Bobby returned to Ireland to take over his father’s insurancebusiness, 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 Clancyboys. 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 wasacting, and he performed in many local theatrical productions. Like Makem,his mother was an important source of music and taught him dozens of oldstandards 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 truepioneering spirits in folk history, had ventured to Ireland in search of authen-tic Emerald Isle songs and discovered Sarah Makem, as well as her son,

The Clancy Brothers and Tommy Makem 185

Tommy. She was enchanted with their deep knowledge and repertoire ofhomespun tunes.

A few years later, Diane Hamilton, another folk individual who cher-ished the Irish music and knew the importance of preserving it, met Paddyin New York and desired to follow in the footsteps of her mentor, Ritchie, torecord authentic Irish folk songs. She went directly to the Clancy householdand convinced them to help her on the venture. One of the sources theytapped was Sarah Makem. Liam, who accompanied Hamilton on the trek,met Tommy, and the two became fast and lifelong friends since they had sim-ilar interests in acting, theater and music . During that session, Tommyrecorded “The Cobbler” shortly before leaving for America to make it as anactor.

The story picks up in Dover, New Hampshire, where an unemployedactor, Makem, toiled in the mills to make ends meet. An unfortunate acci-dent at work turned out to be a fortunate turn of events. Because the injuryallowed him time off work, it enabled the curious Irishman to venture downto 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 theMoon, which proved to be a regional hit, surprising the quartet and recordproducers. Initially, they had emigrated to New York in order to be actors notsingers; the singing was a side hobby to make quick money. However therecord proved to be so popular that they decided to give music a full attempt.

The musical atmosphere had changed drastically from their first record-ing. At that time, they had recorded a bunch of Irish songs in order to helpPaddy’s recording company to release Diane Hamilton’s material. Liam hadimproved as a guitar player and Makem was once again able to play the bag-pipes and the whistle having recovered from his work injuries. More impor-tantly, three years of hanging out, getting to know one another, harmonizingand singing on an unprofessional level had developed a bond that wouldgreatly fuel the next effort.

Come Fill Your Glass with Us was a smashing success. It enabled them toextend their circle of live concerts into pubs from Chicago to Boston and otherpoints on the East Coast. However, their base of operations was New Yorkand their immense appeal allowed them to perform on a regular basis. Even-tually, they came to the attention of staffers of the Ed Sullivan Show.

On March 12, 1961, the Clancy Brothers and Tommy Makem performedfor about a quarter of an hour to a worldwide audience of millions, whichcatapulted them to international status. The four of them sported Aransweaters, projecting an image that was easy to package and that became theirtrademark. The importance of their TV debut was the attention it receivedfrom John Hammond, Sr., of Columbia Records.


They were signed to a contract for an unprecedented amount of moneyand recorded A Spontaneous Performance Recording, which included classicssuch 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 onbanjo, a service he was more than glad to provide, turning in some excellentsession work.

By the end of the year they had released Hearty and Hellish: A Live Night-club Performance, appeared at Carnegie Hall and made the rounds of the radioand television talk show circuit in America. While the group were big starsin 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, visitedthe United states, heard the group for the first time and collected all of theiralbums. He played them on his radio show back in Ireland, and the quartet’spopularity soared. While many knew “Roddy McCorley,” “Kevin Barry,” and“Brennan On the Moor” as songs full of melancholy, the Clancy Brothers andTommy Makem turned them into national treasures. They instilled musicalpride in the Irish people, a point of the heart that was always going to be verywell received.

It was only a matter of time before they had to return to Ireland in orderto reap the rewards of their newfound international popularity. They per-formed a sold- out tour of their homeland with many family members inattendance cheering them on. They also appeared in England and other partsof Europe, as well as Australia and Canada. Because of the large Irish popu-lation 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. Theirpopularity was so widespread that they appeared on television with then Pres-ident John F. Kennedy. With an unequalled ability to render a traditional Irishmelancholy into a modern context with blustery energy, they became kingsof the ballad. While the younger folk crowd and the college audiences wereturning to more social and political causes, the Clancy Brothers and TommyMakem continued to entertain their set audience with a homespun brand offolk.

However, in the late 1960s, folk music and the ballad, the group’s spe-cialty, reached a low ebb. Although their producer attempted to keep thempopular by having them record in a variety of different contexts, including amultitude of stringed instruments and synthesizers, the quartet’s time in thesun had come and gone. It had been a good run, and they had made the Irishballad 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


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 theValley. The group would experience dissension among the four brothers afterthe Furey’s left. Bobby would quit the band and the three—Paddy, Liam andTom—carried on as a trio for some time.

In 1971, they brought Louis Killen into the fold, someone they hadrecorded an album with a few years before. A master of the concertina, heappeared on the Save the Land and Show Me the Way for the Audio Fidelitylabel. In 1973, the group officially disbanded after recording the album ClancyBrothers and Lou Killen’s Greatest Hits. Their last TV appearance included aguest appearance by Bobby, as the brothers had solved their differences forthe time being.

The brothers went their separate ways. Paddy and his wife settled downon 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 sufferedfinancial problems and moved to Calgary. The only one to continue singing,he recorded the song “The Dutchman,” which became a hit and earned himthe opportunity to host his own TV show. At the end of its run, TommyMakem was a guest, and the duo realized how much they missed workingtogether.

In 1975, Liam and Tommy appeared at the Cleveland Irish Festival andsang a duet, receiving an overwhelming response. The two decided to recorda self titled album; it included the smash hit, “The Band Played WaltzingMatilda.” Their lifelong friendship that had begun when they were young menwas renewed. Makem and Clancy followed with a live album recorded inDublin entitled, The Makem & Clancy Concert. They toured England, Aus-tralia, Canada and the United States appearing on a number of television spe-cials. As well, the duo continued to release many successful albums provingthat there was always a market throughout various parts of the world for thereworking of Irish ballads.

After several years absent from the musical scene, Paddy, Tom and Bobbydecided to reunite on a part- time basis. Their attempt at luring Liam backinto the fold failed, so they were forced to recruit Robbie O’Connell, theirsister’s son, in order to keep it a family affair. In 1982, they recorded a livealbum of mostly new material and were catapulted into the spotlight onceagain. 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 enthusiasticaudience provided a perfect background for the recorded concert, ClancyBrothers and Tommy Makem Reunion. A tour of England, Ireland and theUnited States lasted over a year as the group discovered that they had never


gone out of favor due to their immense fan base. The energy, the spark andthe desire to become a unit remained vibrant.

In 1986, Makem and Liam Clancy recorded their final album, We’ve Comea Long Way, before returning to their solo careers. Meanwhile, the Clancybrothers Paddy, Tom and Bobby, along with Robbie O’Connell, recorded alive album in Manchester, New Hampshire. The disc utilized specific tech-nology that didn’t produce a very solid effort as it was panned by the criticsand fans alike. However, because of their strong Irish spirit, the lads were notabout to give up; they forged on.

In 1990, Tom Clancy was diagnosed with stomach cancer and the sub-sequent 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 asthe Clancy Brothers continued to perform and record. An active quartet, theyappeared on TV many times, including Regis and Kathie Lee and the 30thAnniversary Bob Dylan Concert. Eventually they cut Older and Wiser, whichcontained mostly new material that was well received. The foursome dis-banded, but not before recording their final tour entitled The Clancy Broth-ers and Robbie O’Connell: A Farewell to Ireland.

After the quartet called it a day, Paddy and Bobby decided that theywere not finished and continued under the Clancy Brothers name. FinbarrClancy, Bobby’s son, joined the duo to make it a trio. Eventually Eddie Dil-lon, a friend to one of Bobby’s daughters, became the fourth member. Dil-lon became the first and only American to be part of the still popular Irishgroup. 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 participatedin the quartet’s final tour and recording. This unofficial version of the ClancyBrothers 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 Waste-ful Ocean. In 1999, the trio called decided to call it quits.

On November 11, 1998, Paddy Clancy, the eldest of the group, died ofcancer. Before his death, Liam and his older brother reconciled. The three ofthem—Bobby, Liam and Paddy—came together to sing at their local pubone final time. After this, Bobby, Finbarr and Eddie Dillon resumed as a trioand called themselves The Clancys and Eddie Dillon, in order to avoid anyunnecessary lawsuits. However, they made good use of the trademark nameworking many of the same venues and recording in a similar style as had everyversion of the group.

In 1999, Bobby who had been diagnosed with pulmonary fibrosis, even-tually succumbed to the disease. It made his last few months on the planetvery difficult. However, there was one last triumph at the Milwaukee IrishFestival’s 20th anniversary. Robbie O’Connell, Donal, Liam, Bobby, Finbarr,


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 mem-ories, Mountain of the Women: Memories of an Irish Troubadour. He later touredthe book. In 2005, he appeared at the Gaiety Theatre in Dublin and sangwith legends Ronnie Drew and Paddy Reillly. A year before, the massive andintrospective biography, The Clancy Brothers with Tommy Makem & RobbieO’Connell: The Men Behind the Sweaters, appeared. Sadly, on August 1, 2007,old friend and former group member Tommy Makem passed away. Liam con-tinues to record and tour.

The Clancy Brothers and Tommy Makem were folk emeralds. Theyarrived on the scene with their Aran sweaters and glistening, intricate har-monies, sparking a renewed interest in one of the main sources of the folkrevival: the Irish ballad. They performed thousands of concerts in variousgroup formats and recorded a wealth of music. They were one of the mostpopular and delightful acts on the circuit.

Every member that was ever part of the Clancy Brothers and their friendTommy Makem could sing very well. More importantly, despite the fact thatthey all possessed strong individual voices which could stand on their own, theirability to blend different textures into one cohesive package was nothing shortof musical genius. The bond between the initial quartet allowed them to inter-change words and phrases with relative ease. Each member knew their role inthe group so well that they could take liberties that only enhanced the product.

The quartet’s specialty was the Irish ballad. By bringing their ancestralmusic into the American folk revival, they created a dimension that none ofthe musicians or singers from the United States could ever duplicate. Theirsecret existed in their ability to take a melancholy tune with depressing lyricsand add fire and energy through their delicate harmonizing to create some-thing fresh and new. Songs of dread and despair that the Irish people hadwanted 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,” “Court-ing in the Kitchen,” “Johnny McEldoo,” “Nell Flaherty’s Drake,” “Me Grand-father Died,” “Bold Tenant Farmer,” “Brennan on the Moor,” “Paddy Doyle’sBoots,” “Whack Fol the Diddle,” Moonshiner,” “Boulavogue,” “Foggy Dew,”“Whiskey You’re the Devil,” “Old Woman from Wexford,” “Roddy McCor-ley,” “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,” “Maidof the Sweet Brown Knowe” and “Parting Glass.” No matter what song theClancys sang, it rang with an authentic Irish spirit that endeared them to audi-ences around the world.


It is only understandable that through their extensive catalog andlongevity as performers, they would influence a number of other artists. Apartial list includes The Irish Rovers, Wolfe Tones, The Tossers, ChristyMoore, The Chieftans, Ashley McIsaac, Planxty, The High Kings, CelticThunder, Great Big Sea, The Battlefield Band, Peter, Paul and Mary, Spiritof the West and Carolyn Hester, among others. The connection to the Cana-dian Maritime Irish tunes, as well as centers such as Boston inspired many totake up the mantle.

The story of the Clancy Brothers and Tommy Makem is the deep taleof Irish lads and how they were able to crystallize their talents into a veryattractive package. They occupy a special place in the folk boom with theirrevival 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 traditionalmusic.

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.


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 orderto capture the fever that raged throughout the country. With the emergenceof coffee houses, mostly around colleges and universities, these newly formedoutfits found plenty of venues to perform in. One of the best of the earlyensembles, the Chad Mitchell Trio, emerged from the West Coast, and despitemissed opportunities achieved a fair degree of fame.

William Chad Mitchell was born in Portland, Oregon, in 1936, and dur-ing the middle of the Second World War moved to Spokane, Washington.An early music enthusiast, he formed a number of different groups as part ofregular choirs and glee clubs in order to develop his singing talents. One ofthe outfits performed on the Spokane Rangers’ Radio Show, giving the aspir-ing musician a taste of future success. He would later study piano, but neverbecame an accomplished musician.

He formed his first vocal quartet in high school and they performed atvarious venues, including Women’s Club, The Lions and the Rotary, as wellas a slot on a local TV program broadcast on Friday nights. Although pas-sionate about music, Mitchell still looked for the right road to lead him tofame and fortune. Eventually, he would follow a path to Gonzaga Universityin Spokane on a choral scholarship. There he met Mike Kobluk.

Michael Kobluk was born in 1937 in Trail, British Columbia. Althoughsurrounded by music from an early age, it wasn’t until high school that hebegan to start singing in the glee club. The future member of the ChadMitchell group attended the University of British Columbia, combining hisinterests in mathematics and writing with the intention of becoming an archi-tect. He took the longer road, studying engineering for a year then switch-ing to the University of Gonzaga where he enrolled in business courses.

When he joined the men’s glee club on campus, Mitchell was already amember. At the time, the aspiring young singer knew very little about folkmusic. He was aware of Harry Belafonte, the Calypso singer with the deepvoice and sunshine in his mouth, as well as Burl Ives and The Weavers; how-ever, 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 asanother student, Mike Pugh.


Mike Pugh first started singing with the group while at Gonzaga Uni-versity. Originally from the West Coast, he followed a similar path as his twocohorts. In many ways, the third member was the missing piece to the puz-zle, 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 Beaverwho 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. Theyobliged and sang their way across the country at various venues in order tofinance the trip. They were also building up an audience who would remem-ber the three handsome college boys with the golden harmonies.

Despite some initial tough times in the Big Apple, the trio eventuallyfound work on the Arthur Godfrey Show. They also acquired a manager, landeda recording contract and hooked up with musical director Milt Okun. In thefall, 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 ChadMitchell Trio, was about to embark on a dizzying musical adventure thatwould take them from a status as relatively unknown singers to superstardomin a short period of time.

They found plenty of work in and around the Big Apple in various clubsthat catered to folk music. The trio also appeared on the Pat Boone Show andperformed at Carnegie Hall on a bill that included Harry Belafonte, OdettaHolmes and Miriam Makeba. The group was picking up momentum andsurvived the winter intact; however, the following summer, Pugh quit thegroup to return to school.

After dozens of unsuccessful auditions, Joe Frazier was hired on. Frazierwas born in Pennsylvania where his family settled in the town of Lebanon.His father taught him the rudiments of guitar, and the young musician honedthose 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, folkand Broadway show tunes.

After graduation, the youth enlisted in the U.S. Air Force and was soonsinging with a chorus on Sampson Air Force Base in New York State. Becauseof his radical political views, he was incarcerated. Eventually discharged, Fra-zier attended Lebanon Valley College, where he met his future wife and alsobecame an actor. Because of certain political leanings, the music buff was anenthusiastic fan of Pete Seeger, The Almanac Singers, The Weavers, JoshWhite and Paul Robeson. The successful candidate became a member of theChad Mitchell Trio before they recorded their first album.

Chad Mitchell Trio 193

In 1960, they cut The Chad Mitchell Trio Arrives, which went virtuallyunnoticed. Although it contained a strong selection of songs, the group wasstill discovering their personal singing voice. But long stints at such presti-gious spots as the Blue Angel Nightclub in the Village enabled the three ladsto hone the rough edges and polish their act. With each gig, they became amore professional outfit and expanded their appeal to a new audience everynight.

In 1961, they were signed to Kapp Records, a division of MCA, duringthe height of the folk revival. When they recorded a live album at BrooklynCollege entitled Mighty Day on Campus, it was apparent that performing infront of an ebullient audience was the best setting for them. They were ableto feed off the positive vibes from the crowd, which in turn, energized thegroup to try harder.

One of the more interesting additions to the group was guitarist JimMcGuinn. He had earned notice as a strong support player with The Lime -liters and remained with the Chad Mitchell outfit for about a year. In 1962,the foursome toured South America to enthusiastic reviews and also releasedthe album At the Bitter End. McGuinn would eventually leave to become oneof the founding members of The Byrds, a seminal outfit that would usher inthe folk rock era.

Despite McGuinn’s departure, they remained a solid musical enterprisebecause of their cautious approach. An example was their humorous but saferecorded version of “The John Birch Society,” a song which would sound muchdifferent in the hands of more politically astute groups. Another factor work-ing in their favor was their wide range of abilities handling any material—folk, pop, and topical songs—with soaring harmonies. By 1962, they wereone of the most popular folk acts with the mainstream audience that had notyet turned rebellious, although it would in a very short period of time.

Things would change quickly for the group over the debate of whetherthey should cut a version of Bob Dylan’s risky “Blowin’ in the Wind.” Theirproducer and record company didn’t want them to cover the tune because itwasn’t considered suitable material for them. In the end, they didn’t recordit, but Peter, Paul and Mary did, establishing them as the number one folkgroup surpassing the Chad Mitchell Trio. While they eventually waxed a ver-sion, it was done too late and with little effect, creating much distance betweenthe band and their management team.

In 1965, they signed to Mercury Records which didn’t change the group’sfortunes. However, by this time because of the waning interest in folk trios,Mitchell was coaxed to go solo, which infuriated Frazier and Kobluk. Evenafter they changed their name to The Mitchell Trio, the bickering and dis-sension did not cease. It seemed that one of the genre’s most popular groupswas on the verge of self- destruction; the time bomb was ticking.


When Bob Dylan went electric, he took with him a very large part ofthe folk audience and doomed groups like the Chad Mitchell Trio to thebackground. In 1965, Mitchell left the group and John Denver, then a youngunknown songwriter, replaced him. Eventually, Frazier and Kobluk exitedthe group. However, Denver kept everything going by bringing in DavidBoise and Mike Johnson under the name Denver, Boise and Johnson in orderto avoid lawsuits since they didn’t legally own the Mitchell name.

John Denver went solo, and it put an official, if indirect, end to theChad Mitchell Trio. In 1987, Mitchell, Kobluk, Frazier and Denver allreunited for several concerts broadcast on PBS. In 2005, the Mitchell- Kobluk- Frazier trio came together as part of a nostalgic folk package which alsoincluded Tom Paxton and the then current lineup of the Kingston Trio. Areissue 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 CountryRoads,” “Rocky Mountain High,” “Sunshine on My Shoulders,” “Thank GodI’m a Country Boy,” “Annie’s Song,” and “Calypso.” Chad Mitchell wouldrelease a number of solo records before retiring from the business. MikeKobluk settled in Spokane and assumed various positions in local entertain-ment. Joe Frazier and David Boise eventually left the industry. Michael John-son recorded “Bluer Than Blue” and retired to Nashville where he continuesto record to this day.

The Chad Mitchell Trio was a folk revelation. They were also one of themost entertaining groups during the revival with an ability to mix humor withsoaring harmonies and the proper choice of material—a combination that putthem 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 pro-ducer, they would have been labeled as one of the greatest ensembles of alltime instead of an interesting footnote in the pages of history.

Chad Mitchell was a tenor who sang on top and around the two- partharmonies. A capable vocalist, he was able to compliment the others in thegroup with his savvy and talent. The unofficial leader of the outfit, despitepossessing a strong voice and a deep experience in show business, he was neverable 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’ssound. He was able to blend his vocal talents with Kobluk and Mitchell tocreate a uniform unit, but at the same time he managed to put down an indi-vidual style. Blessed with a voice that was instantly recognizable even in themix of a group arrangement, the talented singer was able to add a distinctchapter in the annals of the outfit and the revival.

Mike Kobluk was a tenor who was able to blend his voice with that of

Chad Mitchell Trio 195

the others. He had an uncanny ability to ride between Mitchell and Frazierforcing them to bring out their best singing abilities in order to match hisown personal style. A polished vocalist, he was an asset in any recording stu-dio as well as in a live setting. In many ways, he was the final piece to thepuzzle and made the three- part harmony click.

They covered a variety of material. “Mighty Day” depicted in poignantterms the devastation of the Galveston, Texas, hurricane. “Rum By Gum” toldthe story of the Prohibition movement. “Lizzie Borden” explored with satir-ical lyrics the “true” story of the famed axe murderess. There was also “TheJohn Birch Society” and “The Ides of Texas,” which was one of their strongerpolitical messages, poking fun at financier Billie Sol Estes.

Other interesting songs included “Barry’s Boys,” a slash against Repub-lican presidential candidate Barry Goldwater. “The Draft Dodger Rag,” aPhil Ochs tune, depicted the anger against the Vietnam War recorded whenthe resistance movement was in its infancy. “Alma Mater” tackled segrega-tion, a very controversial issue during the group’s best years, and it was cou-pled with “Your Friendly, Liberal, Neighborhood Ku- Klux- Klan.”

The group’s repertoire was solidly based in folk, but also spilled into dif-ferent 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 WasLost (Easter Morn).” Their nature for experimentation enabled them toacquire a different type of fan base. One of the reasons for their eclectic choiceof songs was musical director and arranger Milton Okun.

They explored the songbooks of other folk artists. They recorded TomPaxton’s “The Marvelous Toy,” “What Did You Learn in School Today?,” and“We Didn’t Know.” They covered Woody Guthrie’s “The Great HistoricalBum (Bragging Song),” Bob Dylan’s “Blowin’ in the Wind,” “With God onOur 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 Byrdswho scored with “Mr. Tambourine Man,” the Chad Mitchell Trio never man-aged to turn a Dylan tune into gold.

The group was always backed by quality musicians. Jim McGuinn, whoplayed guitar and banjo and later founded The Byrds, was an alumni. AlsoErik Darling on five- string banjo was associated with The Weavers, The Tar-riers and The Rooftop Singers. Paul Prestopino played guitar, banjo and man-dolin on various occasions. Bob Hefferan, Vic Messer, Bruce Langhorne, FredHellerman, Jacob Ander, Dennis Collins, and David ( Juke) Ander were gui-tarists. Later, John Denver would add his instrumental talents to the outfit’ssound. Pete Soloway was an acoustic bass specialist, while Norman Keenan,Clyde Lombardi, John Frigo and Jim Atlas all were proficient on the electricbass.


The history of the Chad Mitchell Trio is a rich tale of three lads whoproduced magic, singing together a wealth of material they wrote and cov-ered. 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 feverthat raged throughout the entire fan column. However, one will always won-der how far the group would have gone if they had not suffered missed oppor-tunities.

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 Anthol-og y of American Folk Music. It sparked a renewed interest in material andartists whose songs had been included in the famed collection. One grouptook the idea a step further with the reintroduction of old- time lost classicsby bringing them to a modern audience without losing the magic. They werethe New Lost City Ramblers.

In 1958, the New Lost City Ramblers were formed and boasted animpressive pedigree. Mike Seeger was born on August 15, 1933, in New York

New Lost City Ramblers 197

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, mouthharp, mandolin and dobro. He also benefited from the music his parentsbrought from the Library of Congress. Another advantage was having Eliza-beth Cotten living in the house for five years.

Initially, Mike began to perform with his sister, Peggy, at square dancesbefore forming a band with Hazel Dickens and Bob Baker. He was also con-ducting field recordings, creating for himself credentials as an ethnomusicol-ogist. His entire childhood, teen and adult experiences crystallized to a pointwhen he helped form the New Lost City Ramblers in order to perform stringband music from the lost era of the 1920s and 1930s.

John Cohen was born in 1932 in New York City. Like Seeger, he learnedto play several instruments including guitar, banjo and mandolin. The inter-est in American roots music started long before joining the New Lost CityRamblers; in fact, the young musician had served a lengthy apprenticeship.For years, he had studied traditional music and taught himself hundreds ofsongs. 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 consumingpassion. Utilizing the Antholog y of American Folk as a base, the keen studentlearned many of the songs from the collection that served as a foundation ofhis sound. He taught himself the five- string banjo, as well as the guitar, andquickly developed those skills until becoming very proficient on both instru-ments. He would play briefly with legend Woody Guthrie before moving onto join friends Seeger and Cohen in the New Lost City Ramblers.

The three musicians, with their dedication to old- time music and attemptto recreate that sound and bring it to modern audiences, formed on the cuspof the folk revival. Their fast- paced career accelerated very quickly. Barelyformed, the trio released their first recording, The New Lost City Ramblers, onthe Folkways label. The traditional material included instrumentals “ForkedDeer,” “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 Doo-ley,” “Bank of the Ohio,” and “Hawkin’s Rag.” More than anything, the discdemonstrated a commitment to a purer strain of folk than their rivals TheKingston Trio were performing, as the latter specialized in folk- pop. A com-parison of each’s version of “Tom Dooley” underscores the point, althoughThe Kingston Trio’s version was a massive number one hit.


The New Lost City Ramblers also appeared at the Newport Folk Festi-val where they caused a sensation with their down- home sound that was athrowback to a bygone era. In the process, they had a hand in helping BuellKazee, 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 Amer-ican Folk. The Ramblers’ dedication to the roots of American music assuredthem a heavy touring schedule and a solid fan base at many venues across thecountry.

In 1962, Paley left the group and Tracy Schwarz replaced him. Schwarzwas born on November 13, 1938, in New York City; and when he heard coun-try 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 howto play all of the old- time standards. Later, in college, he added the mando -lin and bass fiddle to his musical arsenal. While a strong multi- instrumen-talist, it was the bass fiddle that would gain him widest acclaim. He broughta harder edged sound to the group.

With the addition of Schwarz, the group began to include more Appa-lachian songs into their repertoire, both the religious and secular type. Whilethe trio was trying to broaden their appeal, they were also educating Amer-ican and international audiences about the beauty and importance of pre-serving traditional music. Their appearance on TV, on tours and at festivalswere 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 beganwriting more overtly political songs that included original material. The sub-sequent British Invasion didn’t do the group any favors since The Beatles andThe Rolling Stones relied on the first generation of rock and rollers, bluesand rockabilly as their musical source book, instead of the Appalachian folkstrain.

Despite not being in sync with the record buying public, the Ramblerscontinued to record a steady stream of albums, concentrating on the old- timemusic of the jug band, in similar fashion to past groups such as The Fruit JarDrinkers and The Skillet Lickers. A good example was Remembrance of Thingsto Come released during the psychedelic era. It featured the three of them—Seeger, Schwartz and Cohen—doing what they did best : reviving lost clas-sics and putting them in a modern context. “Black Bottom Strut,” “New LostHometown 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 distinctionand instrumental imagination. They also featured lost, important artists (fromtheir perspective) backing them with spoons, guitar, harmonica, fiddle, banjo,


mandolin and a dozen other instruments. A good example was The New LostCity Ramblers with Cousin Emmy. Taking over the vocal chores enabled CousinEmmy to excel on several cuts including “A Home in Old Kentucky,” “Ruby,Are You Mad at Your Man?,” “Mother’s Grave,” “Johnny Booker” and “ChillyScenes of Winter.”

Despite the importance and dedication to their work, a lack of genuineprogress and interest in their music waned. In 1975, the New Lost City Ram-blers 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 theirstaunch idealism and brought appeal to the common music fan. Each wenton to pursue different activities with mixed results.

Mike Seeger toured and recorded with his wife, Alice Gerrard, a classi-cally trained musician who would eventually discover folk and blues via therecordings of the New Lost City Ramblers. As far back as 1962, Seeger hadbeen 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: Songsof the Industrialization of the South was released with the effort dedicated tothe poor working conditions in coal mines and factories through songs like“The Miner’s Blues,” “Cotton Mill Blues,” “The Hard Working Miner,” “Fac-tory 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 hisstrong involvement in the Newport Folk Festival and as director of the Smith-sonian Folklife Company that included the compilation of scholarly projects.However, he still found time to record his own solo material, mainly for theRounder label. A good example was Fresh Old- Time String Band.

Like with the New Lost City Ramblers, he updated and revitalized old- time string band music to bring to a new audience. “Black Jack Davey,” “PoorBlack Sheep,” “Pork Fat Makes My Chicken Tan” and “Boatman” were someof the highlights. This collection involved collaborators Kirk Stuphin, Nor-man and Nancy Blake, The Horseflies, and James Bryan, utilizing some inter-esting instruments such as a fretless banjo.

In 1984, he won a Guggenheim Fellowship. Later, Seeger won the RexFoundation’s Ralph Gleason Award and the Award of Merit from the Inter-national Bluegrass Music Association. Although the talented individual par-ticipated in a number of activities, he never wavered from his penchant forkeeping the flame of old- time music burning. The devoted folkie also broughtLibby Cotten to a mass audience, touring with her and helping out on thestudio work. Sadly, on August 7, 2009, Mike Seeger died of cancer in Lex-ington, 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


Purchase College. He also made a number of documentary field recordingsof traditional musicians in their home settings, continuing the work of suchpioneers as John and Alan Lomax, Helen Flanders and Margaret MacArthur,among others. There were many facets to the remainder of a career that wasvery interesting and productive. Two of his field recordings, High Atmosphereand Mountain Music of Kentucky, were considered the best Appalachian fieldcollections ever assembled.

Even while a member of the group, Cohen was involved in side proj-ects. In 1961, he founded the Friends of Old Time Music with Ralph Rinzler& Israel Young. They organized concerts where old- time singers Roscoe Hol-comb, Clarence Ashley, Doc Watson, Dock Boggs, Mississippi John Hurt,The Stanley Brothers, Bill Monroe, Gus Cannon, Joseph Spence, HobartSmith, Almeda Riddle, Bessie Jones and many others were able to performand extend their careers. He also made documentaries of these individuals,most notably Roscoe Holcomb.

Cohen would also record with the Putnam String Country Band, whichincluded members Jay and Lyn Ungar and Abby Newton. He made solorecords like Stories the Crow Told Me, an interesting collection that featuredhim singing in a very rustic manner with banjo and guitar. “Farmland Blues,”“Rambling Hobo,” “The Highwayman” and “Chitlin Cookin’ Time inCheatham County” were some of the highlights. David Grisman, Jody Stecherand Sue Draheim added string band touches to a few of the numbers.

Other contributions include writing linear notes for the Alan Lomaxportrait series, “Texas Gladden,” as well as Jerry Garcia & David Grisman:Shady Grove. He penned articles for Sing Out! magazine as well as conductedinterviews 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, PatConte, Walker Shepard, Sam Shepard and Betty Berlin. The multi- talentedindividual continued to produce recordings of traditional American music,including An Untamed Sense of Control (Roscoe Holcomb), Dark Holler (Dil-lard Chandler), The Lost Recordings of Banjo Bill Cornett (Bill Cornett), andIf I Had My Way (the Rev. Gary Davis). Photography was also a major partof his work, including photographs of a young Bob Dylan. He continues torecord, write, draw and perform.

Tom Paley continued to play traditional music after leaving the NewLost City Ramblers. He formed Old Reliable String Band with Roy Berke-ley and Artie Rose. Later, he moved to Sweden and finally to England wherehe formed the New Deal String Band and learned how to play the fiddle.Other projects included The Mysterious Redbirds, a group which includedJames Reams and Bill Christophersen; they recorded three respected albums.


In 1993, he was elected president of the Friends of American Old- Time Musicand Dance. He continues to record with his sons, Ben and Tom.

Tracy Schwarz continued to record and perform, most notably with theStrange Creek Singers. He would cut a number of interesting solo albumsfurther displaying his virtuoso ability on the fiddle that reached an interna-tional level. He also collaborated on projects with a variety of outfits includ-ing his Cajun Trio. In the past few years, he has teamed up with GinnieHawker. The duo perform southern Appalachian mountain music, provingthat the penchant for old- time music never dies.

Despite their busy schedules, Seeger, Schwarz and Cohen reunited toperform and record on occasion. In 1997, they released There Ain’t No WayOut, a mixture of old- time, bluegrass, blues, spirituals and Cajun with songslike “God’s Gonna Ease My Troublin’ Mind,” “Shady Grove,” “Skip to MyLou,” “Cumberland Gap” and “Crapshooter’s Hop.” In 2009, the band cel-ebrated its 50th anniversary. Although they had disbanded many years before,the group had maintained solo interests in promoting the old- time music theyall so dearly loved. However, the death of Mike Seeger ended the possibilityof any future reunions. It was the end of an era.

The New Lost City Ramblers were a folk wonder. With their dedica-tion to old- time music, they predated the entire acoustic coffee house returnto the roots boom of the revival. They were able to bring to life many tradi-tional songs that would have otherwise been lost or remained dormant. Therewas an authenticity in their sound coupled with a strong instrumental ele-ment that enabled them to experiment with material that others could andwould never consider recording.

The group possessed one of the strongest instrumental abilities of anyfolk revival group. Mike Seeger, John Cohen and Tom Paley were all solidvirtuosos who managed to mesh their abilities together into one cohesiveentertaining 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 Hol-comb, Kelly Harrell, Bascom Lamar Lunsford, Eck Robertson, Gid Tannerand His Skillet Lickers, Sam & Kirk McGee and Clarence Ashley. The outfitprofessed that the music of those who recorded long ago was gold and provedit with each carefully executed cover.

In turn, they influenced John Sebastian, Buffy Sainte- Marie, The RedClay Ramblers, Lindsey Buckingham, Jerry Garcia and Jim Kweskin. Theyalso brought on the folk, bluegrass, and old- time revivals that would occurthroughout the next forty years. Many amateur outfits that perform at thesefestivals all over the United States and the world who dedicate their sound tothe 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


It Now,” “Dear Okie,” “Bye Bye Black Smoke Choo Choo,” “Cotton EyedJoe,” “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 andStormy Weather,” “A Home in Old Kentucky,” “Railroad on the GreatDivide,” “The Old Man at the Mill,” “Walking Boss,” “A Night at the Coun-try Opera,” and many others.

The New Lost City Ramblers provided an important and genuinedimension to the folk revival with their dedication to bringing treasures fromthe past to a modern audience. They displayed splendid virtuoso as individ-uals and in a group setting. Despite the fact that they recorded much of thematerial many years ago, it remains fresh and interesting. The old- time rein-troduction project was a successful endeavor and continues to influence oth-ers 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 Robert-

son, Roscoe Holcomb, Dock Boggs and Sam & Kirk McGee, Flying Fish 77011-2.


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 explodedas new talent emerged from coast- to- coast. Gordon Lightfoot, Joni Mitchell,Buffy Sainte- Marie and Neil Young were just some of the new voices whoput the country on the modern folk map. Like every other artist, they wereable to cite important influences on their development that included the Cana-dian folk duo, Ian & Sylvia.

Ian Dawson Tyson was born on September 25, 1933, in Victoria, BritishColumbia. Although he enjoyed music, the youth had decided by his teensto be a rodeo rider. He joined the circuit, but an accident from a fall endeda brief career. While recuperating from his injuries, the determined individ-ual started to play music. Eventually he relocated to Toronto and found workplaying clubs and coffee houses. By 1959, Tyson was a full- time musician.

Although a good singer and instrumentalist, Tyson was one of dozensof such performers playing traditional songs and the odd original composi-tion. The struggling artist was caught up in the folk revival that was sweep-ing North America and would reverberate throughout the world. Intent onbecoming a musical force, he needed to add a different dimension to a stan-dard act. The solo artist found a future partner when he met a pretty, youngsinger who would become a special force in his life.

Sylvia Fricker was born on September 19, 1940, in Chatham, Ontario.


She loved music and had a wide range of tastes that included traditional mate-rial, country, Big Band jazz and even show tunes. In her teens, she was deter-mined to make it as a folk singer and poured all her energies into achievingthat particular goal. After graduating from high school, the songstress relo-cated to Toronto where eventually the two met.

The pair sounded good together and they practiced their unique femaleand male harmonies until it was one finely honed package. At the time, withthe exception of The Weavers, most of the early stars of the folk revival fea-tured only male lineups; the duo offered something different. In the 1950s,Toronto was the acknowledged Canadian mecca of music—especially folkthat 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, WestCoast and Central folk material. They began to write more original materialand continued to develop their male- female harmonies. Their hard work paidoff when Albert Grossman, Bob Dylan’s manager, liked what he heard andsigned them to a recording contract with the Vanguard label.

Their first album consisted of traditional material including British aswell as Canadian folk songs. There was some spiritual material and a few bluestunes thrown into the mix. Although it didn’t make a huge splash, the recordwas successful enough to earn them a spot at the Newport Folk Festival. Theevent was a springboard for many who wanted to make it in the folk field,and Ian & Sylvia made the most of their appearance, earning enthusiasticreviews.

Their second recorded effort mirrored their first. However, there was theoriginal composition, “Four Strong Winds,” which earned them a larger spotin the spotlight. A true Canadian tune, Neil Young would record a versionduring his long, distinguished career. In a short time, it became a standardfolk classic, and a variety of musicians from different corners would cut theirown interpretations. The second set also featured a Bob Dylan song, “Tomor-row Is a Longtime.”

In 1964, the couple married. They also released their third album, North-ern Journey. Among the standouts was the original song “You Were on MyMind,” which the California group We Five would take to number one.Another major composition was “Someday Soon,” covered by many artistsincluding Judy Collins. Bobby Bare, a country artist, recorded his own ver-sion of “Four Strong Winds,” giving the Tyson’s increased clout in music cir-cles.

As an inspiration to others, they cut Early Morning Rain, the title tracktaken from then relatively unknown singer Gordon Lightfoot. They also cov-ered his “For Loving Me,” as well as Steve Gillette’s “Darcy Farrow.” The rest

Ian and Sylvia Tyson 205

of the record was balanced out with their own compositions. By showcasingthe music of struggling, fellow Canadians, the couple enhanced the country’smusical environment, which in turn increased their appeal.

In 1965, they released Play One More, displaying a significant move fromsimple acoustic music to the more electrified sound that was becoming increas-ingly popular at the time with the emergence of The Byrds and The Lovin’Spoonful, among others. They supported the recordings with regular toursof Canada and the United States playing to enthusiastic audiences at variousvenues, including clubs and outdoor concerts. The duo was one of the morevisible husband and wife teams on the circuit with very few competitors.

By 1967, they were one of the most celebrated folk duos on the NorthAmerican circuit. They would release two more albums: So Much for Dream-ing and Lovin’ Sound, which featured more of the same folk rock recorded ontheir previous effort. They also hosted a weekly TV program for the CBCthat enriched their already solid standing in the music community. It gavethem another opportunity to showcase new Canadian talent, something theydid 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 workincluded two songs from Bob Dylan’s Basement Tapes, and a host of originalcompositions. Although “Farewell to the North,” “Taking Care of Business,”“She’ll Be Gone,” “London Life” and “Ballad of the Ugly Man” were solidefforts, many fans hoped that they would return to their folk roots.

In 1970, they became part of the rock group Great Speckled Bird, con-sisting of studio musicians Amos Garrett on guitar, Buddy Cage on steel gui-tar, and N. D. Smart on drums, which was organized for a weekly CBCprogram. They were eager participants in the cross–Canada rock and roll railtour, Festival Express, and recorded a self- titled album that failed because ofinadequate company marketing practices. The Canadian musical landscapewas changing in many ways that Ian & Sylvia were not able to cope with, sothey 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 beenproblems in their relationship for some time due to the pressures as perform-ers. The two who had been together for sixteen years left one another behindwhen they split up and divorced. Although the partnership was over, the paircould look back at a long, illustrious career that had influenced a number ofartists on both sides of the border.

After they broke up, Ian retreated to Western Canada, specifically theranch country of southern Alberta in order to train horses. The former rodeoenthusiast decided to return to music and recorded Old Corrals & Sagebrush,consisting of traditional cowboy songs. A couple of years later, he would be


swept up in the cowboy renaissance performing his material at a gathering ofsaddle makers, rawhide braiders, cowboy poets and musicians. It renewed hiscareer, and the old folkie has ridden the wave ever since, recording songsabout the desert, sage hills and riding horses.

Some of the releases include Ian Tyson, Cowboyography, I Outgrew theWagon, And Stood There Amazed, Eighteen Inches of Rain, Lost Herd, Live atLongview, Songs from the Gravel Road, Yellowhead to Yellowstone and OtherLove Stories. In 2010, he embarked on a cross- country tour of Canada to cel-ebrate his five decades of performances and also wrote an autobiography, TheLong Trail: My Life in the West.

Meanwhile, his onetime partner Sylvia established an impressive solocareer. She hosted a radio show on the CBC Network, Touch the Earth, aswell as a national TV show, Country in My Soul. She would release a numberof solo works including Gypsy Cadillac, You Were on My Mind, Cool Windfrom the North, River Road & Other Stories, and the greatest hits package, TheVery Best of Sylvia Tyson. Later, Sylvia would establish her own record labeland co- author a book about songwriting entitled And Then I Wrote.

In 1994, she joined Quartette, a super group consisting of herself, CindyChurch, Caitlin Hanford and Gwen Swick. The four delighted audienceswith their lush harmonies and diverse repertoire consisting of blues, gospel,folk, country, jazz and pop. Simultaneously, she also continued a solo careertouring with the own show, River Road and Other Stories.

Ian and Sylvia Tyson were a golden folk duo. They were very popular dur -ing the revival and managed to create a solid catalog and introduce the male- female harmonies that would make them famous and influence a number ofother groups. They also demonstrated a knack for writing first- rate material thata 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 thefolk material he wrote and sang. His ability to mesh that talent with his part-ner was the secret of their success. Sylvia possessed a smooth, higher- pitchedtone that blended well with her husband’s lead voice. Individually, they haveproved that they were talented, but as a duo it is understandable why theycreated such a sensation.

They possessed the ability to take any folk tune, whether traditional oran original composition, and mold it into something special because of themagical quality of their harmonizing. Some of the songs that made themfamous 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.

Ian and Sylvia Tyson 207

The duo were pioneers. In the beginning, they spearheaded the folkmovement in Canada, as well as being an integral part in the early days ofthe folk revival. Later, they pioneered the country rock movement as mem-bers of the Great Speckled Bird group. Because of their willingness to exper-iment, they gained more respect and influenced a number of people. A partiallist includes Connie Kalder, Jim Croce, Paul Siebel, The Byrds, Daniel Lanois,Lucinda Williams, Crystal Shawanda, Iain Matthews, The Mamas & thePapas, 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 wasinducted into the Canadian Music Hall of Fame. Three years later, shereceived the Governor General’s Order of Canada. Ian Tyson was the recip-ient of the Order of Canada and has been inducted into numerous Halls ofFame. In 2000, his song “Four Strong Winds” was voted top song of the 20thcentury in a CBC poll. They are among the most recognized Canadian musicpersonalities and still draw a strong crowd fifty years after they began theircareer.

Ian and Sylvia Tyson were one of the most interesting and effective cou-ples during the folk revival. They delivered a number of strong albums andwrote a solid body of music that still receives airplay on selected radio sta-tions to this day. Even after their breakup, they continued to make an impacton popular music as solo artists. The Canadian folk duo will always hold aspecial 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 SoloOl’ 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.


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 SoloWomans 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 ofinfluential folk groups. Prior outfits, The Almanac Singers and The Weavers,paved the way for others to unite their special talents to create an effectiveunit. One of the prime ensembles who thrilled everyone with their success-ful formula that has endured many personnel changes throughout their longhistory is The Limeliters.

In July 1959, the group was formed with the members taking very dif-ferent paths to get there. Louis Gottlieb was born on October 23, 1923, inLos Angeles, California. He was enchanted with the entertainment world anddeveloped his comedic side, but was also an intelligent individual, obtaininghis PhD in musicology. He was originally a member of The Gateway Singersas well as an arranger for The Kingston Trio before returning to school.Although a talented individual, the clever young man realized that he wouldexcel 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, twoincidents directed him to a folk music path. The first, was a friendship withJack Holzman (who would establish Elektra Records) at St. Johns College inAnnapolis, Maryland. The second turn of events was a meeting with WoodyGuthrie. After a stint in the army as a radio operator, Yarbrough moved onto be a radio and television host in South Dakota. In 1957, he relocated to

The Limeliters 209

New York City and recorded an album, Come Sit by My Side. The aspiringmusician performed at coffee houses around the country before settling inAspen, Colorado, where he met Alex Hassilev.

Alex Hassilev was born on July 11, 1932, in Paris, France, but moved tothe United States to attend Harvard and then the University of Chicago. Atalented actor and singer, he played guitar for a period of time before switch-ing to the banjo. His background enabled him to learn different languages,including French, Russian and Spanish. Eventually, the aspiring musicianfound himself in Los Angeles and he struck up a friendship with GlennYarbrough.

One July night in 1959, Yarbrough and Hassilev were performing at thefamous Cosmo Alley nightclub. Gottlieb, part of the audience that night,realized he had found his musical kindred spirits. The three voices consistedof Gottlieb’s rich bass, Hassilev’s even baritone and Yarbrough’s complimen-tary tenor. As single artists they were good, but as an ensemble they were some-thing special and had the potential to go far in the music business.

The trio practiced for a short time and then relocated to Aspen, Col-orado, to work at the Limelite Club, which Yarbrough and Hassilev had pur-chased some time before. Once their act was polished, the trio headed to theHungry i in San Francisco, one of the most celebrated folk venues in thecountry. 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 othertraditional standards. After a months of honing their sound, they had man-aged to create exciting tension between themselves that brought any and allsongs to life. The three- part harmony was impressive and hinted at a verysuccessful formula.

In 1961, they recorded their first album, Tonight in Person, which reachedthe Top Five of the charts. The group toured consistently from one end ofthe country to the other and quickly built up a strong, loyal following. Becauseof the success with the first effort, it was with great enthusiasm and confi-dence that they entered the studio to record their second, entitled The SlightlyFabulous Limeliters. With two solid recordings, the trio had carved out a nichefor themselves in the very competitive market.

The years 1961 to 1963 were the group’s heyday. As one of the hottestacts in Hollywood, they toured endlessly, playing over three hundred dates ayear, appearing on a number of TV shows, and singing in commercials (CocaCola) all enhancing their star reputation. They also rivaled the mightyKingston Trio, Chad Mitchell Trio, and Peter, Paul, and Mary for supremacy.They also recorded a steady stream of albums, including Folk Matinee, Through


Children’s Eyes (a children’s album), Fourteen 14k Folk Songs, Makin’ a JoyfulNoise, Our Men in San Francisco.

In 1963, the group survived a plane crash. Later that year, Yarbroughleft the group and Ernie Sheldon replaced him. He was born Ernest Lieber-mann on January 24, 1930, in Brooklyn, New York. The young boy devel-oped an interest in music, and by his teens was already singing in variousgroups. After many interesting adventures, he replaced Gottlieb in The Gate-way Singers. After his stay with The Limeliters, Sheldon would go on to enjoya wonderful solo career and cut many records, as well as edit the folk maga-zine Sing Out!. In an ironic twist, it was Sheldon who wrote “Baby the RainMust Fall,” which became Yarbrough’s greatest solo hit.

By 1965, the musical landscape had changed dramatically and not in thegroup’s favor. The innocent folk days of the early part of the decade had beenreplaced by a country’s growing unrest with the Vietnam War. Also, the revivalwas beginning to wan so they decided to take a consensual break. Hassilevworked as a producer in his own recording studio, Gottlieb became an ownerof a commune ranch in California and Sheldon embarked on a very success-ful solo career.

In 1973, a decade after they had decided to go on sabbatical, the threeoriginal members—Gottlieb, Hassilev and Yarbrough—reformed due to pres-sure from their fans. They embarked on yearly tours to smaller, almost spe-cialized audiences, while still pursuing their personal interests. In 1981,Yarbrough left and Gottlieb and Hassilev decided to continue to revamp thegroup to return to a more active schedule. Although Sheldon was unavail-able, Red Grammer was recruited to make it a trio.

Red Grammer was born in 1952 in Orange, New Jersey, but grew up inLittle Silver, New Jersey. He discovered a love for singing and began to develophis talents working in high school groups, the glee club and other formations.The young man majored in music at Beloit College before eventually mak-ing 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 shoreup the sound of the group. He played several types of guitars, banjo, man-dolin, dobro and harmonica, giving them a much fuller sound. The talentedindividual would remain with the group for the next thirteen years, produc-ing the background music that allowed the others to soar under, around andover with their vocal powers. By this point, The Limeliters had returned toa much more full touring program.

In 1989, Grammer left the group in order to concentrate on his solocareer. However, they rolled on as Gottlieb and Hassilev recruited new mem-ber Rick Dougherty. Dougherty was born in 1948 in La Grange, Illinois, andgrew 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 Bachinto her son. The family moved around, but the one element that remainedan essential part of their life was music, as they would often gather and har-monize together around the piano. He would develop his skills, and afteryears of struggling, Hassilev contacted him to join The Limeliters.

From 1991 to 1996, the group featured Gottlieb, Rick Dougherty andHassilev. However, on July 11, 1996, founding member Gottlieb died of can-cer. The future of the group seemed in jeopardy, but Bill Zorn joined, addinghis excellent banjo skills and powerful vocal ability. William Zorn was bornOctober 8, 1947, in Bridgeport, Connecticut; but the family moved aroundand eventually they settled in Phoenix, Arizona, where by this time the youngboy had developed a deep interest in music. He would take part in the Win’-jammers, The New Christy Minstrels and The New Kingston Trio beforeaccepting a spot in The Limeliters. Despite the fact that Hassilev was the onlyoriginal member, they carried on entertaining audiences and recording newmaterial.

In 2003, Doughtery and Zorn left the group. However, Hassilev was ableto recruit tenor Mack Bailey, born in Troy, North Carolina. An avid JohnDenver fan, the young boy based his career on the famous Rocky Mountainsinger. Eventually Bailey would join The Hard Travelers and be involved inTribute 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 wasborn in New York and discovered music at an early age, taking up the bassas the instrument of choice. In the late 1970s, he relocated to California toattend U.C.L.A. and earned a master’s in Fine Arts in play writing. The work-ing artist would gain fame as a member of the quartet, The Foremen, beforeoccupying the vacant spot in The Limeliters, making another fine additionto the group.

In 2006, Hassilev retired and Gaylan Taylor replaced him. Gaylan Tay-lor was born in 1950 and was already earning money as a folk singer in histeen years. His first truly professional gig was as a member of the Win’jam-mers. Later, along with Dougherty, he joined The New Christy Minstrels.The guitarist, bassist and harmonica player was also a solid songwriter, engi-neer, producer, vocalist and arranger. In 2005, he toured with Glenn Yar -brough as the leader of the Havenstock River Band.

The present lineup of Bailey, Corwin and Taylor display the fine vocalharmonies and comedic side that are trademarks of the outfit that has lastedsome fifty years in show business with only one major interruption. Theynow carry The Limeliters flag with pride and distinction, singing the groupstandards as well as introducing new material to the fold. The trio continuesto record and perform.


The Limeliters were folk revival opportunists. They were assembled onthe eve of the boom and rode the early wave like expert musical surfers, cre-ating an excitement for a period of four years that has rarely been matchedin the history of the style. There was always a polished side to the group thatearned them criticism from purists and the political set; but no matter whowas 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. Yar -brough, the tenor, balanced the sound of the other two. Over the years thetenors Sheldon, Grammer, Dougherty and Bailey were able to fill in with max-imum effect in maintaining the excellent quality fans came to expect fromthe outfit.

There was always a solid musical presence in the group. Hassilev was agood guitar and banjo player, while Yarbrough added his six- string skills tothe set. Later, when Grammer and David joined the outfit, they both addeda musical expertise that included a polished ability on a number of instru-ments 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,” “ThisTrain,” “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 theRose,” “The Strangest Dream” and “City of New Orleans,” among others.No matter the song, each one was always given the special Limeliter treat-ment.

The group were one of the leading folk- pop ensembles of the early yearsof the folk revival along with The Kingston trio, the Chad Mitchell Trio andPeter, Paul and Mary. While the latter would record more political and socialmaterial, The Limeliters were more pure entertainers. Their lack of politicaldirection angered the purists and especially the political folkies, but the orig-inal 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, Jour-neymen, The Big 3, The Highwaymen, and the Serendipity Singers. Therewas something about their harmonies and approach that others found appeal-ing.

The story of The Limeliters is an enchanting tale of three college stu-dents who enjoyed singing together as a group and created a spirit that con-tinues 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 overnightto cash in on the fad. However, because of their lack of understanding, sev-eral ensembles did not last very long and faded away. Nevertheless, there weresome formations who continued for decades because of their commitment to


the spirit of the music. One such trio enjoyed tremendous success becausethey remained connected to their deep roots. They were Peter, Paul and Mary.

They all followed very different paths before uniting as a trio. Mary Tra-vers was born on November 9, 1936, in Louisville, Kentucky; but she wasraised in the Bohemian setting of Greenwich Village. The future vocalistmade connections with one of the icons of folk music, Pete Seeger, and sangbackup on one of his recording sessions. Eventually, she became a member ofThe Song Swappers, performing with them as well as participating in stageproductions such as The Next President. In all of her activities it was evidentthat Ronnie Gilbert of The Weavers was a big influence.

Noel Paul Stookey, was born on November 30, 1937, in Baltimore, Mary-land. Early on, he discovered jazz and R&B, and selected the guitar as aninstru ment of choice. In his teens, the fervent musician led a group, The Birdsof Paradise, a regional outfit that enjoyed some success performing at varioussmall venues. He continued to pursue a musical career in college, developinghis skills as a storyteller and comedian. Eventually, the young man moved toGreenwich Village and befriended Travers, the two occasionally sharing thestage as a duet.

Peter Yarrow was born on May 31, 1938, in New York City. While attend-ing Cornell University he realized his deep love for music at a later age thanhis two bandmates. However, he quickly made up for lost time and performedin Greenwich Village before heading off to host a television show about folkmusic. When he met Albert Grossman, the manager suggested he form a trio.In 1961, they first approached Travers and then Stookey. Stookey went withhis middle name as they decided on the name Peter, Paul and Mary.

Their goals were to combine the female/male mix of the Weavers withthe spirit of The Kingston Trio and Ian & Sylvia, as well as the humor of TheLimeliters. Peter, Paul and Mary rehearsed for nearly half a year, blendingthe three voices into a workable harmony that was pleasing and exciting. Oncethe trio had found the proper balance and developed a solid repertoire oforiginal and cover songs, they were ready to dominate the folk music world.

In 1962, their self- titled debut on Warner Bros. was released. Althoughthe first released single, “Lemon Tree,” was successful, it was their second, “IfI Had a Hammer,” which catapulted them to national prominence. Not onlydid the song win them two Grammy Awards for Best Performance by a VocalGroup and Best Folk Recording, it also fit in perfectly with the current polit-ical and social climate at that time.

Although their music had a definite serious message to it, there was alsoa fun side that was very accessible to the average listener. Their harmonieswere as appealing as their visual image, especially with the stunning Traversas 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, plentyof talent, a strong and viable on stage presence and the ability to select first- rate material and spin it into gold.

By 1963, they had asserted themselves as one of the true powerhouses inthe folk idiom and their music had spilled into rock and pop. It all cametogether nicely on the song “Puff the Magic Dragon.” Essentially a children’ssong, their version pleased audiences of all ages. One of the major trademarksof the group was their ability to record any type of song and put a personalstamp on it making it their own. The album Movin’ On enjoyed almost a two- year run in the charts.

Their next single was the Dylan penned “Blowin’ in the Wind.” Althoughhailed as the messiah of the modern folk movement, Dylan was too politicaland bluesy to take the song as far as Peter, Paul and Mary did. Also, thecharm ing, chiming harmony of the three voices was much more appealingthan Dylan’s flat, nasal, off- key efforts. There was something enchanting aboutthe trio’s version, mainly because it echoed from days past when The Weaverswere a prime group; they had not forgotten their roots.

The song was a smash hit; but more importantly, it captured a momentin history. The trio appeared at the March on Washington and were visiblemembers of the audience that day. Added to this, was the fact that these folkentertainers had also taken the rock world by storm and ruled the airwaves.Although they had started out singing traditional material, they now appealedto a cross section of the music public. Their third album, In the Wind, wasnumber one in the charts and created renewed interest in their previousreleases.

In 1964, with the emergence of The Beatles, everything changed forPeter, Paul and Mary, as well as other acts. The British Invasion devastatedthe American rock and pop scene and many acts faded into obscurity. Althoughthey were up against stiff competition, the trio managed to survive theonslaught of the new rock and roll because they were very well managed andalways selected prime material that studio chameleon Milton Okun arrangedwith sure precision.

By 1965, the political and social climate had changed dramatically. TheCivil Rights Movement was now a national battle, and the assassination ofJohn F. Kennedy and the escalation of the Vietnam War all provided muchfodder for the average folk artist. Peter, Paul and Mary’s catalog containedsongs for the times. A good example was “500 Miles,” which was perfectlysuited to the number of troops sent to a country so far away to fight in aquestionable war.

For the rest of the decade they managed to appeal to all factions, includ-ing antiwar protesters, the general public and fans interested in more tradi-tional folk. While their singles did not scale the charts as they had in the past,


their albums continued to sell. Somehow the group found the secret to sur-viving the change in the public’s musical taste.

The ability to record the songs of others and turn them into hits wassomething that enabled them to continue to enjoy moderate success. Theycut versions of Gordon Lightfoot’s “For Lovin’ Me,” Laura Nyro’s “When IDie” and John Denver’s “For Baby (Goes Bobbie).” In order to compete withthe emerging rock styles, they added backup musicians without distorting theirbasic 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 DigRock and Roll Music,” with performing numerous concerts including somepolitical appearances. The most notable was the campaign to have SenatorEugene McCarthy elected for president, a bid which failed. In 1969, theyscored with the single “Day Is Done.” Also, a song they had previouslyrecorded, “Leaving on a Jet Plane,” reached number one and boosted thealbum it was taken, Album 1700. It enabled them to enjoy more time on thecharts. Another disc that garnered much attention was the Grammy winningPeter, Paul & Mommy, the title a reflection of Travers who was in a familyway.

In 1970, the first year of the new decade was symbolic for many reasonsin the group’s fortunes. All led complicated and very different lives and decidedto take a year off to attend to personal matters. They released Ten YearsTogether: The Best of Peter, Paul and Mary, fulfilled performance contracts andwent off on different paths. It was a good time for them to step back and assesstheir 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 topicalsongs, and Stookey ventured into hard rock, jazz and Christian- oriented mate-rial. They appeared on each other’s albums sparking rumors that the triowould reunite, but they were not in agreement to do so. In 1972, the trioworked together briefly in an effort to have Senator George McGovern winthe presidential election, which was another failed attempt.

Although Yarrow enjoyed moderate success with “Torn Between TwoLovers,” it was evident that they would do better as a group. In 1978, theyreunited to do an album, but it was a commercial failure. However, the triowho had survived so much together weren’t deterred and by the early 1980sforged ahead. They performed at Carnegie Hall at Christmas time and founda 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 theconservatism of President Ronald Reagan.

In 1985, they released two political songs. The first was Stookey’s “ElSalvador,” written after personally witnessing the suffering in Central Amer-


ica. The second was Yarrow’s “Light One Candle,” in support of the peaceprocess in Israel. A year later, the song “No Easy Walk to Freedom” was thetitle track of their new album. The tune, dedicated to the antiapartheid cause,earned them an honor from the Free South Africa movement. They contin-ued their charity work, donating the proceeds from the opening night of aweek on Broadway to the homelessness issue.

In 1988, Peter, Paul and Mary were the feature of two PBS specials. Thefirst marked their 25th Anniversary Concert and became one of the all- timemost popular broadcasts in the station’s history. The second featured A Hol-iday Concert, taped before a live audience in New York City. The New YorkChoral 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 seemedthat the recording part was much slower. The group, always an independenttrio, formed their own label so they could record new material to their lik-ing. Eventually the trio recorded with a small company, Gold Castle Records,that went bankrupt by the end of the decade. Luckily, they had maintaineda 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 albumwould be nominated for a Grammy and the ensuing video was taped at theBrooklyn Academy of Music’s Majestic Theater in New York with a live audi-ence of kids and their families. The event was aired on PBS and featured“Puff, the Magic Dragon,” “The Fox,” “The Garden Song,” “Blowin’ in theWind,” “Inside” and “If I Had a Hammer.” Of special note was the fact thatchildren from Travers’ alma mater participated in the recording.

In 1996, they united three generations of folk singers with their TV spe-cial and album Lifelines. It enabled them to bring together their mentors,contemporaries, and the new wave of singer- songwriters. The lineup includedRonnie Gilbert and Fred Hellerman from The Weavers, connecting them totheir folk music roots. Richie Havens, Tom Paxton, Odetta Holmes, DaveVan Ronk, and John Sebastian were some of their colleagues they shared astage with back in the day. Buddy Mondlock and Susan Werner representedthe young guard.

In 1999, Around the Campfire was released, an overview album that cel-ebrated the group’s nearly four decades in the entertainment business. Theset featured familiar and favorite tunes like “Kumbaya,” “Michael, Row theBoat Ashore,” “Down by the Riverside,” “Goodnight Irene,” “Puff, the MagicDragon,” “If I Had a Hammer,” “Blowin’ in the Wind,” and “Leaving on aJet Plane.” The songs were specifically selected to celebrate harmony, peaceand unity, proving that the outfit had not lost any of their hippie ideas despitethe pressing years.


In 2004, the box set Carry It On featured many of the magical momentsthe group had enjoyed for the past forty plus years. It contained unreleasedsolo recordings by each member made before they had formed as a trio. Italso included a bonus DVD with performance footage of them singing someof their greatest hits, including “If I Had a Hammer” during the Civil RightsMarch on Washington. That same year, Peter, Paul and Mary released InThese Times, their first all new studio recording in over a decade.

In 2006, the trio received another in a long line of honors when theywere bestowed with The Songwriters Hall of Fame’s Lifetime AchievementAward. 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 gen-erations of the importance of folk music. Like all those before them, they hadpassed down the music in a vocal tradition.

For over forty years, Peter, Paul and Mary had blended their voices inharmonies that influenced dozens of other acts. They were a trio who pur-sued solo projects, but always returned to the fold. They had endured manychanges in the long adventure together. Sadly, on September 16, 2009, MaryTravers, 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 theyrecorded important, timely songs and performed at key events always pre-senting 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 afterstarting out they were still releasing albums and performing at important ven-ues.

There was always plenty of talent among the three. Travers possessed agolden soprano vocal delivery, which was the opposite of her two male coun-terparts, yet complemented each one in a different way. She was able to bringout the best in both Yarrow and Stookey. In return, they blended their richtenor 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 timelydate. Their cover of the Dylan classic “Blowing in the Wind” was releasedduring a period when the folk scene was changing from the traditional appealto a much heavier social and political agenda. To keep a balance, the trio couldturn around and release a children’s song like “Puff, the Magic Dragon.” Ageneral overview of their extensive catalog illustrates this point. “If I Had aHammer,” “500 Miles,” “Where Have All the Flowers Gone?,” “MorningTrain,” “Tell It to the Mountain,” “Motherless Child,” “Talkin’ Candy BarBlues,” “If I Were Free,” “And When I Die,” “Leaving on a Jet Plane, “I DigRock and Roll Music,” “Yuppies in the Sky,” “El Salvador,” “Pastures of


Plenty,” “Old Coat,” and “No Easy Walk to Freedom” cover a smattering ofsubject matter.

Peter, Paul and Mary have carried the folk flag for nearly fifty years tobecome one of the most durable acts in the history of the genre. They werea 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 & thePapas, The Westerleys, Kim and Reggie Harris, The Goldbriars, Don Turner,Patty Larkin, Laurie Berkner, Janis Ian, The Weepies, Kenny Rogers & theFirst Edition, David Buskin and Rachel Bissex, among others.

The trio will forever be remembered for many reasons, but first and fore-most, as a very talented group who were able to crystallize moments in his-tory 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 del-icate 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.


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 remainedpurely acoustic quickly fell behind as audiences wanted a fuller production.One pair of enthusiasts adjusted their music to meet fan’s demands andachieved unmatched success as one of the most celebrated duos with theirsounds of silence.

The Simon and Garfunkel saga began on the eastern coast of the UnitedStates. Paul Frederick Simon was born on October 13, 1941, in Newark, NewJersey, but grew up in Queens, New York. His father was an accomplishedbass player, performing on radio and television. The younger Simon took upthe guitar and dreamt of being a famous musician. His adolescence coincidedwith the birth of rock and roll which would have a tremendous influence onthe aspiring entertainer.

Arthur Ira Garfunkel was born on November 5, 1942, in New York. Atthe 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 rockand roll artists would capture his imagination and spark a keener interest inmusic. The young boy paid particular attention to the vocal deliveries andpronunciation; he was a student of singers.

The duo met in grade six and discovered that they could harmonizetogether, spending countless hours blending their distinct voices into onecohesive powerful unit. They entered talent shows and received enthusiasticattention. Although Elvis was an important influence, they patterned theirsound on the nasal harmonies of the popular Everly Brothers. In 1957, Simonand 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 waspart 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 pseudonymJerry Landis. Despite a never quit attitude, the young man was unable to findthe right combination in order to achieve the stardom that he so desired.However, one thing was clearly evident during these lean times; he was hon-ing his songwriting talents.

Simon and Garfunkel 221

During this frustrating period, the one event which helped him outgreatly was meeting singer- songwriter Carole King, who encouraged him notto get discouraged. She found him work in a Broadway recording studio cut-ting demo records for various companies. He learned much about the musicbusiness from the various experiences and filed the knowledge away for futureuse.

Although Garfunkel released several solo singles under the name ArtieGarr, the singer didn’t enjoy any success in the intermitting years. He stud-ied architecture in college and fully intended to be an architect. Although theaspiring entertainer stayed away from music and didn’t really have any inten-tions of returning to the scene, there was a seed inside him that yearned forthe spotlight. Everything changed with a chance meeting with his old friendSimon.

The duo were still not quite ready for stardom. They spent a great amountof 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 infolk music despite Simon’s penchant for a pop element. They sang on streetcorners and folk clubs honing their act, but their progress seemed very slow.During these desperate times, they clung to the hope that better days wereahead.

By 1964, they signed to Columbia Records and were ready to climb thecharts. Their first album, Wednesday Morning, 3 A.M., initially flopped. Itfeatured some decent material including “Bleecker Street,” “Benedictus,” “GoTell 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 tofit into the mainstream folk style without losing any individuality.

The duo split up again. Garfunkel returned to school to continue hisarchitect studies. Simon left for London, England, where he recorded a soloalbum, The Paul Simon Songbook, which did nothing in the charts. He playedvarious clubs and connected with some of the British folk singers like Al Stew-art and Sandy Denny, the latter of Fairport Convention fame. More impor-tantly, he was still writing songs. When requests for “Sound of Silence”multiplied, the producer of the duo’s first album overdubbed a twelve- stringguitar, bass and drums to the original track. It was then that it became anumber one hit and helped usher in the folk rock era. The success promptedSimon to return to the United States to reform the duo with Garfunkel.

They released the album Sounds of Silence, and it would reach the TopThirty of the charts. Many singles were drawn from this recording including“I Am a Rock,” “Leaves That Are Green,” “April Come She Will,” “Kathy’sSong,” “Scarborough Fair/Canticle,” and “Homeward Bound.” “I Am a Rock,”“Scarborough Fair/Canticle,” and “Homeward Bound” were the songs which


defined the Simon and Garfunkel million- dollar sound and catapulted theduo 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 num-ber one hit, the lyrics captured the mood of the nation mired in the escalat-ing debate of involvement in Southeast Asia and still reeling from theassassination of a president.

In 1969, the Simon and Garfunkel team began to unravel. The latter’sentry into acting interrupted recording sessions, which didn’t please his part-ner much. Their last recorded effort, Bridge Over Troubled Water, featuredthe self- titled song as well as “Cecilia” and “The Boxer.” Despite their suc-cess, the duo, who were considered cool in the hippie era when neither oneplayed psychedelic hard rock guitar or appeared outlandishly dressed or hadvery long hair, split up after the release of their last album. A year later, theyswept 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 whilebefore returning to the studio to record a self- titled debut album. It wouldcontain two hit singles, “Mother and Child Reunion” and “Me and JulioDown by the School Yard.” The album There Goes Rhymin’ Simon followedand 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 JesseDixon Singers, paving the way for such future musical endeavors.

Garfunkel had worked with director Mike Nichols on The Graduatesoundtrack. Later he would gain roles in Catch-22 and Carnal Knowledgeopposite Ann- Margret, Candice Bergen and Jack Nicholson. There would beother movie roles including Bad Timing: A Sensual Obsession, Good to Go andBoxing Helena. In 1973, he released his first solo album, Angel Claire, to widecritical 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 earnedhim 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” fea-tured a duet with old partner Garfunkel. The pairing of the two raised hopeamong fans that they would reunite, but for the moment they were too busypursuing 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,” “RagDoll,” “99 Miles from LA,” and “Disney Girls.” David Crosby, Elvin Bishopand Graham Nash provided backing vocals. When the duo had broken up,


many critics believed that Garfunkel would never be heard of again since itwas Simon who was the prime songwriter during the pair’s heyday.

Simon remained in the public eye with appearances on Saturday NightLive and in the Woody Allen film Annie Hall. When Garfunkel appeared onthe Paul Simon Special, which also starred Chevy Chase, Lily Tomlin andCharles Grodin, many wondered if they would get back together again, butthe duo were only teasing fans. Meanwhile, their music continued to be playedon many radio stations and found its way into popular culture.

In 1977, Garfunkel recorded Watermark, an entire album of Jimmy Webbcompositions with the sole exception of Sam Cooke’s “What a WonderfulWorld.” The Muscle Shoals, Alabama, product also featured the vocals ofPaul Simon as well as James Taylor. Although there had been animositybetween the pair over the years, they retained a certain amount of respect forone another, especially on a professional level. Art later released Fate for Break-fast and the much acclaimed Scissors Cut, which included the hit “A Heart inNew York.”

In 1980, Paul appeared in the film One- Trick Pony, and wrote much ofthe soundtrack. It was an underrated venture and while some critics thoughtit was very good, others panned it. The once famous folk duo continued tomove in different directions with only half of the success they had enjoyed asa 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 calledhis old partner Garfunkel.

On September 19, 1981, thousands witnessed history in the making asthe once legendary folk rock duo reunited. They played old standards like“Homeward Bound,” “Mrs. Robinson,” and “The Sound of Silence.” Theyalso performed “Me and Julio” and “The Late Great Johnny Ace,” dedicatedto their late friend, John Lennon. The concert was so successful that theywent on tour for two years. The ensuing album captured them in perfectstride 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 itwent. 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 ayear, didn’t do much for his state of mind. Meanwhile, old partner Garfunkelwas making a different kind of name for himself with long- distance walkingincluding 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 catapultedhim back to the top of the charts. He recorded the landmark album with SouthAfrican musicians including Ladysmith Black Mambazo, guitarist Ray Phiriand his band Stimela, as well as bassist Bakithi Kumalo. It would win BestAlbum and Best Record. There would be a subsequent world tour that became


a sensation in Africa. A live concert recording entitled Graceland: The AfricanConcert, featuring Hugh Masekela and Miriam Makeba among others, wasreleased at a later date.

In 1984, Garfunkel released his first compilation album, The Art Gar-funkel Album; it contained the minor hit “Sometimes When I’m Dreaming.” Ayear later, he met future wife, Kathryn Cermack, and this new love enabledhim to survive the depression of losing his father. By 1987, he had been retiredfor a full seven years from the recording studio, but returned with Lefty, whichproduced only one interesting single, “So Much in Love.”

In 1990, Simon appeared as Simple Simon in the movie Mother GooseRock ’n’ Rhyme, which also included Art Garfunkel. That same year, the duorecorded and released The Rhythm of the Saints. It contained a large amountof percussion and electric guitar on songs such as “Obvious Child” and “TheCoast.” The tour included a concert in Central Park in front of three- quar-ters 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 touredEurope, Asia and the United States and continued to record, releasing Up UntilNow. 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 wasalso 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 RollHall of Fame, sparking another hopeful chance at a reunion. They sold out twenty- one consecutive concerts at New York’s Paramount Theatre, provingthat a great thing never goes stale. Despite the hope of fans from all over thecountry and on an international level, there was no union planned. It seemedthat Simon and Garfunkel were happy to pursue solo careers and join forcesat infrequent intervals.

In 1992, Simon married Edie Brickell and they would have three chil-dren together. Also in that year, it was considered chic to release an unpluggedalbum. Simon did just that and the subsequent video was viewed in a num-ber of countries around the world. A year later, the Paul Simon Box Set—1964/1993 was made available and contained some previously unreleasedmaterial. It was a landmark effort igniting renewed interest in his career.

In 1993, Simon and Garfunkel would reunite once again to perform inLos Angeles to benefit the Children’s Health Fun, an organization that Simonhad cofounded years earlier. The tension between the two was heavy, and itappeared that an actual permanent reunion would never take place. Theywent their separate ways and remained cold toward one another for a longperiod of time. Meanwhile, the songs the pair had recorded during their hey-day continued to be played on classic rock stations.

Simon remained active. He guested on Carl Perkin’s last album, Go Cat


Go, and wrote and performed “Rockabilly Music.” The musical The Cape-man, an original work, did not have a very successful run and was cancelledafter some sixty shows. Although it was a failure, the prolific songwriter con-tinued 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 tothe delight of the audience.

In 2000, Simon released You’re the One and was nominated for a GrammyAward for Best Record of the Year. He toured to support the album through-out Europe and the United States with a two- man backup band. The con-cert in Paris was filmed and released on DVD. Of note, the record includedthe longest song of his career to date, “Darling Lorraine.”

Simon contributed to the all- star tribute for Brian Wilson, the legendaryBeach Boys front man. The latter had suffered from years of depression, para-noia and other maladies, robbing the music industry of one of its greatest cre-ative artists. The pressure was something that Paul could relate to like anyoneelse in the spotlight. He played a dynamite version of “Surfer Girl.” The vibeswere 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” telethonin the wake of the 9/11 tragedy. The rendition of a touching “Bridge OverTroubled Water” was haunting, despite the fact that partner Garfunkel’sunmistakable vocals were absent. Perhaps his greatest moment of triumphwas induction into the Rock and Roll Hall of Fame as a solo act. In a thankyou speech, he reminisced about the early groups like The Crows, The Pen-guins, The Moonglows, Johnny Ace and Elvis Presley. But the most heartfeltgratitude was to his father and Art Garfunkel; the inductee hoped they couldbridge their differences over the troubled waters between them.

In 2002, Simon received the Kennedy Center Honor Award. In the springof 2003, the song “Father and Daughter” was nominated a Golden GlobeAward; he sang it at the Academy Awards and received an Oscar nominationfor it. A Lifetime Achievement award at the Grammy’s reunited him with hisold friend Art Garfunkel and the two decided to organize the Old Friendstour. Meanwhile, Garfunkel released Everything Waits to Be Noticed to criti-cal opinion.

The tour was such an unexpected success that they added Europeandates. In Rome, they played to a crowd of over half a million people. Later,they toured the United States to more enthusiastic reviews. Interestingly, TheEverly Brothers, the duo that Simon and Garfunkel had patterned their acton, 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 releasedand included a new track, “My Little Town.”


In 2003, Garfunkel made his debut as a songwriter on the EverythingWaits to Be Noticed album. It was the first time that the singer had attemptedto compose any material since his teenage years as a member of Tom & Jerry.The new CD featured poems that Maia Sharp and Buddy Mondlock turnedinto songs. It was an interesting experiment and proved that he was still capa-ble of doing interesting things on a musical level.

In 2004, a number of Simon’s recordings were released, including thePaul Simon Studio Recordings 1972–2000, featuring his solo work after theduo had broken up. There were many bonus tracks, live recordings, outtakesand previously unreleased songs, as well as demos. Also, The Paul Simon Song-book, a rare recording that appeared before his success with Garfunkel, wasreissued with a couple of bonus tracks. By this point in time, there was aplethora of product from both, reflecting a certain amount of continuousactivity over their long, illustrious careers.

That same year, Rolling Stone magazine celebrating the 50th anniversaryof rock, issued a special copy entitled: The Immortals. Simon and Garfunkelmade the distinguished list that included a James Taylor statement praisingGarfunkel’s unique singing prowess. For years, his effort on “Bridge OverTroubled Water” had been considered one of the greatest recorded vocals ofall time.

In 2005, Simon and Garfunkel put aside their differences and reunitedagain for a concert in support of victims of the Hurricane Katrina devasta-tion. Together, they sang “Mrs. Robinson,” “Homeward Bound,” and “BridgeOver Troubled Water.” They appeared on the DVD entitled From the Big Appleto the Big Easy. Earlier, Simon had appeared solo on a nationally broadcastedHurricane Katrina Telethon where he performed “Take Me to the MardiGras.”

In 2006, Simon recorded the album Surprise, which included the songs“Outrageous,” “Wartime Prayers,” and “How Can You Live in the North-east?” He promoted the numbers as a guest on Saturday Night Live, The EllenDeGeneres Show, Good Morning America and David Letterman. He later touredthe album in selected cities throughout the United States.

Garfunkel signed to Rhino Records and the first album, Some EnchantedEvening, was released on the label a year later. Dedicated to the pop standardsthat he enjoyed as a child, it was promoted all over the world and proved tobe one of his more interesting adventures. Later, the singer appeared on theHBO television show Flight of the Conchords and continued to tour with var-ious musicians, including his son.

Simon continued to record and perform in a variety of roles. He appearedat the New Orleans Jazz Festival and dazzled the audience with a version of“Bridge Over Troubled Water” with Allen Toussaint and Irma Thomas. Atthe Montreal Jazz Festival, he was honored with the Montreal Jazz Festival


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 featureda 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 amighty strong response from the record buying public. They continued totease fans with a performance together at the Rock and Roll Hall of Fame25th Anniversary celebration at New York’s Madison Square Garden wherethey harmonized on many of their old favorites like “Sound of Silence,” “Mrs.Robinson,” “Cecelia,” “The Boxer,” and “Bridge Over Troubled Water.” Theycontinue to record and perform as solo artists with rumors of reunions alwaysa hot news topic.

Simon and Garfunkel were folk music gold. They paid their dues asteenagers harmonizing and blending their developing voices into one cohe-sive unit, which later brought them international success. Combined with anexciting, but subdued instrumental back up and the excellent, imaginativetalent of Simon as songwriter, it is understandable why they were such a suc-cessful act. Their sound remains timeless as it continues to fuel popular musicto this day.

Art Garfunkel possesses one of the most memorable voices in the annalsof 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 lifeto it. Simon, an ingenuous songwriter seemed to write specific parts for hispartner knowing only he could reach a certain dizzying high- pitched plateau.

Paul Simon has an interesting vocal delivery that was the perfect coun-terpart to Garfunkel’s immense talent. Although able to meld those singingskills with that of his partner’s, it was only during his solo career that a truevocal maturity was attained. Simon possesses a certain timber in his voice thatallowed 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, whichwere more than adequate, but never flashy. However, they experimented withthe simple folk- pop style that made them famous and delved into Latinrhythms and gospel- influenced arrangements. Later, as solo artists, they wouldcontinue the path of experimentation that included African beats and back-ing vocals among other elements.

Although purists criticized them for producing the same type of mate-rial The Kingston Trio did, there is no denying the wealth of material thatSimon and Garfunkel delivered. Their brilliant catalog can stand up to any-thing else recorded during the era, including the songs of The Beatles, BobDylan and all others. A partial list of Simon and Garfunkel classics includes“The Sound of Silence,” “Bridge Over Troubled Water,” “The 59th StreetBridge Song (Feelin’ Groovy),” “El Cóndor Pasa,” “I Am a Rock,” “Home-


ward Bound,” “A Hazy Shade of Winter,” “Mrs. Robinson,” “The Boxer,”“Cecilia,” “At the Zoo,” and “Scarborough Fair/Canticle.” They enjoyed threenumber one hits.

They have had a huge impact on popular culture. Their song lyrics andnames have appeared on a number of TV shows including Rowan & Martin’s Laugh- In, The Partridge Family, Friends, Scrubs, Monk, How I Met YourMother, The Simpsons, The Graduate, Futurama, Battlestar Galactica, Satur-day Night Live and Flight of the Conchords; and on the silver screen, Wayne’sWorld 2, Rumor Has It..., Almost Famous, Old School and Watchmen. Eventoday, the duo are well- known and are rediscovered as a new generationencounters their timeless catalog.

They single biggest influence on Simon and Garfunkel was The EverlyBrothers. In turn, Simon and Garfunkel have made a mark on the careers ofJames Taylor, Crosby, Stills & Nash, Carly Simon, John Denver, HarryChapin, 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”), BobDylan, and The Beatles.

Although Simon and Garfunkel appeared at the end of the folk revivalera, they took the genre into unexplored territory and created something newwith their simple, traditional sound. Despite the electric instruments and theforays into Latin rhythms and gospel-flecked material, at heart they werefolkies. The first album was a totally acoustic affair and throughout theirrespec tive careers as solo artists and a duo, they always honored their folk roots.

Simon and Garfunkel have won a number of Grammies, remain a pointof reference in popular culture, and continue to pop up at various functionswith both new solo and reunited material. They proved that two individu-als 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.


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 trans-formation of traditional folk to folk rock. While the purists shunned the newmusical hybrid, there were many artists who benefited from it, and in someways extended the revival, albeit in a much different direction. One groupled the way to the folk rock fusion and became famous for their efforts. Theycalled themselves The Byrds.

The story of The Byrds begins essentially with Roger McGuinn. JamesJoseph McGuinn was born on July 13, 1942, in Chicago. He developed anearly interest in the first wave of rock and roll singers, as well as traditionalmusic, and was already considered a folk prodigy by his teens. Eventually, theyoung man toured with The Limeliters, then jumped to the Chad MitchellTrio. He would appear on the latter’s Mighty Day on Campus and At the Bit-ter End.

Before going solo, McGuinn worked with Bobby Darin, Hoyt Axton,Judy Collins and Tom & Jerry (who later became Simon and Garfunkel). Hetraveled throughout much of the country before settling down in the LosAngeles area developing strong ties in the musical community there. Therewere many aspiring musicians who were folk enthusiasts and shared a simi-lar lot with McGuinn. One of the groups on the scene at the time that theguitarist joined was the Jet Set, which included singer guitarist David Crosbyand Gene Clark.

David Crosby was born on August 14, 1941, in Los Angeles and boastedan Academy Award–winning cinematographer for a father. But the musicalcall was overpowering, and the young man, who had already begun to playguitar earnestly, chose music over drama. He was part of Les Baxter’s Bal-ladeers before cutting his first solo record. After a bouncing around from oneforgotten group to another, he met Gene Clark and they formed Jet Set.

Gene Clark was born in 1944 in Tipton, Missouri, into a musical fam-ily. His father was an amateur musician who embraced the sounds of Tex Rit-


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 theguitar. The music enthusiast added the first generation of rock and roll artistsElvis and The Everly Brothers to the list of country heroes that his dad likedso 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 aregional group called Joe Meyers and the Sharks. The emergence of TheKingston Trio sparked an interest in folk and turned his direction down thatpath. He joined The New Christy Minstrels, but developed a distaste fortraveling and settled down in the Los Angeles area. After The Beatles sweptthrough, Clark desired to bring all of the elements—country, rock and tra-ditional folk—together in one style. He received the opportunity by joiningforces with Crosby and McGuinn in an outfit called The Beefeaters.

The trio added Chris Hillman, born on December 4, 1944, in Los Ange-les, who cited western swing enthusiast Spade Cooley and country and west-ern torchbearer Cliffie Stone as major influences. The budding youngmandolin player, guitarist and, eventually, bassist enjoyed some success inhigh school with the Scottsville Squirrel Barkers who managed to cut oneinnocuous album. He would later join the bluegrass outfit, The Golden GateBoys, later renamed The Hillmen. When The Beefeaters cut a single thatlacked a fuller sound, they recruited a bass player and drummer. Hillman wasto play the bass, although he had never touched the instrument.

Michael Clarke was born on June 3, 1946, in Spokane, Washington. Hedeveloped into a percussionist and in his teens was on the coffee house tourcircuit playing the congas. Eventually the young man moved to the San Fran-cisco Bay area, and it was there that he heard Roger McGuinn. Later, uponmeeting Crosby, the latter suggested Clarke become the drummer in the newband they were forming. This was a bold move because traditional folk ruledout the use of such percussion instruments. With the inclusion of a full- timebeat keeper in the group, it was evident The Byrds would have a very muchdifferent sound than The Kingston Trio.

Once the pieces were all in place, the group scrambled around the LosAngeles area trying to make a name for themselves with their new style offolk rock. Although Clark was the major songwriter for the group, it was aBob Dylan song, “Mr. Tambourine Man,” that catapulted them to the top.They changed some of the verses and added chiming 12-string guitar parts tocreate one of the greatest cover versions in the annals of music history. Theaddition of Beatles- like harmonies only enhanced the finished product andwas a key to their successful formula.

The album Mr. Tambourine Man was an excellent debut effort andreceived strong praise from critics. More importantly, the fans accepted thenew 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 TheLimeliters to the jangling sounds created by The Byrds. Their mixture ofinterpretative Dylan and Pete Seeger compositions, as well as original mate-rial, enabled the group to match up musically with the emerging British Inva-sion bands like The Beatles, The Rolling Stones, The Yardbirds and TheAnimals, among others.

The group’s next monster single, “Turn, Turn, Turn,” only strengthenedtheir appeal in folk rock circles. The song, taken from the book of Ecclesi-astics, was hymn- like and spiritual; it was the perfect encore to “Mr. Tam-bourine Man.” An old Pete Seeger tune, they managed to make it sound freshand exciting by combining their classic harmonies and more jangling 12-stringguitar mastery. In 1965, The Byrds were one of the top bands on the circuitand had ushered in the folk rock era.

In 1966, some time after Dylan had plugged in making it more suitablefor 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 guitarsolo, setting the benchmark in that musical dimension. Although this was considered rock, there was enough of a folk element to give it a differentsound.

The band’s commercial future was nearly destroyed when Gene Clarkleft the band. As the lead singer and, more importantly, their main song-writer, his loss was devastating. But the four remaining members regroupedand released their third album, Fifth Dimension. The highlights included “ISee You,” the title track, and “John Riley.” The trio of songs contained theclassic Byrds’ trademarks, the chiming lead 12-string guitars and intricatevocal harmonies; but something big was gone from the group. It was nearlyimpossible 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 Wantto Be a Rock ‘n’ Roll Star” and “My Back Pages.” By this point Crosby hadassumed a greater leadership role in the band, something that McGuinn andHillman found unacceptable. The conflict would not solve itself withoutsome major overhaul in personnel. The once tight outfit was quickly splittingapart.

By the time The Notorious Byrd Brothers was released, Crosby had beenthrown out of the group. Gene Clark had been recruited as a replacement butleft soon after, as did Michael Clarke. The album was part folk rock andheavy electric and hinted at a future country music style. The lack of direc-tion hurt the group who had once produced shimmering rhythmic soundslike no one else on the circuit.

In order to strengthen the lineup, Hillmen and McGuinn recruited Gram


Parsons, who assumed a much larger role in the group than anticipated andtook them into full-fledged country music. They had recruited drummerKevin Kelly, and the quartet recorded Sweetheart of the Rodeo, a country rockeffort, which displeased many of their longtime fans. In several ways, thegolden era of The Byrds had come and passed as the remaining members wereclinging to what little was left.

In 1968, Hillmen left the group to join Parsons to form The Flying Bur-rito Brothers. McGuinn would continue to push the band’s name, althoughit became evident with the musicians that were recruited, it was no more thana backup band for his musical ideas. Gone were the intense vocal harmoniesand the powerful 12-string guitar work that was the trademark of the groupand had captivated listeners. However, the group continued to make musicfor 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, didquite well with The Flying Burrito Brothers. To many fans, The Byrds werefigures 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, theera of The Byrds was finished. Each member would continue in the musicbusiness, but the heady days when they challenged The Beatles, The BeachBoys, Bob Dylan and The Rolling Stones, and every other musical figure, forsupremacy was over. Sadly, there would be legal wrangling over who ownedthe name, further diminishing the legend; but the band’s recorded catalog stillcreated excitement and became an integral part of the playlist on many clas-sic rock and oldies stations.

After the breakup of The Byrds, McGuinn began a solo career andreleased a number of albums. He also participated in Bob Dylan’s RollingThunder Revue. In 1977, he reunited with Chris Hillman and Gene Clarkand 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 TheByrds, McGuinn reformed the group with Hillman and Crosby. The triowould play a few club dates included a Roy Orbison tribute concert and writenew material to include in the box set retrospective. McGuinn later returnedto solo performing and released a number of albums. His internet set, FolkDen, 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 anuneven history which saw them reunite and then break off to pursue soloefforts, they have continued to record and tour sometimes as a foursome whenNeil 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 andRoll Hall of Fame for a second time.

Chris Hillman left The Byrds to explore the realm of country rock andbecame one of its most endearing figures. His stint in The Flying BurritoBrothers 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. Herecorded a number of solo works before joining the country rock outfit, TheDesert 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 hook-ing up with the Gosdin Brothers. Later, the guitarist joined forces with DougDillard, while continuing to release the occasional solo album. In the 1980s,the onetime front man of The Byrds would appear with a new album, Fire-byrd. Later, he joined Michael Clarke in a band that appeared on the mar-quee as The Byrds, prompting a legal battle with the remaining members ofthe group. In the end, Clark’s excessive drinking led to his demise, and onMay 24, 1991, he was found dead.

Michael Clarke left the band and found work in a number of groups, aswell as doing sessions for former band members. He joined The Flying Bur-rito Brothers and remained there for a few years before playing drums for thegroup Firefall. The percussionist would later become part of Jerry Jeff Walker’sgroup for a brief stint. Sadly, on December 19, 1993, the man who providedthe launching path for McGuinn’s inspired solos on the 12-string Ricken-backer guitar died of liver failure. The surviving members continue to recordand perform.

The Byrds were one of the most important and influential folk bands ofthe revival. Although their success came at the tail end of the era, and theyindulged in stretching the parameters of the traditional sound to include elec-tric elements, they remain icons. There was something admirable about theirability to take the best elements of folk and blend it with other ingredientsto make a different but appealing musical dish.

The instrumental prowess and lack of it were key ingredients in TheByrd’s sound. From McGuinn’s excellent 12-string abilities to Clarke’s lack ofdrumming skills, they boasted the best and the worst. Gene Clark was an ade-quate bass player who had never played the instrument before joining thegroup. However what he lacked in technical skill, he made up for with enthu-siasm. The addition of Hillman and Crosby, two solid guitarists in their ownright, was the cornerstone of the group’s overall projection.

The vocal harmonies remain some of the finest in the annals of all folkand folk- related music. The dual combination of McGuinn and Clark onlead vocals was unique and reminded many of the talent rich Beatles. Theaddition of a solid supporting cast consisting of Crosby, Hillman and Clarke


as backup singers only strengthened their sound. They presented a differentkind of vocal symmetry than The Kingston Trio, Chad Mitchell Trio and TheLimeliters.

In some folk circles, The Byrds are looked down upon because of thestrong rock element in their sound. Although it was evident that their primegoal was to mesh the two styles together, they did much to help traditionalmusic expand its parameters to make it more commercially successful. Theiruse of drums and electric instruments was often too much for the traditionalpurists to accept. However, there are those who comprehended what the groupwas 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 TomPetty and the Heartbreakers, R.E.M., The Flying Burrito Brothers, Asleep atthe 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 anumber of very successful acts, including Linda Ronstadt and the Eagles,among others. They would influence The Reivers, Nick Lowe, RichardThomp son, Crowded House, Big Star, New Riders of the Purple Sage, BlueRodeo, Jimmy Buffett, Jefferson Airplane, Buffalo Springfield, The Strawbsand The Church.

The Byrds were pioneers in the folk music fold. In 1991, they wereinducted into the Rock and Roll Hall of Fame for their efforts. Although theydidn’t make a huge impact during the revival, they appeared at the end of thefolk boom and carried on the style’s popularity by taking it into a whole dif-ferent realm. While purists dismissed them as traitors, others saw them as pace-setters 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 talentsto form various outfits, especially after the success of other groups. Many pat-terned themselves off The Almanac Singers and The Weavers, while othersfollowed the path The Kingston Trio and the Chad Mitchell Trio had blazed.But, by the mid 1960s, the boom was fading and individuals sought differ-ent musical routes. One band combined traditional elements with rock anda tinge of country to create a goodtime 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 fam-ily. His father was a classical harmonica player and the young boy grew upknowing Burl Ives, Woody Guthrie and enjoying the sounds of Leadbelly andMississippi John Hurt in his neighborhood. He learned folk music at the footof the masters.

The young boy picked up the guitar and harmonica, honing his skillsplaying at various venues in Greenwich Village. His first recording was onBilly Faier’s The Beast of Billy Faier. A year later, he collaborated with FredNeil on the album Bleecker & MacDougal. Sebastian became a member of The Even Dozen Jug Band for some time before joining an outfit called TheMugwumps. The latter boasted Cass Elliott, Denny Doherty and ZalYanovsky.

Zal Yanovsky was born on December 19, 1944, in Toronto, Ontario, theson of a political cartoonist. The self- taught guitarist began to play the cof-fee houses in his native city. After a trip to Israel, he returned to Canada andteamed with Denny Doherty to form Halifax Three before moving on to TheMugwumps. Both groups were pure folk outfits. Sebastian and Yanovsky splitto form The Lovin’ Spoonful and recruited Steve Boone.

Steve Boone was born on September 23, 1943, in Camp Lejeune, NorthCarolina. After a serious car accident, the teenager picked up the guitar while


recovering from injuries. He joined his brother’s band that also includeddrummer Joe Butler. After high school, Boone spent the summer exploringparts of Europe before returning to New York, specifically Greenwich Vil-lage, where he met Sebastian and Yanovsky. When the latter two decided toform a folk group, they called on him and the percussionist Butler.

Joe Butler was born September 16, 1941, in Long Island, New York. Hestarted to play the drums at an early age and managed to become proficientenough to play in a variety of different outfits. However, a stint in the AirForce interrupted his musical career. On the plus side, it was while in theservice 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 singerventured down to Greenwich Village to perform in clubs and record a fewsolo albums for the Mercury label.

They chose the name The Lovin’ Spoonful, taken from a line in Missis-sippi John Hurt’s song “Coffee Blues.” The four jammed for a brief periodbefore finding a residency at the Night Owl in Greenwich Village. Becauseof their previous, albeit moderate, success and highly visible gigs on the folkscene, they acquired a recording contact rather quickly, signing with KamaSutra Records.

They found immediate success. Their debut album, Do You Believe inMagic?, yielded the substantial hits “Did You Ever Have to Make Up YourMind?” and the title cut released as singles before the record came out. Sebas-tian played the autoharp, decorating many of the songs and adding a color-ful touch that made the group’s sound different than the others on the circuit.The band’s folkie goodtime music approach won them legions of fans on thefolk rock circuit.

The Lovin’ Spoonful built up a quick and solid reputation. The secondeffort, Daydream, included the title song—a massive hit—and more originalmaterial. The single “You Didn’t Have to Be So Nice” was another chart top-per. While they were considered very much a rock outfit, there was a strongfolk 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 smallclubs 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 contribu-tions to Woody Allen’s film What’s Up Tiger Lily? By 1967, they were a main-stay on the charts and on the circuit. However, when Yanovsky was bustedin San Francisco for marijuana possession and then turned on the source, itsmeared the band in the eyes of the counterculture. Soon there was a boycottof their product. Yanovsky left the group and Jerry Yester replaced him.

Jerry Yester was born January 9, 1943, in Birmingham, Alabama, but grewup 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 performedas the Yester Brothers, playing folk clubs in Los Angeles. Jerry would join TheNew Christy Minstrels and later the Modern Folk Quartet. In 1965, he playedpiano on The Lovin’ Spoonful’s “Do You Believe in Magic?”

In 1968, they released Everything Playing, which was much less success-ful than their previous releases. There were minor hits, “She’s Still a Mysteryto Me,” “Boredom,” and “Money.” Their last single to hit the charts was“Nashville Cats.” Other songs such as “Darlin’ Be Home Soon,” would makeit in the Top Twenty. That same year, John Sebastian left the group and theoutfit would never be the same again. The Lovin’ Spoonful would continuefor some time but fizzled without their chief songwriter and front man. In1968, they disbanded, a scant three years after formation.

In 1980, the original lineup reunited to appear in the Paul Simon movieOne Trick Pony. In 1991, Yester, Boone and Butler reformed the group addingPhil Smith on vocals, rhythm and lead guitar and Mike Arturi on drums. Thenew version toured the United States and other countries bringing back theband’s music to their old fans as well as to a new generation. In 1999, a livealbum, Live at the Hotel Seville, was released, minus Sebastian.

John Sebastian had the most post–Lovin’ Spoonful success. He appearedat the Woodstock Festival and played “Younger Generation,” “Rainbows AllOver Your Blues,” “Daring Be Home Soon” and “I Had a Dream.” The tal-ented musician continued to guest on the records of others including TheDoors’ 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 Criedand Live in Detroit.

Sebastian would later hit the top of the charts again with “WelcomeBack 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 andprovided the voice for the main character. In the 1980s, the former front manbecame involved in more TV projects, particularly for the Nelvana LimitedProductions company. They were an animation studio, and he wrote thetheme song and narration for the TV pilot The Get Along Gang, as well as forthe Care Bears movie trilogy including Care Bears Movie 2: A New Genera-tion and The Care Bears Adventure in Wonderland. He would host the pro-gram The Golden Age of Rock and Roll that included the music of hisgeneration.

In the 1990s, he made a cameo appearance on the sitcom Married WithChildren and later appeared on Eels Blinking Lights and Other Revelations. In2007, Sebastian released a number of guitar instructional DVDs for theHomespun Video Company that included The Lovin’ Spoonful hits “Day-dream” and “Nashville Cats.” Later, he teamed with the J Band on a docu-mentary explaining the roots and influence of jug band music on his own


career. The movie included Geoff Muldaur, Maria Muldaur, Jim Kweskin andDavid Grisman. In 2008, Sebastian was inducted in the Songwriters Hall ofFame.

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 filmsincluding 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 leadsinger, belting out the old classic hits and new material. His daughter, YancyButler, would become an actress and appear on the TV series South Beachand 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 (andLoving Every Minute of It), but none made a dent in the charts. The song “AsLong As You’re Here” was his biggest post–Lovin’ Spoonful hit. Eventually,he left the music business and became a restaurateur in the eastern Ontarioregion of Canada with a degree of success that also included a number of cook-books that sold quite well. In December 2002 he died of heart failure.

Steve Boone bought a large sailboat and spent three years cruising theCaribbean and writing songs. Later, the onetime bass player became a recordproducer and enjoyed his finest hour recording Little Feat’s Feats Don’t FailMe Now. He leased the studio, then bought it and relocated it to a houseboatin Baltimore’s Inner Harbor and dubbed it Blue Seas Studio. Emmylou Har-ris, Bonnie Raitt, Robert Palmer, Ricky Skaggs and The Seldom Scene wouldrecord there. In 1987, the ex- member of The Lovin’ Spoonful moved to Floridaand became an award winning BMI songwriter. He continued to producealbums, most notably Irish Times’ Live at McGuire Hill 16. Eventually, Boonereturned to his native North Carolina.

The Lovin’ Spoonful were proponents of the goodtime side of folkmusic. Although known as a folk rock outfit for their use of electric instru-ments and hard beat, they were grounded soundly in the traditional musicwhich Sebastian grew up with as a young boy. For a two- year period, the groupwas one of the most successful on the circuit and produced a steady streamof hit singles.

The members of The Lovin’ Spoonful were never master musicians, butthey managed to produce a solid wall of sound. They were all adequate instru-mentalists and considering that their goodtime brand of folk was not verycomplicated; it wasn’t a necessity that they were incredible virtuosos. Theirability to play harmonica and guitar and keep a solid beat was perfectly suitedto Sebastian’s lyrics. Where the band differed from others was the inclusionof sound color utilizing the harpsichord or some other exotic tool to producesomething strange and wonderful.

Sebastian, the group’s chief songwriter, was able to pen many well- craftedsongs that fit the goodtime image they attempted to project. Tunes like “Do

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You Believe in Magic?,” “Daydream,” “Summer in the City,” “Rain on theRoof,” “You Didn’t Have to Be So Nice” and “Did You Ever Have to MakeUp Your Mind?” were fun to listen to because they contained a memorablemelody. To this day, their music is played on many oldies and classic rockstations.

Their brief yet powerful impact would influence a number of artists. Apartial 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, CarlySimon, the Magic Numbers, Canned Heat, John Denver, Tom Petty,Badfinger and Dr. Hook & the Medicine Show. There was something aboutthe Lovin’ Spoonful’s product that incited others to try their hand at mak-ing goodtime folk music.

Although the Lovin’ Spoonful are not considered one of the major folkrevival outfits because they appeared at the tail end of the era, they were oneof many groups along with the Mamas & the Papas, Beau Brummels, the Tur-tles, the Grass Roots, Buffalo Springfield, and the Rascals who had deep folkroots. Sebastian led the outfit and took the basic style in different directionsin 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 adifferent manner than Bob Dylan, Joan Baez, Simon and Garfunkel, theKingston Trio and the Limeliters.

In 2000, the Lovin’ Spoonful was inducted into the Rock and Roll Hallof Fame for their contributions to the spectrum of popular music. They havealways been fondly remembered for their projected zany image, wild sense ofhumor on stage, and unique brand of goodtime music that combined tra-ditional 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, especiallyin England. Great Britain had enjoyed a renewed interest in traditional musicbetween 1890 and 1920, based on the transcribing of old standards that wouldlater be recorded. Francis James Child was the main figure in this movementalong with Sabine Baring- Gould, Frank Kidson, Lucy Broadwood and AnneGilchrist. Later Cecil Sharp, Maud Karpeles, Percy Grainger, George Butter-worth and Ralph Vaughan Williams would make significant contributions.

The collection of folk music was part of a nationalistic fever that sweptthe country. This same attitude was prevalent in the United States in the earlypart 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 LamarLunsford, among others, traveled the country documenting the musical stylestraditional to specific communities. The songs collected both as documentsand recordings were a large inspiration to the ’60s folk boom.

The second British folk revival ranged from 1945–1969. One of the mainfigures was American Alan Lomax who had moved to the U.K. in order toavoid the McCarthy witch hunts that decimated the industry in the UnitedStates. Lomax established a club and often jammed with Ewan MacColl andA.L. Lloyd, who were both involved in union and socialist politics.

Eventually the traditional sound would give way to a distinctive form offinger picking that many dubbed folk baroque with Davy Graham, MartinCarthy, John Renbourn and Bert Jansch leading the way. Later, electric folkwould assume the mantle. A subculture would be developed around thenumerous folk clubs and festivals that had a huge impact on the entire indus-try.

In Canada, the tireless efforts of Edith Fowke established the fact thatthere was a solid Canadian folk vein that differed from region to region. Hercollecting and documentation would enable a host of aspiring musicians togain a foothold in the music industry in the country, as well as reach inter-national status. Some of her discoveries included O.J. Abbott, Tom Brandon,LaRena Clark, Heather Bishop and Faith Nolan.

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Other major contributors in this section from the American folk poolincludes those featured in part one, The Revivalists: The Performers. Ram-blin’ Jack Elliott and Dave Van Ronk were international stars and toured theplanet pushing their special brand of traditional music. John Koerner madefolk blues much more respectable by spreading it across many different coun-tries. Doc Watson was also an integral cog as he renewed interest in old- timefolk 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 nativeroots of Jamaica to the international stage. Decades later, the reggae men,Peter Tosh and Bob Marley, would achieve global fame due to the Caribbeansinger’s breakthrough efforts in the 1950s. Byron Lee, Hugh Masekela, andMiriam Makeba all benefited from their association with Belafonte.

The political folk with their topical and protest songs inspired others totake up causes that were urgent in their own region. Dylan had a huge influ -ence on hundreds of musicians around the world. Baez performed in everycorner of the globe in support of a myriad of causes and made an impact onnumerous female singers in the remotest villages on the planet. Tom Paxton’smusic reached the world masses as did the magic of Arlo Guthrie and Coun-try Joe McDonald.

Groups such as The Kingston Trio, the Limeliters and the Chad MitchellTrio with their clean- cut college look and ringing harmonies charmed manyaround the world. The Byrds and The Lovin’ Spoonful with their folk rockfusion would fuel the efforts of similar British outfits, the Fairport Conven-tion and Steeleye Span. The Clancy Brothers and Tommy Makem stimulateda 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 otherparts of the globe.

This section, “Other Performers,” is devoted to those individuals whomade significant contributions to folk in their own country through Ameri-can influence. They include performers from England, Ireland, Canada andSouth Africa.

Miriam Makeba was a South African singer who escaped the unjustapartheid society to make a huge impact on the world folk music stage.

Gordon Lightfoot was a Canadian troubadour who managed to carveout a career that was powerful in both his native Canada and the UnitedStates.

Buffy Sainte- Marie was a Native American folk singer who wrote a lotof songs in support of her people.

Martin Carthy is considered by many to be the “Father of the EnglishFolk Revival” and has gone on to influence dozens of artists, including hisdaughter Eliza.

242 Part Five. Other Performers

Bert Jansch was one of the greatest instrumentalists to emerge from theentire revival. His influence spilled over to many different styles.

Joni Mitchell was another Canadian folkie to emerge from her prairiehome to carve out an intense and interesting global career.

Ralph McTell was a British individual who managed to overflow theboundaries of the boom in his country to reach others.

Donovan Leitch utilized folk as a starting base for explorations into psy-chedelic rock.

Miriam Makeba (1932–2008)Empress of African Song

Every country has its own style of folk music and South Africa is noexception. The deep roots of the various African cultural sounds go backthousands of years and remain an integral part of their life. Despite all of thesocial and political struggles that have plagued the continent and the chal-lenges that every artist has faced in an attempt to establish a solid career, onefigure emerged from the area to become the empress of African song. Hername 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 healerand her father was from the Xhosa tribe. Zenzile’s mother ran afoul of theaccepted norms and spent time in jail. In fact, little Miriam lived in prisonfor several months during her initial year of life. When the little girl’s fatherdied the struggle became even harder.

But Makeba was gifted with a terrific voice. She developed her amplesinging abilities at the Kilmerton Training Institute in Pretoria, remainingthere nearly a decade. The talented singer first toured with an amateur grouptrying to overcome the many obstacles that impeded a path toward a full-fledged musical career. Despite limited opportunities in South Africa, Makebawas 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 theyattended grammar school together. Joe Magotsi, Rufus Khoza, Ronnie MajolaSehume, and Nathan Mdledle—acknowledged as the group leader—foughthard to establish themselves under the unjust apartheid doctrine. In 1948, theywere able to record their first singles and became quick favorites throughoutthe land. However, they were regulated to smaller venues that paid less thanthe white stars.

Miriam Makeba 243

The group was backed by the best musicians, including many noted jazzpersonalities such as saxophonists Mackay Davashe, Kippie Moeketsi, drum-mer General Duze, and pianist Sol Klaaste. Later they would also bring intrumpeter Hugh Masakela and arranger Jonas Gwangwa to the fold. Theoutfit was always able to recruit the top musicians from every corner of thecontinent and managed to blend all of the various talented personalities intoone cohesive unit.

The first song Makeba cut with the band, “Laku Tshona ’Llange,” becamea massive hit and provided a further opportunity to record and tour. How-ever, because of apartheid, the group was never able to break out internation-ally and were regulated to the confines of second tier status as entertainers.Despite some triumphs, it was a frustrating period of time for the talentedsinger and the rest of the group.

In 1958, she left The Manhattan Brothers and formed the all- femalegroup, The Skylarks. They blended pop, gospel and jazz along with SouthAfrican tribal rhythms and vocal harmony styles to create a sound that wasuniquely their own. Despite the promise of the outfit, there were many per-sonnel changes; but the lineup eventually settled around Makeba, Mary Rab-otapi, Abigail Kubeka, and Mummy Girl Nketle. During her tenure with theensemble, they would release two albums, Miriam Makeba & the Skylarks,Volume 1 and Volume 2.

Later that year, she reunited with members of The Manhattan Brothersand snared the lead female role in a musical version of the tragic story of blackAfrican boxer, Ezekiel “King Kong” Dlamani. The play, entitled King Kong,was a huge success and enabled Makeba to enhance her reputation as one ofthe top performers in the land. However, once again due to apartheid, theskillful actress was restrained from gaining a higher level. It was apparent thatif she was going to break out internationally, that Makeba would have to leaveher homeland.

In 1959, she joined Alf Herbert’s tour package entitled African Jazz andVariety. Despite receiving solid reviews, the entire production was stalled inits efforts to break out on an international basis. For a longtime, Makeba hadwanted to expand her career but had been held back. Finally, the singer- actress managed to find an escape route when called upon to perform in theantiapartheid documentary Come Back, Africa, which helped her gain a visato leave South Africa and travel to Europe.

Once in Europe, she managed to gain a visa to the United States andattained freedom there. However, it came with a heavy price. In 1960, theSouth African government revoked her citizenship for the outspoken view-point of apartheid, which greatly saddened Makeba because it meant that shewas barred from her homeland. This disappointment was balanced with a four- week stint at the Village Vanguard and as a special guest of Harry Belafonte


at the Carnegie Hall concerts that were recorded. The double album wouldwin a Grammy.

She forged ahead with her career. After garnering flattering press for theexcitement from the nightclub appearances, RCA Victor quickly signed thesinger to the label. The debut effort, Miriam Makeba, included versions of“House of the Rising Sun,” “Wimoweh,” a tune The Weavers turned into ahit and The Tokens re- recorded as “The Lion Sleeps Tonight.” There werealso a number of songs cut in the native tongue of Xhosa. The Belafonte FolkSingers, the Chad Mitchell Trio and Charles Coleman backed her on differ-ent tracks.

For her next effort, The Many Voices of Miriam Makeba, a large contentof the material was derived from African roots. There were several highlightsthat included “Zenizenabo,” “Ntjilo Ntjilo,” “Umqokozo,” “Ngola Kurila,”“Thanayi,” and “Nagula” often sung in a South African dialect. A strict oppo-nent to apartheid, although banned from South Africa, the heartfelt singernever forgot the struggles of her people and continued to push for reformsfrom her safe American haven.

The album The World of Miriam Makeba was Makeba’s first genuinecommercial success in the United States. It included an orchestra with futurehusband, the jazz trumpeter Hugh Masekela, who conducted the ensemble.Some of the songs featured were sung in her native African native tongue, aswell as “Tonados de Media Noche” in Spanish and “Vamos Chamar Ovento”in Portuguese. There were English tunes such as “Little Boy,” “ForbiddenGames,” and “Where Can I Go?,” an obvious reference to the fact that theentertainer, banned from her homeland, was a musical gypsy and called therest of the planet home.

Her concerts became events as the experienced singer captivated audi-ences utilizing multi- linguistic abilities. She was a visible performer at civilrights gatherings, understanding the personal struggle for freedom reigned allover the world even in a free country like the United States of America. Herpolitical voice added a much different dimension than the topical songs ofBob 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 hitacross the African continent. In 1967, Makeba included it on a release and itreached the top of the charts in the United States. Although known as a won-derful singer of traditional song and African music, the determined lady bal-anced an entertainment career with keen political awareness. In 1968, shereceived the Dag Hammerskjold Peace Prize.

She married Hugh Masekela but the union did not work out. LaterMakeba wed radical Trinidadian black activist Stokely Carmicheal, whichcreated a host of problems as many concerts were cancelled and the contractwith RCA was terminated. Eventually, the singer relocated to Guinea and

Miriam Makeba 245

became their delegate to the United Nations. On two different occasions sheaddressed the assembly on the horrors of apartheid. It was an issue that othercountries 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 lan-guages. In 1970, Keep Me in Mind was an effort to reach across a broader scopeof the listening audience with a soul, pop feel to it. The talented singer cov-ered Buffalo Springfield’s “For What It’s Worth,” Creedence ClearwaterRevival’s “Down on the Corner, and the Beatles’ “In My Life.” The experi-ment was only partially successful.

In 1972, the now acknowledged queen of African folk songs teamed upwith Harry Belafonte to record Belafonte & Miriam Makeba. In 1973, sheseparated from Carmichael. A year later, Makeba entertained the crowds atthe Rumble in the Jungle boxing match between legendary heavyweightfighters Muhammad Ali and George Foreman. In 1975, she recorded A Prom-ise, which included contributions from Joe Sample, Stix Hooper, ArthurAdams and David T. Walker, a member of the Crusaders.

Makeba’s career continued to be marked by special projects. She was amember of Paul Simon’s Grammy winning Graceland tour. The album hadutilized South African singers and musicians, proving to the world that therewas a great amount of talent in the country still struggling under the unjustapartheid social structure. Two years later, she joined another outspokenfemale folk singer, Odetta, and along with jazz stalwart Nina Simone, theyembarked 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 Ger-man, French, Dutch, Italian, Spanish and Japanese. Although this was a greattriumph for the celebrated singer, there was an even greater one. That sameyear she released a comeback album of sorts, it was her first U.S. release innearly a decade and included her powerful vocals as well as her back to theSouth African roots material.

But the greatest triumph was still awaiting her. When jailed leader Nel-son Mandela was released from prison, Makeba was allowed to return to SouthAfrica. In 1991, the singer performed her first concert there in more than thirtyyears. A year later, she appeared in the award- winning musical Sarofina as themother. The vocalist, activist, actress and author continued to possess anincredible 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 Africanjazz and the great singer proved that she had not lost any of the prowess thathad dazzled crowds nearly forty years before. The scheduled performanceshelped raise awareness for the beauty of African music around the globe.


In 1995, Makeba formed a charity organization to raise funds to helpprotect the women of South Africa. An appearance at the Vatican’s Nevi Hallwas a worldwide broadcast, which produced the album Christmas at the Vat-ican. Although her politics had rubbed some the wrong way, the determinedlady continued to fight social inequality and injustice in every corner of theglobe. Her outspokenness was not just for the people of her homeland butfor all those suffering on the planet. The universality of the overall vision ele-vated the golden singer to a much different plateau than others.

In 1999, she was nominated Goodwill Ambassador of the Food and Agri-culture Organization of the United Nations. In 2000, Makeba, who had neverabandoned music, concentrated once again on the career as a singer with therelease of the first studio album in a decade entitled Homeland. In 2001, shereceived the Polar Music Prize honoring those who have displayed exceptionalachievements, sharing it with Sofia Gubaidulina.

In 2005, Makeba embarked on a worldwide farewell tour visiting themany places where she had performed and called home over the years, includ-ing the United States, New Guinea, England, France and, of course, SouthAfrica. It was an emotional journey and proved that as a singer she had touchedmillions. Despite the activism that had hurt her career, it was apparent thatthere was a strong sense of righteousness in her music.

On November 9, 2008, after taking part in a political concert in CastelVolturno, Italy, where she sang her most famous hit, “Pata Pata,” Makeba col-lapsed from a heart attack. The South African musical community and theworld at large was greatly saddened when the empress of African folk died afew hours later.

Miriam Makeba was a folk anomaly. Like Harry Belafonte, she was ablack singer with an exotic, folk- based repertoire who was able to bring thesongs to the international stage and deliver a sophisticated set of material thatleft the audience always wanting more. A stern political and social commen-tator on topics such as apartheid, the Civil Rights Movement and woman’sissues, there was no subject that the gutsy entertainer wouldn’t tackle.

Makeba possessed a golden expression. It was a vocal delivery with greatrange that consisted of a special timbre enabling her to reach every differentaudience. The fact that she was talented enough to sing in a number of lan-guages allowed the crafty artist to turn the strange songs of Africa into a prod-uct with international appeal. In any setting, her voice ached for freedom andjustice that reverberated throughout the musical community.

Makeba sang many songs, including “Pata Pata,” “Sabelani,” “Kiliman-jaro,” “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 ClickSong,” “Nomeva,” “House of the Rising Sun,” “Quit It,” “We Got to Make

Miriam Makeba 247

It,” “Ndibanga Hamba,” “Iyaguduza,” “Murtala” and “Chicken (Kikirkiki).”Many of the tunes were in a different language, but it didn’t matter becauseshe was able to break through all barriers to present them as something mag-ical and real.

Like Harry Belafonte, Makeba brought an international flavor to thefolk revival. While she did sing some American traditional folk material, theAfrican queen also brought many of the native songs of her homeland intothe folk catalog. The best example is “Pata Pata,” a song she learned as a childback in South Africa. It was one that many would record because of the inter-national allure.

The political and social commentator on many different issues, Miriamutilized music to push her message across. Because of this she had a large influ -ence on a number of singers. A short list includes Dionne Warwick, DianaRoss and the Supremes, Jackie DeShannon, Aretha Franklin, Whitney Hous-ton, Linda Ronstadt, Beyoncé, Helen Reddy, Destiny’s Child, Nina Simone,Irma Thomas, Abbey Lincoln, Tracy Chapman, Cicely Tyson, and many oth-ers.

Makeba was the first South African woman to win an award. She alsodeveloped an international reputation and blazed the path for others includ-ing the Jamaican Bob Marley and the Nigerian singer Fela to follow. Theywere talented individuals who overcame many obstacles to gain the fame thatthey enjoyed after great struggle. The entire concept of world music is some-thing that owes a debt to the prejudices Makeba overcame in her determina-tion to prove that song is a universal language.

Miriam Makeba was an international singer who managed to carve outa 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 politicalissues to the forefront through song. Although she is called the empress ofAfrican 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.


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 orinternational folk artists for the longest time, only regional ones. However,during the revival, a crop of young, heartfelt singers emerged from the GreatWhite North and began to assert themselves, not only in their native regionsbut on a global level. One of the best was the Canadian troubadour, GordonLightfoot.

Lightfoot was born November 17, 1938, in Orillia, Ontario. His firstmusical experiences center around singing in a church where he learned howto express himself emotionally. It also gave him a sense of the power of music

Gordon Lightfoot 249

and how it moved people, an energy and mystique which he found fascinat-ing and wanted to be part of. The young tenor also appeared on radio andin local productions, as well as performing at music festivals.

He won at the Toronto Kiwanis Festival with a performance of “Who isSylvia?” It was the second year in a row that the aspiring singer had enteredthe contest, also winning the previous time, and it was clear that young Light-foot was destined for a successful musical career. In 1954, he made his net-work 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 whilelistening to Bob Gibson and The Weavers.

An engaging individual, he studied piano and taught himself drums andother percussion instruments. He had not yet begun to write songs, but haddeveloped a keen appreciation for the rhyming words in lyrics. While acquir-ing a strong musical foundation in his Ontario hometown, Lightfoot realizedthat greater opportunities existed in far away centers. Added to that was thefact that he possessed a traveling foot in the grand tradition of folkies likeWoody Guthrie, Pete Seeger and Cisco Houston.

He moved to California where he studied jazz composition and orches-tration at Westlake College of Music for two years. During this time the folkrevival exploded and had a deep effect on his songwriting. Once he had com-pleted his education, Lightfoot returned to Canada and found work with thegroup The Swinging Eight. By this time the guitar had become his instru-ment of choice, starting on a 4-string model before moving on to 6 and 12-string versions.

The Swinging Eight was a group that performed in a variety of styles onthe TV show Country Hoedown. Often, they teamed up with the Gino SilviSingers to create an interesting mixture and wall of sound. Lightfoot wasleading a double life as a musician around this time because he often moon-lighted on the Toronto folk scene trying to make a name for himself in anindustry that was just coming into its own.

The burgeoning folk scene needed a leader, a spokesperson, who wouldput the industry on the map. Lightfoot developed a solid, unspectacular gui-tar beat that blended well with his unique vocal delivery. He found a singingpartner 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 regionalexcitement. Despite the promise of this duo, the Canadian troubadour leftfor England and found work as host of the TV program Country and West-ern Show.

In 1964, Lightfoot returned to Canada and appeared at the MariposaFolk Festival, which was a major turning point in his career. It all started tocome together because the talented songwriter had penned “For Lovin’ Me”and “Early Morning Rain.” Ian and Silvia Tyson, a Canadian duo covered


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 wasthe variety of performers. Country singers Marty Robbins and Leroy VanDyke cut versions of “Ribbon of Darkness” and “I’m Not Saying” respectively.Naturally there were folk singers who scored hits with the Canadian song-writer’s material including Judy Collins, Richie Havens, The Kingston Trioand Harry Belafonte.

In 1965, he performed at the Newport Folk Festival and witnessed BobDylan, who had been a strong influence on his writing, go electric. It had aprofound impact on Lightfoot who realized that the time for the solo acousticperformer had come and gone; a blend of traditional music with electric wasthe next movement. Later that year, he moved to Detroit and lived with Joniand Chuck Mitchell, performing at area clubs like the first- rate Chess Mate.

In 1966, Lightfoot released his self- titled debut album, which featuredthe songs “For Lovin’ Me,” “Early Mornin’ Rain,” “Steel Rail Blues,” and“Ribbon of Darkness.” It was a landmark record for many reasons. WhenMarty Robbins recorded a version of “Ribbons of Darkness,” it spent sevenmonths on the Country and Western charts, eventually reaching number one.It would later win the ASCAP writer- publisher award. This type of exposureenabled him to become one of the most noted Canadian singers on a nationallevel and slowly gain fame on the international scene.

In 1966, he starred at Toronto’s Riverboat coffee house, a landmarkappearance in his live career. Although a solid interpreter of his own mate-rial, Lightfoot’s popularity was based on songwriting as some of the biggestnames in music covered his songs, including Bob Dylan, Johnny Cash andElvis Presley. The troubadour propelled his fame with numerous concertappearances and the release of a steady stream of albums that always containedat least one or two gems. A prolific writer, he would pen over four hundredsongs. One of the top tunes he wrote was the commissioned “Canadian Rail-road Trilogy” for the country’s centennial honor of the building of the coast- to- 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, amajor feat for a Canadian artist at the time. Of the many figures on the cir-cuit, Lightfoot was clearly one of the best and had become the singer- songwriter many aspiring artists looked up to. The ever growing catalog thatothers drew from generated excitement for his own career.

By 1968, the troubadour was one of the most noted performers in Canadaand had a strong foothold in the United States appearing in San Franciscofor the first time, extending his name on the West Coast. He returned to thecity to play the Fillmore and moved on to perform at the Troubadour Club


in Los Angeles. Once again, he appeared at New York’s Town Hall, this timeas the headline act. About the same time, the song, “Did She Mention MyName?,” was released and became a hit. Although a keen folkie during therevival 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 asa solo act at London’s famed Royal Festival Hall. He switched record labelsfrom United Artists to Warner Brothers, and it was with the latter companythat the troubadour would enjoy his greatest hits. The next decade beckonedto 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 acceler-ated a rise to the top. Not only was Lightfoot a noted folk attraction but alsoquickly becoming a musical brand name.

In 1972, he contracted Bell’s Palsy, a condition that left his face partiallyparalyzed. From this point on, Lightfoot concentrated more on the record-ing 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 mate-rial, but in the early 1970s, he began to score with his own songs. Later, achance meet ing with a girl out west would turn into the well- known “AlbertaBound.”

In 1974, the album Sundown and the song of the same name appearedwith the single reaching number one on the American charts. “Carefree High-way,” the next offering, also made it to the Top Ten. In 1975, he toured Europeincluding stops in Amsterdam, Hamburg, Munich, Frankfurt and London atthe Royal Albert Hall. Since dozens of artists had covered his songs, he wasconfident enough to begin writing material that was much different than pre-vious 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 cov-ered the disasters of the day. The large ship had been lost in a severe Novem-ber storm in Lake Superior and provided a perfect vehicle for Lightfoot’sstraightforward guitar and vocal delivery. The song became a radio staplealong with “Sundown,” “Carefree Highway” and a handful of other tunes.He would score yet another Top Forty hit with “The Circle Is Small (I CanSee It in Your Eyes).” At the end of the year, he appeared in Bob Dylan’sRolling Thunder Revue when it came to Toronto.

In 1976, “The Wreck of the Edmund Fitzgerald” became the numbertwo song on the Billboard charts, and would be a perennial favorite in Novem-ber as a reminder of the tragedy where twenty- nine men lost their lives. Hewas invited to The Band’s Farewell Concert, along with Bob Dylan, NeilYoung and a host of others, but never performed. In an unusual situation,the folkie made an appearance at the Montreux Jazz Festival in Switzerland,


usually reserved for jazz and blues artists. At the end of the year, Summer-time Dream reached platinum status.

For the rest of the decade, he remained on the road and continued torelease new material. By this time there were awards coming his way after beingin the business for more than a decade. A good example was “Gordon Light-foot Day” in Toronto. He continued performing for charities in such assem-bles as the benefit for local ballets and symphonies at the Nassau CountyColiseum in Long Island. In the spirit of past folk artists, Lightfoot donatedtime to humanitarian causes.

Lightfoot started the 1980s being declared the male singer of the lastdecade. In 1981, he appeared in the film Harry Tracy Desperado, adding yetanother dimension to his long, creative career. By this point, he had estab-lished certain annual rituals like his concert at Massey Hall; it was consid-ered an event. As a performer he went electric, while still playing acoustic sixand twelve- string guitar. He also added keyboards to a stage show that wasnever the same twice because of the ever growing material in the prolific song-writer’s repertoire.

Always a humanitarian, he performed many charity concerts to help outvictims of natural disasters, as well as supporting Canadian athletes needingmoney to compete in the Olympics. In 1985, he was at the forefront in record-ing “Tears Are Not Enough,” the Canadian version in the campaign to aid inthe USA for Africa relief effort. The event also included Neil Young, JoniMitchell and Bryan Adams among others.

In 1986, Bob Dylan hosted the night that Lightfoot was inducted intothe Canadian Music Hall of Fame. Also, for the first time in his career, hedid not tour, and instead poured all energies into the next studio effort, Eastof Midnight. The following year, the troubadour made up for lack of live per-formances from the year before criss- crossing the continent several times over.With the advent of the CD, much of his music was digitally remastered andsales increased.

Environmental causes became a prominent concert venue. In 1988, heteamed up with Sting in Brazil to protect the rain forests from being destroyedby loggers and dam builders. Later in the year, he performed at two concertsfor the World Wildlife Fund. In 1989, he appeared in various Canadian ven-ues, including Toronto, Alberta, and British Columbia, to bring attention todifferent causes devoted to saving the planet. This balance between a musi-cal career and concern for the environment added depth to his name andcharacter.

By the 1990s, Lightfoot was one of the premiere veterans of the Cana-dian music scene and was awarded the William Harold Moon award for con-tributions to the industry in his native country. He continued to appear at avariety of festivals and venues for different causes and concerns. For instance,


on the twentieth anniversary of the sinking of the Edmund Fitzgerald, heattended the ceremony at Whitefish Point, Michigan, to ring the ship’s bell.Although the studio production had dropped off from the steady pace of theprevious years, Lightfoot eventually recorded A Painter Passing Through. In1999, a box set of nearly a hundred songs was issued that included previouslyrare and unreleased tracks in retrospect of his career.

He began the new year, decade, century and millennium playing a benefitat the Air Canada Center in Toronto to assist farm families in crisis. He con-tinued his short tours, a Lightfoot trademark, usually totaling no more thanforty 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 thefirst time that the annual Massey Hall stance was cancelled. Despite the med-ical setback, the troubadour recovered to record his 20th album, Harmony,released in 2004.

In 2003, he was the inaugural member inducted into the Canadian FolkMusic Walk of Fame. He still suffered from his abdominal injuries, limitingtouring and work on the new album. At the end of the year, he was inductedinto the Canadian Songwriter Hall of Fame. In 2005, he undertook his firstconcert tour since becoming ill three years before. He was able to make a tri-umphant return to Massey Hall with four sold- out shows. The man whobegan in a church choir had come a long way to achieve a level of success fewCanadian artists enjoyed. For the rest of the decade, he continued to tour ona reduced scale due to health problems.

Gordon Lightfoot is a Canadian folk icon. He has survived a lull in hiscareer, health concerns, an infant industry that had to catch up to him andother challenges to make a huge impact in Canada and on an internationallevel. While his strongest suit has always been the songwriting, he does pos-sess an inimitable style and has been an active humanitarian for dozens ofcauses and charities.

Lightfoot has a burr of a voice. It is a unique delivery and instantly rec-ognizable in two or three notes. The almost flat, nasal sound has always fitperfectly for the songs that the prolific artist has written. As well, it is durableand able to framework any style of song including rock and roll, blues, jazzand country. It is one of the most distinct if not the most solitary vocals inthe annals of Canadian music.

Although often portrayed as a solo artist, for much of his career Light-foot utilized accompanists very effectively. Most notably Red Shea has donean excellent job with the lead guitar work adding an expertise to many of thetroubadour’s best known songs. Others, such as bassist John Stockfish andRick Haynes, have also made large contributions to the recorded studio mate-rial and live experience.


Lightfoot has been handsomely rewarded for his major contribution tothe Canadian folk and music scene in general. In 1986, he was inducted intothe Canadian Music Hall of Fame. Two years later, he was admitted toCanada’s Walk of Fame. In 2001, he became a member of the Canadian Coun-try Music Hall of Fame. In 2003, he was made a Companion of the Orderof Canada. He is also a member of the Order of Ontario. A winner of fifteenJuno Awards, Canada’s version of the Grammy’s, he has also collected five ofthe 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 andElvis Presley have produced studio and concert cover versions of “EarlyMornin’ Rain.” Olivia Newton- John, Barbra Streisand and Glen Campbellhad hits with “If You Could Read My Mind.”

Canadians Anne Murray, the Rheostatics, Sarah McLachlan have recordedsome of the master’s compositions. The Canadian prairie rockers, The GuessWho, wrote the song “Lightfoot.” In 2003, a tribute album, Beautiful: ATribute to Gordon Lightfoot, included The Tragically Hip, Blue Rodeo, Cow-boy Junkies, Ron Sexsmith, Jesse Winchester and Aengus Finnan performingLightfoot material in appreciation of the vast impact he had on all of theircareers.

A prolific songwriter, he has composed over five hundred songs. A par-tial list includes “Alberta Bound,” “Beautiful,” “Bitter Green,” “CanadianRailroad Trilogy,” “Carefree Highway,” “Cotton Jenny,” “Did She MentionMy Name,” “Does Your Mother Know,” “Don Quixote,” “Early MorningRain,” “Ghosts of Cape Horn,” “If You Could Read My Mind,” “I’m NotSupposed to Care,” “In My Fashion,” “Protocol,” “Rainy Day People,” “Shad-ows,” “Steel Rail Blues,” “Song for a Winter’s Night,” “Sundown,” “TheWreck of the Edmund Fitzgerald,” “The Pony Man” and “For My Lovin’.”Lightfoot would take many of these songs into the charts, as would dozensof other artists.

Lightfoot was one of the warriors who carried on after the folk revivalended. Armed with his guitar and voice, the troubadour managed to createan excitement for the genre when other styles were much more popular. How-ever, the countless tours and large recorded catalog undergirds a never quitattitude and determination. He has consistently tweaked the music in orderto keep it fresh and exciting by adding a drummer, keyboards, and a pedalsteel guitar player, among other adjustments.

Gordon Lightfoot is one of the most celebrated folk singers of the revivalperiod. Although he didn’t have a direct impact on the early years, the cele-brated singer certainly influenced a number of artists both Canadian and


international, and continues to do so. The man who first started singing in achurch choir has come a long way and the carefree highway that the Cana-dian 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 thecoffee houses in Greenwich Village. Although many hailed from the UnitedStates, 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 herCanadian native folk music. Her name was Buffy Sainte- Marie.

Buffy Sainte- Marie was born on February 20, 1941, on the Piapot CreeIndian reserve Saskatchewan’s Qu’Appelle valley. She was adopted by a white


family and grew up in Maine, far away from her native land. She found sol-ace in music. The aspiring entertainer learned how to play guitar and honedher 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 Ori-ental philosophy degree. At this point, the artist was also learning traditionalmaterial and writing introspective, topical songs such as “Ananias,” “NowThat the Buffalo’s Gone,” and “Mayoo Sto Hoon.” All were part of Sainte- Marie’s repertoire as she played coffee houses and clubs around the Bostonarea in order to pick up some spending money. Eventually, the hobby turnedinto a more serious intention and the young musician drifted to New Yorkdetermined to carve out a music career.

In 1962, she made enormous strides toward achieving her goal. Thedevoted folkie played at various concert halls, folk music festivals and NativeAmerican reservations across the United States, Canada and other countries.She was a regular performer at Greenwich Village and Toronto’s old Yorkvilledistrict boasted a growing catalog consisting of “Until It’s Time for Youto Go” and “Piney Wood Hills,” all songs that other artists were eager torecord.

It was while singing in a New York coffee house that a Vanguard Recordproducer discovered her and was intrigued by Sainte Marie’s projection, choiceof material and unique vocal delivery. In 1964, It’s My Way was released andincluded the classic “The Universal Soldier,” a tune written when she wit-nessed wounded soldiers returning from Vietnam. A controversial song, itgained her immediate attention in folk circles, which was bolstered whenEnglish folkie Donovan and country picker Glen Campbell reached the chartswith their cover versions.

Sainte- Marie forged on recording albums that, although contained aheavy dose of folk, were also infused with rock, classical, orchestral and NativeAmerican strains. The effort was strong enough for her to earn Billboard Mag-azine’s Best New Artist. The promise was also built on the fact that she wasovertly political, especially when it came to her own people, with songs like“My Country ’Tis of Thy People You’re Dying,” which separated her fromthe many other folk singers on the circuit.

Sainte- Marie spread her talents to include different mediums. Sheappeared on TV, playing herself on the show To Tell the Truth and Pete Seeger’sRainbow Quest with Pete Seeger, the educational folk music program devotedto promoting the style. Later, she sang the “Circle Game,” in the film TheStrawberry Statement. In 1967, Fire and Fleet and Candlelight was released,which contained an interpretation of the traditional “Lyke Wake Dirge,” anold English tune.

In the 1970s, Sainte- Marie remained a prolific recording artist and

Buffy Sainte-Marie 257

performed at a variety of venues both small and large. Her albums She Wantedto Be a Ballerina, Moonshot, Quiet Places, Buffy, Changing Woman, and SweetAmerica contained mostly original material with covers of songs ranging fromfellow 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 tuneto life, and the proof was scattered throughout the healthy catalog that con-tinued to grow.

In 1976, she began an association with the popular children’s show SesameStreet. It was good exposure for the artist who managed to create excitementon the program and bring a Native American angle to the popular hit. Oneof the episodes was even broadcast from her home in Hawaii. In 1979, shewrote the musical score to the movie Spirit in the Wind, which would beshown 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 childrenbeing abducted and forced into residential schools. She penned “Up WhereWe Belong,” co- written with Will Jennings and Jack Nitzsche. Joe Cockerand Jennifer Warnes performed the song, and it became the soundtrack forthe very successful An Officer and a Gentleman. The tune would win an Acad-emy Award for Best Song. Her music would later be utilized in a CanadianTV series Spirit Bay. Sainte- Marie, the actress, appeared in the telefilm, TheBroken Chain.

Sainte- Marie became involved with films, writing the scores for a fewmovies including Solider Blue and Attla. One of her main activities was tosing, speak and do charity work for her people. She founded the NihewanFoundation for Native North American scholarships. The determined vocal-ist was one of the prime forces in bringing the plight of the Native Americanto the attention of the world.

A true fighter, Sainte- Marie pushed for a category in Music of Aborig-inal Canada to be handed out at the annual Juno Awards, the country’s answerto the Grammys. In 1992, she released Coincidence and Likely Stories, her firststudio album in a decade and a half. It was a triumphant comeback featur-ing strong material; “The Big Ones Get Away,” “Fallen Angels,” “The Priestsof the Golden Bull,” “Starwalker” and “Bury My Heart at Wounded Knee,”another dedication to her people. In 1996, Up Where We Belong, an acousticalbum of her greatest hits, was issued and included a re- release of “The Uni-versal Soldier.”

In the following decade Sainte- Marie continued her political and socialwork through songs. She performed at the Kennedy Space Center for Com-mander John Hennington, a Chickasaw and the first Native American astro-naut. In 2003, the activist became a spokesperson for the UNESCO AssociatedSchools Project Network in Canada. In 2008, Running for the Drum was


released and recorded in her home studio in Hawaii. It contained many gems,including “Little Wheel Spin and Spin,” “No No Keshagesh,” “Cho ChoFire,” “Easy Like the Snow Falls Down” and “To the Ends of the World.”The talented and outspoken poet, painter, singer, songwriter and activist con-tinues 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 educatedwoman, the clever lady was able to forge a career that flourished in bothCanada and in the United States, and extended it to other international cen-ters, particularly in France where she has appeared on TV and recorded someof her work.

Sainte- Marie has an interesting voice. There is a calmness, a peacefulapproach 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 anemotional weight attached without forcing the lyrics is a tribute to her bal-ance as a chanteuse. The subtle element in her vocal delivery has been one ofthe more remarkable trademarks throughout a long career.

Her voice is instantly recognizable and the soothing element enables thelistener to concentrate on the lyrics. There is a quality timbre that has enter-tained audiences around the world for decades. The one element that sepa-rated Sainte- Marie from every other folk singers—including the GreenwichVillage crowd—was the expert use of vibrato; it became her trademark sound.It was particularly effective on the dozens of songs recorded including “TheUniversal Soldier” and the many pieces dedicated to the Native Americanpeople.

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 forElvis Presley. A slew of big name acts, including Cher, Barbra Streisand, NeilDiamond, Claude Gauthier, Robert Goulet, Cleo Laine, Vera Lynn, CarmenMcRae, Odetta and Ginette Reno, cut their own version. There were alsoprotest numbers like “The Universal Soldier,” which would be inducted intothe Canadian Songwriters Hall of Fame.

However, it is the songs about the native folk for which she is bestremembered. A short list includes “Native North American,” “Now That theBuffalo’s Gone,” “Soldier Blue,” and “My Country ’Tis of Thy People You’reDying.” A champion of many social causes, it is understandable that shewould reserve some the best writing for those songs written to bring to lightthe plight of the First Nations people. But there was also a universal appealto 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


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 lateralbum, Illuminations, demonstrated an experimentation with electronics, anelement included in her stage act with the use of synthesizers—an unheardof process in folk music.

Her performances around the world are interesting. In Canada, she oftentoured First Nations reserves and towns in the Western provinces, as well asOntario. In the United States, the folk singer with a message played at numer-ous centers where native people lived. Sainte- Marie also performed at festi-vals in her native country, as well as Sweden, Denmark and France. One ofher more interesting musical adventures was a collaboration with the ReginaSymphony Orchestra.

Sainte- Marie was also a gifted teacher. She taught art and music at theSaskatchewan Federated Indian College, York University, Evergreen State Col-lege in Washington and at the Institute for American Indian Arts in New Mex-ico. In 1969, the activist founded the Nihewan Foundation for NativeAmerican Education. Later, utilizing modern technology, she connected classesof aboriginal with non- aboriginal children via the Internet.

Sainte- Marie is a celebrated artist who has received a number of awardsthroughout her career for many different reasons. In 1992, after a lengthyabsence from recording because she was concentrating on other projects, thesinger returned with Coincidence and Likely Stories, which boasted electronicand traditional aboriginal chant backing. It would win a European Best Inter-national Artist award. In 1996, Up Where We Belong, a new collection of pre-viously recorded material performed unplugged, combining elements of popand native rhythms, and won her a Juno.

Because of her tireless work for humanitarian causes and undeniable tal-ent, it is understandable that she would be recognized with a plethora ofawards. In 1997, she was named the Native American Philanthropist of theYear. That same year the Canadian folkie was made an officer of the Orderof Canada. In 2002, she was awarded the Queen’s Jubilee Medal. She wasbestowed with lifetime achievement awards from a variety of sources, includ-ing the Saskatchewan Recording Industry Association, Juno Awards, TheAmerican Indian College Fund and the National Aboriginal AchievementFoundation.

Another dimension of Sainte- Marie’s artistic gifts is found in her won-derful, imaginative painting. Most of the work is abstract and focuses onnative issues. Her precious product has been exhibited in galleries all overCanada, including the cities of Vancouver, Calgary, Regina and Toronto, aswell as in Santa Fe, New Mexico. She has aided many aboriginal artists intheir quest to find equality in an unjust society.

The Native American folkie was an integral cog in the revival because she


was able to bring a much different dimension due to her native background.A talented musician, the wide range of political and social material rivaledmany others in the field. While a love of traditional tunes was also impor-tant, it was the singer’s much different interpretation of them that separatedher 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 devotedfan 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 andperform at the Newport Folk Festival before being found dead in his apart-ment under mysterious circumstances. While he didn’t enjoy the samelongevity as the Canadian folkie, the American folk artist made a similar, briefimpact.

Buffy Sainte- Marie has been an important folkie for decades. In thattime, the multidimensional talent has delivered a solid body of work, enter-tained tens of thousands with that distinguished vibrato voice across theplanet, and has helped raise the spirits and awareness of the plight of the FirstNations people. She helped put Canada on the international folk map withher 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.


Martin Carthy (1941– )Father of the English Folk Revival

The modern British folk revival from 1945 to 1969 produced many stronginstrumentalists and vocalists. It was a great period of excitement that alsoincluded various musical styles like skiffle, traditional jazz, rock and roll, ablues craze and psychedelic rock. However, during the rock period one voicestood out in the folk world staying true to the traditional style. It earned himthe moniker as father of the English revival.

Martin Carthy was born on May 21, 1941, in Hatfield, but grew up inHampstead, North London. Although he would have a huge influence onBritish 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 androll artists like Elvis, Bill Haley and The Comets, Chuck Berry, Little Richard,Jerry Lee Lewis, Eddie Cochran, and later on Buddy Holly to entice Carthyto decide on a musical career.

He picked up the guitar but didn’t become proficient on the instrumentfor some time. After leaving school, Carthy worked as a prompter behind thescenes at the open air theater at Regent’s Park. He would move on to becomean assistant stage manager with a production of The Merry Widow and touredthrough England gaining invaluable experience of what it was like to be onthe road. Further employment found him performing various duties at The-atre in the Round in Scarborough. It seemed that the world of acting was hisfirst 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 hebegan to sing in coffee bars. Because the aspiring musician was able to har-ness his tremendous talents quickly, the promising guitarist found a residencyat the Troubadour folk club in Earls Court. In 1961, he joined Redd Sullivan’sThameside Four, which included the leader as well as Martin Gray and PeteMaynard. Mainly a skiffle outfit, they would record one album, Hootenanny,during a performance at a midnight concert. After three years, the folkie leftthe 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 atake on “Scarborough Fair,” a number Paul Simon, then residing in England,heard and liked very much. The two — Carthy and Simon — struck up afriendship and the former taught the latter the chords and changes. The Amer-


ican folkie returned to the United States in order to reform the duo with ArtGarfunkel. The pair would cut a slightly different version of “ScarboroughFair” that became a number one hit.

It was clear from the very first album that Carthy was something specialin the traditional field. When Bob Dylan came through England on tour, heheard Carthy’s effort, “Lord Franklin,” and transformed the melody into “BobDylan’s Dream,” a track found on the Freewheelin’ album. The English folkieappeared on the liner notes and developed a small, but dedicated cult follow-ing as someone connected to Dylan.

On Carthy’s first studio release, Dave Swarbrick provided backgroundsupport on the fiddle and, more importantly, as an arranger. The two formeda partnership and performed together on stages all over England, meshing theirvarious skills together into one cohesive unit. Since Swarbrick played such animportant role in the early part of Carthy’s career, it is necessary to providea 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 per-form in front of an audience as a solo artist before joining various outfits. Hisfirst major group was the Ian Campbell Folk Group, and later he accompa-nied famed British folklorist A. L. Lloyd. Later, he would cut one solo album,Rags, Reels & Airs. The talented individual guested on a Fairport Conventionalbum, then joined the group as a full-fledged member near the end of thedecade 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 becausehe appreciated the original version of a piece of music. The guitarist spenthours tracing a particular song back to its earliest existence, using that as astarting point for any possible adaptation. Another of his skills was to findfragments and partials of tunes and combining and completing them. In aneffort to find the primitive, sometimes underdeveloped state of the materialin question, the meticulous artist was able to pick up nuances that only addedto the strength of the recording.

With his strong guitar skills and Swarbrick backing him up in the stu-dio, Carthy was able to explore different musical areas. For example, he man-aged to take the sacred traditional songs and give them a special treatment.This was evident on the effort Second Album, which included many old gemssuch as “Lord Franklin,” “Sailor’s Life, “Ramblin’ Sailor,” and “Lowlands ofHolland.” Although the songs were solid acoustic numbers, the talentedinstrumentalist was able to bridge the gap between the very basic approachand that of the folk rock that was taking hold in England at the time, bestrepresented by bands like Steeleye Span and Fairport Convention. He was aunique performer and one that remained as pure as possible without com-promising his artistic vision.

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In 1967, the album Byker Hill was an interesting effort because it boastedtwo 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 “BriggFair,” “The Bloody Gardener,” “The Man of Burnham Town” and “Gentle-man 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 allthe rage in England; Carthy with his traditional folk was a breath of differ-ent air.

Carthy and Swarbrick played many concerts at a variety of venues mostly suited for acoustic folk music. They balanced their recorded out-put with a stream of powerful albums that showcased their incredible talents.A good example was But Two Came By. Both had grown as musicians andoften the simplicity of Carthy’s guitar and his voice on songs such as “JackOrion,” “Creeping Jane,” and “Lord Lankin” was pure poetry. With his part-ner providing more than adequate support, their studio work was outstand-ing.

The album Prince Heathen was an excellent example of the duo’s abilityto take simple traditional material, sometimes pasting several fragmentstogether, to create pure folk music enjoyment. Outstanding cuts included“Salisbury Plain,” “Seven Yellow Gypsies,” “Little Musgrave” and “ArthurMcBride and the Sergeant.” At this point, they had both grown as musiciansdoing a lot more with a lot less and created an interesting musical universeof their own.

In 1969, Swarbrick left to join Fairport Convention. A year later, Carthyleft to become part of Steeleye Span, which included Ashley Hutchings, TimHart and Maddy Prior. The group played traditional folk with a mix of elec-tric and acoustic instruments but without a drummer. During his brief timewith the group, he appeared on the Please to See the King, a strong effort withmany highlights including “Female Drummer, “Boys of Bedlam, “The Black-smith, “Cold Holy, Windy Night.”

Despite the promise of the recording and the fact that they were one ofthe top groups playing folk rock material at the time, Carthy preferred to bea solo artist—although that venture wouldn’t last very long. By 1972, he hadjoined The Watersons, after marrying Norma Waterson. The family originatedfrom Hull, a city in East Yorkshire County. They were orphaned at an earlyage and their Irish- Gypsy grandmother raised them teaching the three chil-dren—Norma, Elaine, Mike—traditional songs. A clever clan, they operatedthe Folk Union Hall, providing them with a place to woodshed. They addedtheir cousin John Harrison to make it a quartet, and after going through afew name changes, they experienced some success before disbanding. Normawent on to host a radio show.


In the early 1970s, the outfit known for their strong harmonizingregrouped. They recorded Bright Phoebus, an album that featured a strongbackup band consisting of Tim Hart, Maddy Prior, Ashley Hutchings andRichard Thompson, who teamed with Carthy to give the album dual acousticguitar power. Although one foot was firmly planted in folk, they also deliv-ered psychedelic tunes like “Magical Man” and country- tinged material suchas “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 Joyand Green Fields before cutting their last album, Yorkshire Christmas. Thequartet became a duo when Lal (Elaine) and Mike had enough of the roadand quit.

While still a member of The Watersons, Carthy continued to record soloalbums. Landfall was a good piece and was released soon after his departurefrom 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 out-standing tracks. Unfortunately, it would be a longtime before he would recordnew material because the group commitment and other projects took up muchof his time.

In 1973, he lent his talents to The Albion Band, a project Ashley Hutch-ings of Steeleye Span had created in order to help out his wife Shirley Col-lins record her first solo effort. The band would break up and reform withCarthy, John Kirkpatrick, Roger Swallow, Sue Harris and Simon Nicol. Theyreleased one album Battle of the Field before breaking up again. However,there would be many versions of this group over the years under differentnames.

The 1980s remained a productive decade for Carthy. He reunited withold friend Dave Swarbrick, and they performed together and cut Skin & Bone,a work that sounded much like the selections from their past. The collabo-ration featured songs from A.L. Lloyd’s catalog, as well as TurloughO’Carolan’s, “Mrs. Birmingham/No. 178/Blind Mary.” His skills as an inter-preter and careful preserver of the old songs enabled him to render a versionof the ancient harp master’s original material with definite precision.

In 1971, he had joined a group called Brass Monkey that included him-self on guitar, mandolin and vocals, John Kirkpatrick on squeezebox andvocals, Howard Evans on trumpet, flugelhorn and vocals, Martin Brinsfordon saxophone, mouth- organ and percussion and Roger Williams or RichardCheetham on trombone. They released their self titled debut album and theoutfit showed much promise. However, it would be another fifteen years beforethey cut their sophomore effort, See How It Runs. Unfortunately, the musicianswere all very busy and it was difficult for them to get together. Eventually,they would release three more albums, Going & Staying, Flame of Fire andHead of Steam, over a long span of time.

Martin Carthy 265

In the 1980s, when he wasn’t recording with his wife, Brass Monkeys ormate Dave Swarbrick, the crafty guitarist was releasing solo work includingRight 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 Domin-ion of the Sword,” “The Sleepwalker,” “McVeagh,” and “Company Policy.”It was a solid offering and demonstrated that he had not abandoned the sim-ple acoustic format.

His next effort was a duet with longtime collaborator Dave Swarbrickentitled Life and Limb. The material included “The Pepperpot,” “Sailing intoWalpole’s Marsh,” “Bunker Hill,” “Oh Dear Oh,” “The Begging Song” and“Lochmaben Harper.” The guitarist and fiddler complimented one anotherand were able to weave a magical spell with their ability to meld the two indi-vidual styles into one cohesive package.

He returned with the solo album Signs of Life later in the decade. It wasa solid collection and featured Elvis Presley’s “Heartbreak Hotel,” HoagyCarmichael’s “Hong Kong Blues,” the Bee Gees, “New York Mining Disas-ter,” Bob Dylan’s “The Lonesome Death of Hattie Carroll,” and traditionalmaterial like “Prince Heathen,” and “Sir Patrick Spens.” There was somethingsimply irresistible about the man with the acoustic guitar plucking out tra-ditional songs or doing cover versions of others interoperating them in hisown inimitable style.

In 1995, Carthy embarked on a new venture when he joined Band ofHope that included Roy Bailey on lead vocals, Stáfán Hannigan on uilleannpipes, half long pipes, whistle, percussion and an assortment of other stringinstruments, John Kirkpatrick on vocals, button accordion and melodeon andDave Swarbrick on fiddle and mandolin. The acoustic outfit recorded thealbum Rhythm & Reds charged with political material. It was another of hisside projects that was interspersed with other commitments.

In 1996, after years of collaborating with his wife, the skillful guitaristbacked her on the latter’s debut solo effort. The work included song materialfrom Elvis Costello, Jerry Garcia, Richard Thompson, Billy Bragg and BenHarper, among others. The band included Richard Thompson on guitar,Danny Thompson bass, Roger Swallow on drums, husband, Carthy, on gui-tar and daughter, Eliza, on violin. By this point the group had metamor-phosed into Waterson-Carthy and included their daughter, Eliza, a spiritedfiddler.

In 2004, Waiting for Angels was released by Carthy. Despite the fact thathe didn’t produce a regular body of solo work, when Carthy did release some-thing it was of usually high quality. The new CD was no exception. Fromthe 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


from someone who had not abandoned the acoustic folk format that was hisbread and butter.

In 2006, he teamed up with Swarbrick to deliver a strong set entitledStraws in the Wind. It featured more traditional songs and skillful interplaybetween two of Britain’s top musicians. The guitar and fiddle never competedfor attention but challenged one another to reach dizzying heights. Theyadded the second guitar of Kevin Dempsey for depth, and the trio explodedon such songs as “Ship in Distress,” “Death of Queen Jane,” “Bold Benja -min,” “Lord Thomas and Fair Eleanor,” and “Unfortunate Tailor.”

In recent years, Carthy has concentrated his time on his wife and daugh-ter, Eliza. The trio have released a number of albums including their first self- titled debut that was a work of pure British folk. They were able to create aninteresting three way harmony. There would be five family collaborationsincluding Common Tongue, Broken Ground, (which featured son- in- law, SaulRose, on melodeon for the first time), A Dark Light, Fishes & Fine Yellow Sandand Holy Heathens and the Old Green Man. He continues to record and per-form as a solo artist, with sidekick Swarbrick as part of interesting projectsas well as with his wife and daughter.

Martin Carthy has been called the father of the English folk revival andwith good reason. He has been a guiding spirit and an influence for decadesas an extremely talented acoustic guitarist, mandolinist and multi- instru -mentalist. He was also a good singer and an excellent arranger and editor oflost songs. The care and dedication toward the preservation of the old tuneswas 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 workand every other project that he has participated in. This includes SteeleyeSpan, The Albion Band, Brass Monkey, The Watersons, his duets with DaveSwarbrick and the group with his wife and daughter. Also, the distinctive stylewas derived from the use of alternative tunings and a strong percussive pick-ing style that emphasizes melody more than virtuoso.

Carthy has a solid folk voice that allows him to bring to life the notesand songs of the past, as well as his own creations. There is no pretension oraffectation in the vocal delivery, just a genuine ability to provide an equalbalance to the instrumental might. As well, he has been able to blend his voicewith 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 ofthe work that came before him would never be destroyed, but preserved. Hemanaged to bring to the modern audience a number of these old numbers,often piecing together fragments of two or three tunes into an acceptablepackage. He was a prime tunesmith with a keen air for the nuances of a

Martin Carthy 267

particular note or passage from the folk songs books of such people as PercyGrainger, A. L. Lloyd, Turlough O’Carolan and many others in the Britishpantheon of song creators and collectors.

He has influenced a number of artists. A short list includes Dave Swar-brick, 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, JamesRaynard, Robin Allender, Seth Lakeman, Pentangle, Al Stewart, Bert Jansch,Sandy Denny, Linda Thompson, Rory Gallagher, Mary Black and MauraO’Connell. That Carthy was able to meld his talents with so many others isa tribute to him as an instrumentalist.

Martin Carthy is one of the most vital of the United Kingdom revival-ist figures. His work as a solo artist and collaborator in a number of side proj-ects is immense, widespread and very rich. There were many importantcharacters during the second British folk wave, but few, if any, deserved thetitle 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 SwarbrickByker 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.


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 SpanMartin 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 WatersonsFor 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 BandBattle of the Field, Island HELP 25.Rise Up Like the Sun, Harvest SHSP 4092.The BBC Sessions, Strange Fruit SFSCD 050.

• With Brass MonkeyBrass 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 HopeRhythm & Reds, Musikfolk MFCD512.

• Waterson:CarthyWaterson: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.

Martin Carthy 269

Bert Jansch (1943– )English Finger Picker

From the very beginning and throughout its history, folk music hasboasted some skilled musicians. The harp players of the Irish tradition, Tur-lough O’Carolan and Denis O’Hampsey are classic examples. Niel Gow, thefamed Scottish fiddler also stands out as a noted virtuoso. During the secondBritish folk revival, the English finger picker influenced many of his contem-poraries with incredible skill and precision. His name was Bert Jansch.

Bert Jansch was born November 3, 1943, in Glasgow, Scotland, but wasraised in Edinburgh. An ordinary boy who enjoyed the normal activities, itwas as a teen that his life was changed forever when he acquired a guitar. Inhis hands, the simple instrument became a magical possession that could pro-duce every emotion of the human spectrum, as well as every natural soundif the fingers were placed in the right position. He set about learning this secretalphabet.

He honed his skills quickly and was soon frequenting local folk clubwhere he met others with similar interests. Archie Fisher and Jill Doyle intro-duced him to the blues and folk of the American guard that included Big BillBroonzy, Pete Seeger, Brownie McGhee and Woody Guthrie. A further influ -ence was his roommate, Robin Williamson. The two often traveled togetheron long hitchhiking journeys, always armed with their guitars, to discoverthe world through music.

He became a full- time musician and served his apprenticeship playingaround the numerous British folk clubs that had opened in the wake of theskiffle craze. Throughout his travels he met and astonished Martin Carthy,Ian Campbell, The Watersons, Davy Graham, Ashley Hutchings, Ewan Mac-Coll, John Martyn, Ralph McTell, John Renbourn and many others. Janschalso began to write songs, and two of the first compositions were “Black -waterside” and “Reynardine.”

Although it was a tough struggle busking from one town to anotherthroughout Europe, Jansch reveled in it because he was acquiring and increas-ing his encyclopedic knowledge of not only traditional folk music but alsoblues, jazz, country and rock. He performed in an unforgettable number ofsmall clubs that allowed him to work on material and develop a finger pick-ing style that impressed many. Unfortunately, his nomadic ways came to anend in Tangiers when he contracted dysentery and returned home.

After recovering from the malady, Jansch, who had married before leav-ing Glasgow, traveled with his young teenage bride until the relationship fell


apart. Upon returning to England, the young man recorded his first self titledalbum, which sold quite well. The effort included the protest song “Do YouHear Me Now,” which was quite popular on its own but gained greater atten-tion when Donovan, an emerging counterculture hero, covered the tune onthe 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 instru-mentally driven and not lyrically based like that of Bob Dylan. Because ofthis the great finger picker introduced a whole different concept in folk, sincemany of the guitarists were adequate but not true virtuosos. As a result, hewould be a distinct and direct influence on a number of the rock contingentsthat emerged in England, as well as all over the world.

He would record two more albums in quick succession, It Don’t BotherMe and Jack Orion. The latter included a strong version of “Blackwaterside,”which Jimmy Page of Led Zeppelin would later re- record as “Black Moun-tain Side.” The flashy, heavy metal guitarist who would dazzle the world withhis globally popular band, would always cite Jansch as one of his favorite gui-tarists, which in turn helped out the English finger picker gain serious atten-tion.

Jansch developed a solid reputation among other acoustic guitarists,including John Renbourn, Davey Graham and Paul Simon. They often crossedpaths at the various clubs, such as the Troubadour and Les Cousins, each fre-quented on a regular basis. In England, an artist performed at designated ven-ues without any real fanfare, since playing guitar was considered a labor nodifferent than driving a bus. Of all his contemporaries, it was Renbourn withwhom he formed the closest association.

The two lived together and practiced developing an intricate musicalinterplay that would eventually be dubbed Baroque folk. This sweeping, daz-zling display of virtuoso would be recorded on the Bert & John album. Even-tually, they landed a residency at the Horseshoe Pub, which quickly becamethe “in” club to frequent as notables Sandy Denny and Jimmy Page were oftenpresent 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 whenthey added Danny Thompson, a string bass player and Terry Cox, a drum-mer, the group Pentangle was formed. The interesting outfit eventually leftthe Horseshoe pub and performed in different venues all across England.About this time, Jansch married Heather Sewell, an art student who wouldgain fame as a noted sculptor. Most importantly, she would inspire Jansch’ssongwriting.

In 1968, Pentangle made its initial concert debut at the Royal FestivalHall. 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

Bert Jansch 271

record Rosemary Lane. But for five years, the expert guitar player dedicatedthe entire time and effort to the group as they toured all over the world andrecorded prolifically. Pentangle was one of the top bands on the circuit, andit was during this time that the English finger picker established a global rep-utation.

Pentangle was a very different group for many reasons. They were clas-sified as a straight folk outfit. Although they didn’t utilize electric instru-ments, often they were firmly planted in the style. However, there were fewfolk bands that were built around two virtuoso guitarists; it was an unheardof practice. Their experimentation on such albums as The Pentangle, SweetChild and Basket of Light further clouded their categorization but made it clearthat they were leaders in the British revival.

In 1973, Pentangle disbanded. Jansch and his wife bought a farm inWales and the special finger picker retired from music for the next couple ofyears. In his absence many artists who had benefited from listening to theband’s recordings received much attention. After a two year withdrawal, theguitarist realized that he was not suited to the life of a farmer and left his wifeto revive his career. The musical climate had changed drastically as the adventof the punk rock movement with its smashing riffs and over- the- top stagepresence didn’t cater to the English finger picker.

In 1977, he teamed up with guitarist and violinist Mike Piggott, gui-tarist and vocalist Rod Clements, drummer Pick Withers, violinist MartinJenkins and bassist Nigel Smith to record the album A Rare Conundrum,which featured traditional songs such as “Pretty Saro,” “The Curragh of Kil-dare, and the Rev. Gary Davis’ “Candyman.” The rest of the effort featuredmostly Jansch written material including “Daybreak,” “If You See My Love,”“Three Chord Trick” and “Lost Love,” among others. This outfit performedin the United States, Australia and Japan; but despite the deep talent pooland exciting promise, they disbanded after the tour.

Jansch recorded an album with Albert Lee in the United States. Uponhis return to England, he formed the Bert Jansch Conundrum that included multi- instrumentalists Martin Jenkins and Nigel Portman Smith, as well asdrummer Luce Langridge to record the album Thirteen Down. Jacqui McShee,the vocalist from Pentangle, guested on a few cuts, most notably “If I Had aLover.” His next project involved Jenkins once again and included a tour ofScandinavia. The album Avocet, an ambitious effort, was derived from theideas of both creative partners.

In the past, Jansch like most other artists, had experienced problemswith the various labels he had recorded with, usually due to a difference ofartistic vision. In the late 1970s, the man decided to operate his own guitarshop that specialized in acoustic guitars. However, the business venture wasa failure, and he was lured into reforming the original Pentangle lineup. It


consisted of Jansch, Mike Piggott on violin and guitars, McShee on vocalsand the rhythm section of drummer Cox and double bassist Thompson. Ren-bourn had decided to stay out of the project.

They recorded a new album, Open the Door, proving that they still pos-sessed the power displayed on their first releases more than a decade earlier.Jansch played sterling, melodic guitar lines, Piggott added more than ade-quate support, McShee sang like an angel and the rhythm section providedsome 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 performedas a quintet with Cox drumming from a wheelchair. They also toured in Aus-tralia.

The group would release more new material. The album In the Roundincluded the efforts of new member multi- instrumentalist Nigel PortmanSmith, who had been a member of the short lived Bert Jansch Conundrum.Despite the promise, there were many more personnel changes and McSheeand Jansch remained as the only original members. In 1987, his hard drink-ing ways eventually caught up to him and the guitarist was forced to give upalcoholism or die. He recovered and a year later returned partnering with RodClements on the recording Leather Launderette.

For the rest of his career, Jansch would lead a double musical life. Herecorded solo albums, but never left the Pentangle fold. In 1990, the groupreleased So Early in the Spring, which featured Jansch and McShee, as well asRod Clements on electric guitar and mandolin, Gerry Conway, a FairportConvention alumni, on drums, and Nigel Portman Smith on bass and key-boards. The same group would return minus Clements to record Think ofTomorrow. Peter Kirtley played electric guitar and shared in the vocal duties.

As a solo artist Jansch recorded the traditional Ornament Tree provingthat he remained an integral part of the British contemporary folk scene. Itfeatured many gems, including “The Dreamers,” “The Rambling Boys ofPleasure,” “The Mountain Streams,” “Lady Fair” and “The Rocky Road toDublin,” among others. It boasted the services of fiddler Peter Boyle and theexpert whistle of Maggie Boyle. On occasion, Jansch would perform in clubs,treating fans to his solid voice and excellent guitar work without any back upmusicians.

In 1995, the bluesy When the Circus Comes to Town was released, a mod-ern collection of folk based songs from one of the best artists on the circuit.The album featured the numbers “The Lady Doctor from Ashington,” “Liv-ing in the Shadows,” “Walk Quietly By,” and “No One Around.” Althoughknown for his work with Pentangle as well as a smattering of English musi-cians, there was still a lot of life in the solo work.

His tours remained events and continued to be recorded, including thebootleg 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 performstandards, such as “Curragh of Kildare,” “Blackwaterside,” “Morning BringsPeace of Mind,” “Just a Dream,” “Strolling Down the Highway,” and “LetMe Sing,” in a live setting. Although he was in his fifties when this effort wasrecorded, there was no denying the fact that the finger picker could still delivermusic 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 weredubbed Conundrum II and released the album Conundrum. It was an inter-esting collection of musical personalities and songs that included Tim Hardin’s“If I Were a Carpenter” and Elvis Presley’s “Heartbreak Hotel.” There werethe 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 ina group setting, the finger picker excelled.

Another good example of his solo work was the effort Toy Balloon. It fea-tured such beautiful songs as “She Moved Through the Fair,” “All I Got,” thetitle cut and “Paper Houses.” Pick Withers backed him on drums, and PeeWee Ellis added his expertise on saxophone particularly on the cut “Just aSimple Soul.” The work was another in a series of thoughtful, strong andimaginative efforts that continued to rank him among the best of the Britishfolk artists, if not at the very top of the list.

In 2000, Crimson Moon appeared and was another top- notch effort fromthe dazzling acoustic guitarist. It featured such classics as “Singing the Blues,”the title cut, “Caledonia,” “October Song” and “Neptune’s Daughter.” It wasa 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, JohnnyMarr, from the group The Smiths, and Bernard Butler of the British pop- pioneers Suede added their ringing guitars to the set. The fact that these twowere willing to back him displayed the deep respect they had for Jansch.

In 2002, he collaborated with Bernard Butler once again, as well asJohnny “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 audiencewas 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 clas-sics such as “Angie,” “Paper Houses,” “Toy Balloon,” “My Donald,” “StrollingDown the Highway,” “Downunder” and “How It All Came Down.”

In 2003, Jansch celebrated a sixtieth birthday party with a concert atthe Queen Elizabeth Hall that included Johnny Marr, Ralph McTell, HopeSandoval, David Roback and Colm Ó’Ciosóig. The turnout illustrated thegreat respect that he commanded throughout the English folk and musicworld. His recorded catalog as a member of Pentangle, plus the solo effortsprovided a solid learning base for many aspiring musician.


In 2005, he teamed up with Davy Graham and performed a handful ofconcerts at selected venues in England and Scotland. However, a major heartoperation sidelined him for some time before he was able to recover. The longawaited 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 theunsinkable Pentangle.

Bert Jansch is a folk instrumental jewel. As one of the most respectedindividuals in the annals of British folk, rock and blues music, he capturedthe 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 betweenPentangle and his solo act. The longevity is as much a part of his trademarkas the sharp guitar skills.

Jansch is a prime instrumentalist and there are many elements to hisstyle. His basic attack consists of the clawhammer style of right- hand play-ing, but is much more complicated. He has always thrown in chord voicing,or supplemented the structure with inventive chords and well- placed, impor-tant notes. His singular use of ninths added a different dimension to the over-all sound that was copied by a number of figures.

Another characteristic of his playing was the ability to hold a chord inthe lower strings while bending an upper string, sometimes as much as a semi-tone below the chord note. The strength in bending notes to create dimen-sions of sounds was one of his major traits. While countless other guitaristsforce the strings to embellish their sound, Jansch did so with a personal flaircreating 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 beatof all compositions. Jansch often switched from one time signature to anotherwithin the context of the same song. This sudden shift in beats added anotherunique characteristic to an already highly personalized style. The approachto playing the guitar like a horn also added a different dimension.

When one considers that he took the same technique to the banjo, Appa-lachian dulcimer, recorder and concertino, and the rarely played electric gui-tar, it is understandable why he is considered such a huge influence on anumber of great musicians. Despite the multi- instrumental ability, it was theintricate and excellent manipulation of the acoustic guitar that set him apartfrom all other musicians. Many have called him the Jimi Hendrix of theacoustic 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 gui-tar” 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 him-self that enabled him to use all of the elements of an intricate style. Eventu-ally, Jansch and Yamaha teamed up and they provided him with many of theclassic guitars that he performed with in concert and in the recording studio.

Jansch had a huge influence on a variety of musicians. Jimmy Page, theguitar wizard of Led Zeppelin, was obsessed with the English finger pickerand the influence can be heard on the many acoustic drenched songs that theband recorded during their brilliant career. A classic example is “Black Moun-tain Side” from Led Zeppelin I. The heavy metal kings proved that they coulddo an incredible string thing as well as blast hard rock.

Neil Young, the Canadian folkie who is credited as the Godfather ofgrunge was another devotee. Mike Oldfield, the English multi- instrumental-ist who blended styles of progressive rock, folk, world classical electronic andNew Age, cited Jansch as a favorite. Bernard Butler, Noel Gallagher, JarvisCocker, Johnny Marr, Nick Drake, Donovan, Elton John, Bernie Taupin,Dave Ellis, Gordon Giltrap, Tsuneo Imahori and Julian Beam were all partof the master’s sphere of influence.

Jansch has been recognized for his musical achievements. He received aLifetime Achievement Award at the BBC Radio 2 Folk Awards. In 2006, hewas given the Mojo Merit Award, based on his inspirational career. But, mostof all, fellow musicians, contemporaries and the new school acknowledgedhis prowess on the guitar by backing him in the studio and on live sets. Butno matter who the additional musicians were, they always played around Jan-sch’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 offolk, blues and rock music. Although there have been many influential instru-mentalist in the history of folk, few match the imagination, dexterity and styleof 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.


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 NorthAmerican traditional music, with the exception of a very few artists, male per-formers dominated the industry. During the boom, more females emerged toplay a larger role in defining the style. One of the most influential arrivedfrom the vast expanse of the Canadian Prairies with her own down- homesound. 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 withpolio. It was a stroke of good luck, because while recuperating at the chil-dren’s hospital she sang to the teachers and discovered a love of music. It wasalso evident that the young girl possessed genuine talent. Later, Andersonlearned how to play guitar from a Pete Seeger instruction booklet provingthat even at an early age, determination, independence and fire were alreadyprevalent.

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By the time she went off to art college, Anderson was writing her ownmaterial and had performed at various venues, mostly small clubs. The shim-mering voice had greatly developed and the guitar skills, while not spectac-ular, were solid. In Alberta, the young artist had established a name as apromising artist on the blossoming coffee house circuit. Performances con-sisted 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 through-out a deep, expressive catalog, it was evident that greater opportunities existedin other parts of the country. With a heavy heart, but a strong determination,Anderson moved to Toronto, which boasted a much stronger coffee house cir-cuit and a big city chance to make it in the music business.

In Toronto, she made her mark quickly. Although barely twenty yearsold, Anderson turned heads with songs, a unique voice and stern independ-ence that was as expansive as the province of Alberta itself. The Canadianmusic industry, which was just beginning to blossom, needed someone to giveit direction and energy; the chanteuse was the right person. From 1965 to1969 would be dubbed the breakthrough period of her career.

In 1965, she married folk singer Chuck Mitchell and began performingas Joni Mitchell. Very much the hippy, the young woman embraced thebohemian lifestyle with an appreciation for art, folk music and traveling. Thecouple relocated to Detroit where the marriage disintegrated. At the time,the Motor City was deep in the grips of Motown, the wonderful R&B grooveand soundtrack of a generation. On the horizon, was the pile- driving Detroitrock and roll sound, a scene that would produce Bob Seger, Ted Nugent, AliceCooper, Grand Funk Railroad, Iggy Pop, and dozens more. Many wouldemerge from their regional Michigan centers and gain international reputa-tions.

Although Detroit was not much of a folk music town, Mitchell madethe most of it and began to impress those of the small traditional colony withher unique vocal stylings and superior material. The delicate flower had grownas a songwriter, honing the skills until they were of a professional level. TheMotor 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 num-ber of important people. Mitchell was quickly signed to a recording contractand released her first effort, Song to a Seagull, an acoustic collection of mate-rial that impressed everyone for its sophistication and depth. Although it wasthe tail end of the revival, the era of the singer- songwriter was just begin-ning.


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 thecharts that she received proper attention. The fact that noted performers suchas Judy Collins (“Both Sides Now”), Fairport Convention (“Eastern Rain”),and Tom Rush (“The Circle Game”) were willing to delve into the youngsongwriter’s songbook only enhanced her appeal.

Mitchell’s sophomore effort, Clouds, endeared her to a wider audienceof folk enthusiasts, as well as pop and rock fans. At a time when the psyche-delic 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 towrite new material at a furious pace and impressed many at various concertvenues.

Although Mitchell was very much a child of the 1960s, she enjoyed hergreatest commercial and mainstream success in the following decade. It beganin 1970 with the release of Ladies of the Canyon. At this point she was livingin Laurel Canyon in California, a hippy community known as the abode ofmany important musicians. This third effort contained several gems includ-ing “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 herto the top of the folk- pop mountain. It was a commercial and critical successand handsomely displayed the singer’s immense talents. She was a NorthAmerican and international star influencing dozens of acts including heavymetal trendsetters Led Zeppelin. Both Jimmy Page and Robert Plant citedMitchell as one of their biggest influences, especially with the number of ethe-real, acoustic pieces scattered across their catalog.

However, her 1972 release, For the Roses, marked a major turning pointin musical styles. She started to shed the folk facade and began to flirt withrock jazz, stunning the folk world. It was evident that someone with suchexpansive talents would not be content to remain in one narrow musical slotfor an entire career. Backed by Tom Scott, the first hit of the new perspec-tive, “You Turn Me On (I’m a Radio),” proved that Mitchell was capable ofhandling any type of material.

The years 1975 to 1980 were dubbed the jazz experimentation phase ofher career. She continued the trend with For the Roses and the next release,the excellent Court and Spark. A successful, strong jazz- oriented collection ofsongs, it yielded three major hit singles; “Help Me,” “Free Man in Paris,” and“Raised on Robbery.” Although it appeared that Mitchell had abandoned thefolk idiom, the singer would eventually return to the fold. As well, in con-cert 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 speck-led albums and her new direction. The avant- garde The Hissing of SummerLawns proved she was willing to experiment even further, stretching out asan artist. The complex material was jazz- inspired and featured the rhythmsof African Burundi drums ushering in a taste for world music a decade aheadof the trend. While it gained some attention, many beckoned a return to thefolk songs that had made Mitchell famous.

Her next release, Hejira, boasted the services of jazz pacesetter Jaco Pas-torius on bass. His incredible virtuoso technique enabled the album to gaina smoother sound without losing any of its fiery edge. One of the tracks, “Coy-ote,” was performed at The Band’s finale concert, The Last Waltz. By this pointin her career, Mitchell was a respected artist and considered a singer, notmelded to any individual style. Her concerts were peppered with a smatter-ing of an ever expanding song catalog.

In 1977, she returned with Don Juan’s Reckless Daughter, another ambi-tious, improvisational jazz piece. Larry Carlton, Wayne Shorter, Chaka Khan,and a large contingent of Latin percussionists backed her. Because of her inter-est in the style, Charles Mingus, the fiery bassist composer invited Mitchellto work on an album of poet T.S. Elliott’s work, Four Quartets. Sadly, he diedbefore 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 musicianthat many considered a genius, despite a reputation as someone extremelydifficult with an abrasive personality.

The years from 1981 to 1993 marked a different phase in the singer’scareer. After a live collection, Shadows and Light, she recorded the more poporiented effort, Wild Things Run Fast. One of the highlights of the album wasan Elvis cover “(You’re So Square) Baby I Don’t Care.” In 1982, her life tookanother interesting turn when she married Larry Klein, a bass player andsound engineer who would make significant contributions to subsequent stu-dio releases.

In 1983, she began a world tour that included Japan, Australia, Ireland,the United Kingdom, Belgium, France, Germany, Italy, Scandinavia and theUnited States. The tour was videotaped and released as Refuge of the Roads.The album Dog Eat Dog featured British performer and producer ThomasDolby who added synthesizers to Mitchell’s sound. To many this diluted theonce clear product. One of the songs, “Tax Free,” attacked the televangelistsand created a major backlash against Mitchell.

In 1988, her next effort, Chalk Mark in Rain Storm, was also synth- driven, as the once traditional musician experimented with drum machinesand digital elements. The effort, including a strange mixture of different musi-cal guests such as the brilliant Peter Gabriel, country icon Willie Nelson, popdynamo Tom Petty and punk artist, Billy Idol, Don Henley and Wendy &


Lisa. Two songs, “My Secret Place” and “Lakota,” the latter being a very polit-ical tune, enabled Mitchell to make a better showing than the previous record.

In 1990, the almost reclusive singer joined Roger Waters’ The Wall Con-cert in Berlin. At the event, she performed the song “Goodbye Blue Sky” andparticipated in the finale, “The Tide Is Turning,” which also included Waters,Cyndi Lauper, Bryan Adams, Van Morrison and Paul Carrack. It was a goodexperience and proved that the celebrated Canadian singer hadn’t lost any ofthe fire and passion on stage.

In 1991, with the release of Night Ride Home, she returned closer to herfolk roots. This was a much simpler collection of songs that featured the barenecessities of voice and acoustic guitar. The effort gained her back a numberof fans who had little interest in the jazz and avant- garde musical adventuresof 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 Grammyaward winning Turbulent Indigo that Klein produced even though the cou-ple had split up after twelve years of marriage. There were many highlightsincluding “Sex Kills,” “Sunny Sunday,” “Borderline,” and “The MagdaleneLaundries.” It was a guitar driven, melodic effort which catapulted Mitchellback into the spotlight, as a host of new singer- songwriters acknowledged herinfluence on them.

In 1996, two anthologies appeared, Hits and Misses. The former containedsome unreleased material, such as “Urge for Going,” that dated back frombefore the first album. In 1998, Taming the Tiger, the first work of originalnew material in nearly a decade, appeared and she supported the work witha regular tour co- headlining with Bob Dylan and Van Morrison. Of note,Mitchell turned in her acoustic instrument for a guitar synthesizer, forcingthe talented musician to relearn many of the songs and complex tunings allover again.

Arguably, after 2001, the resurgence ended for a couple of reasons. Thefirst was that her voice was undergoing changes that were blamed on vocalmodules, a compressed larynx and the lingering effects of polio, not a heavysmoking habit like some critics thought. In 2002, Mitchell shocked fans and the music industry when after the release of Travelogue, she announcedthat it would be the last. A strong commentator of the music business, it washer way of lashing out at the powers in the field. However, once and forevera musical artist, the artist returned with new material near the end of thedecade.

From 2002 to 2005, she was in self- imposed retirement. During thistime, the box set The Complete Geffen Recordings, which included notes byMitchell and some unreleased tracks, appeared. In 2004, the first in a seriesof themed compilations were released: The Beginning of Survival, Dreamlandand 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 Sas -katchewan Centennial concert and it was well received.

In 2006, she began a successful comeback. In 2007, Shine was releasedthat focused on political and environmental concerns, most notably the IraqWar. That same year, Mitchell returned to Calgary where she worked onbehalf of the Alberta Ballet Company. When Herbie Hancock emerged withRiver: The Joni Letters, which featured the contributions of Norah Jones, TinaTurner, Leonard Cohen and Mitchell, it underlined the respect that she stillcommanded in the music business. Later, at the 2008 Grammy Awards, therecording won Album of the Year. She continues to record and perform.

Joni Mitchell is one of the most unique folk artists to emerge during therevival for many different reasons. Her fierce determination, incredible tal-ent, attitude, will to experiment and personal opinions are all part of thepackage. The vitality of her music has not been lost on subsequent genera-tions as new fans “discover” the music of a folkie at heart. Undoubtedly, sheremains one of the most celebrated and controversial music icons in Canadaand around the world.

Any appreciation of Mitchell begins with her voice. A clear, high pitcheddelivery, but with an accessible edge, it is immediately recognizable in just afew notes. However, throughout the career, her vocal timbre has changed.Once the spokeswoman for all that was hippy, the ability to develop a moreurban, sophisticated sound proved the depth of her talent and an ability tochange in order to strike the right note. As well, certain physical ailmentshave altered the pitch of the vocal delivery.

Mitchell had a much different take than the average folkie. The use ofdifferent guitar tunings fueled the songs with weird chords giving them amuch different sound. This open tuning allowed the artist to utilize variedand complex harmonies without difficult chord shapes. Her personalized pick-ing and strumming style has been copied, but never fully duplicated, and setsthe 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 perspec-tive. A partial list includes “Big Yellow Taxi,” “Coyote,” “Carey,” “You TurnMe 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 “Wood-stock,” which captured the counterculture’s aspirations, dreams and goalscrystallized in the famous words. Her skill in arranging songs of all types onlydemonstrated a unique versatility. Mitchell’s music continues to gain radioairplay on the classic rock and oldies station throughout North American andEurope.


Mitchell’s influence on contemporary music is immeasurable. A partiallist includes Tori Amos, Led Zeppelin, Alanis Morissette, Counting Crows,Stevie Nicks, Kate Bush, Jeff Buckley, Shawn Colvin, Elvis Costello, DanFogelberg, Janet Jackson, Maynard James Keenan (Tool), Cyndi Lauper, AnnieLennox, Madonna, Frank Turner, Chan Marshall (Cat Power), GeorgeMichael, Morrissey, Juice Newton, Conor Oberst, Prince, The Roots, Rox-ette, 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 empha-sizes her stature in the musical universe. Judy Collins reached the Top Ten ofthe charts with her rendition of “Both Sides Now.” Nearly six hundred artistshave covered that song. A pop group, The Neighborhood, and Amy Grantboth enjoyed success with a version of “Big Yellow Taxi.” They are just twoof over two hundred covers. Annie Lennox cut her own perception of “Ladiesof the Canyon,” Mandy Moore released a personal interpretation of “HelpMe,” while Sarah McLaughlin waxed a version of “Blue.” Her most famoussong, “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 Awardsstretching from 1969 to 2008. In Canada, she was inducted into the Cana-dian Music Hall of Fame and received a star on Canada’s Walk of Fame. Thecelebrity was appointed a Companion of the Order of Canada and receiveda doctorate from McGill University. As well, Mitchell became a member ofthe Canadian Songwriters Hall of Fame. In 2007, she was featured on a postagestamp. As a viable artist and noted songwriter, she has always placed well inthe annual polls of important female recording artists, greatest albums andsongs.

Joni Mitchell is a Canadian and international folk music jewel. In acareer that has seen its share of fluctuation, and that spans from the edge ofthe folk revival through the hippie days into the 1970s and the contemporaryera, the talented performer has survived to continue battling. Despite a nat-ural need for experimentation, she always returned to her Canadian prairiefolk 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 hada large influence on a number of different artists from their homeland as wellas on an international basis. Some, like Bert Jansch, did it with their instru-mental skills, while others touched the folk community with a song includ-ing the man who appeared on the scene singing the “Streets of London.” Hisname 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 brotherand he struggled to survive in post–World War II London. At seven, Ralphdiscovered music and started to play harmonica. A few years later, he wascaught up in the skiffle craze which swept through England and learned howto play the ukulele and then took up the guitar, both instruments featuredin the many outfits that the aspiring musician formed and joined.

One night at the College Jazz Club, May heard Ramblin’ Jack Elliott for


the first time, and it became a life changing experience. What followed wasan intense musical education as he delved into the song catalogs of WoodyGuthrie, Elliott, Leadbelly, Blind Boy Fuller, Blind Blake, Robert Johnsonand Blind Willie McTell, among others. The special universe that he had dis-covered 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 theyouth escaped from the military and returned to continue a formal educa-tion. But even the best of intentions were not going to get the troubled stu-dent very far in the scholastic world. May was truant often, since it wasapparent by this time that the aspiring musician was heading toward a careerin music.

He began to write songs. The inspirations were drawn from a variety ofsources, but were based on the work of Jack Kerouac, the beat generationwriter who had shocked the world with the hitchhiking tale, On the Road,and John Steinbeck, the American novelist who was a socialist. During thisformative period of struggle, he frequented the Soho jazz clubs and throughhis travels met Jacqui McShee, the singer who later sang in Pentangle withMartin Carthy and Wizz Jones. Eventually, the young man joined the Hick-ory Nuts, a bluegrass influenced outfit, and jammed with them. There werealso stints working in factories, laundries and hotels in order to support him-self.

Eventually, May left England to travel through Europe. The sojourntook him to France, Belgium, Germany, Italy, Yugoslavia and Greece. In Paris,the busker survived a bitterly cold winter. The only bright light in thisescapade was a chance meeting with an American named Gary Petersen whohad learned his guitar skills at the feet of Piedmont blues legend the Rev. GaryDavis. The two young musicians jammed together and learned from oneanother.

It was also in Europe that May met his future wife, and they returnedto England together. The couple had a son, and due to financial responsibil-ities, the man returned to school to become a teacher in order to support hisfamily. At night and on weekends, the aspiring musician continued to per-form in folk clubs around London. It was at one of these sessions where a fel-low folkie suggested that he adopt the stage name McTell, in honor oflegendary Blind Willie McTell, the father of Atlanta blues.

Ralph McTell continued to hone his singing and vocal talents, but alsodeveloped a songwriting aspect. A wealth of first- rate material propelled himto the forefront of the folk club and festival circuit. But, it was a stint at LesCousins in Soho where the struggling musician began to gain attention thateventually 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 traditionalsingers were ready to make their mark.

In 1968, his first album, 8 Frames a Second, was released. It was a soliddebut that showcased his gentle, admirable voice and strong guitar skills thathad been honed from years of busking through Europe and club dates in Lon-don. The record caught the attention of the BBC and was featured on radioprograms like Country Meets Folk and Top Gear. As a much in demand liveattraction, he began to include more original work into a repertoire of tradi-tional fare.

The year 1969 was a good one. He appeared at the Cambridge Folk Fes-tival where he received accolades for the set of traditional music. There wasa definite power in the performance that caught the attention of the audi-ence; McTell was the star of the event. Later that year, the folk figure head-lined at Hornsey Town Hall, which was a prime concert venue and a majorstep towards gaining a strong foothold in the British music scene. From thispoint 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 asfrom others on an international basis. The third effort, My Side of Your Win-dow, would be named the Folk Album of the Month. Both sides of his careerwere equally vibrant and the talented individual looked forward to the nextdecade.

In 1970, McTell sold out the Royal Festival Hall and played the Isle ofWright where such legends as Jimi Hendrix, Bob Dylan, Joan Baez andLeonard Cohen had performed in the past. He also managed to release anotheralbum, Revisited, aimed at the American market. Despite the significantimpression made in his homeland, he had yet to break out in other areas, par-ticularly over the Atlantic. Finally, in 1972, he toured the United States toenthusiastic reviews.

In 1971, You Well- Meaning Brought Me Here was released and featured aloose concept with the first song, “Genesis 1 Verse 20” being creation, “Firstand Last Man” primitive man, and “Pick Up a Gun” war. “The Ferryman”was inspired by the Herman Hesse novel Siddhartha. In the studio, CalebQuaye and Roger Pope on guitar and Davey Johnston on mandolin werebrought in to augment the basic sound of McTell’s voice and acoustic guitar.The sessions also featured an unknown Rick Wakeman, the keyboardist whowould make a name for himself with the progressive rock band Yes.

McTell connected with Fairport Convention, the folk rock band thatincluded the bell soprano Sandy Denny, forming a lifelong relationship withthe group. The two would appear in concert together and guest on one another’salbums providing support and musical abilities. The folk community in


England was not the largest, but it was in some ways very tight- knit. Hewould also be friends with Martin Carthy, Bert Jansch, Donovan and otherBritish traditional singers.

In 1973, McTell survived two major tours. The spring version includeda sellout at the Royal Festival Hall. The winter gigs boasted a full house atthe Royal Albert Hall. There was fresh product. Easy, which won criticalacclaim, became the first effort to place high in the charts. There were alwaysmore concerts across Great Britain, parts of Europe and Northern Irelandwhere Danny Thompson and Mike Piggott backed him.

In 1974, “Streets of London” was re- recorded so it could be put out asa single. Rod Clements and the vocal group Prelude provided adequate sup-port on this second take. Since its release, the song had taken on a life of itsown and managed to boost his career in many different ways. The interna-tional attention it received catapulted him to world acclaim. While the folkflag was waning during the middle of the decade, McTell did his best to holdit up with his impressive talents. Unlike others, he had not ventured into dif-ferent styles, but remained true to the traditional sound. The new version ofhis most famous song would win an Ivor Novello award and became a mil-lion seller internationally.

The momentum continued to build. In 1975, Streets was released withClements, Dave Pegg and Jerry Donahue (Fairport Convention) and MaddyPrior (Steeleye Span) backing him. Unfortunately, the tour was a disaster.Perhaps due to the fact that stardom had arrived so quickly after years ofstruggling or shyness overcame him, McTell stunned the industry announc-ing that he had quit. He traveled to the United States and remained there ayear working up material before eventually returning to England to continueas a performer.

The sabbatical year was the right tonic. After playing a benefit concertin Belfast, Ireland, starring at the Montreux Jazz Festival and selling out theRoyal Albert Hall, a tour of Australia followed, including a gig at the Syd-ney Opera House. He was also ready to record again. The album Right SideUp was a solid effort that enabled him to rebuild any lost momentum fromthe layoff. The live Ralph, Albert & Sydney, referring to the venues—TheAlbert Hall and Sydney Opera House—featured many of his best known,including “Michael in the Garden, “Zimmerman Blues,” “First Song,” andthe signature “Streets of London.”

At the end of the 1970s, he toured the United States and Great Britainincluding an annual appearance at the Cambridge Folk Festival. Slide Awaythe Screen was the next album and included Richard Thompson, Dave Peggand Simon Nicol in the studio. It was also the last with Warner Bros. McTelland his brother created Mays Records, and a number of his future workswould 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 FairportConvention backed him.

In 1981, he formed a group called the BP’s with Pegg, Mattacks andRichard Thompson. It was an ill- fated project. The first single, “England,”was released on Mays Records, followed by the complete album, Water ofDreams, which included the song “Bentley & Craig.” It seemed that one ofthe leading folk figures in England would continue on this path forever. But,in 1982, his career took an unexpected turn when Granada TV commissionedAlphabet Zoo, a series of children’s programs built around songs he had writ-ten and performed.

In 1983, the first telecast aired and was a big success. A second series fol-lowed and two albums, Songs from Alphabet Zoo and Best of Alphabet Zoowere released on Mays Records and were well received. That same year, McTellhosted a music show on BBC Radio 2 with guests Billy Connolly, GeorgieFame, Simon Nicol, Dave Swarbrick and Mike Harding. Since the initialkid’s show was so good, another venture was put together entitled Tickle onthe Tum. Guests included John Wells, Willie Rushton, Kenny Lynch, Pene-lope Keith and Nerys Hughes.

In 1984, he toured Canada and the United States. McTell also turneddown further television work in order to concentrate on his career. The albumAt the End of Perfect Day was a commercial venture that mixed his own mate-rial with classic songs “Penny Lane,” “Morning Has Broken” and “Scarbor-ough Fair.” McTell rebounded with Bridge of Sighs that included “The Girlfrom the Hiring Fair” and “The Setting.”

In 1987, he opened shows on the UK tour for The Everly Brothers, alwaysamong his musical heroes. There were more concerts through Europe, the USAand Australia as a solo artist. The well received set Blue Skies Black Heroes paidhomage to the blues and ragtime musicians that had been such an importantpart of his musical education. He finished out the decade with A Collection ofHis 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 win-ning Other Voice, Other Rooms album. Stealin’ Back, another collection ofMcTell’s blues and jug band numbers was released. On a tour of Germany,he shared the bill with onetime flower child Donovan. As well, a rash of CDcompilations were issued of the back catalogue from past recordings.

In 1992, The Boy with a Note, an ambitious project about the life andtimes of the poet Dylan Thomas, contained some noteworthy songs like “Sum-mer Girls,” complete with narrations and introductions. A year later, McTelltoured the Far East and returned home to play at the Royal Albert Hall inhonor of the founder of the Cambridge Folk Festival. The singer assembleda band, Good Men in the Jungle, to play at the summer venue. One of the


best performances was material from The Boy with a Note at the Year of Lit-erature Festival.

In 1995, the album Sand in Your Shoes would be the first work of newand original material in a long period and featured some of his best, thought-ful writing. “I Don’t Think About You,” the title track, “Fear of Flying,” “AnIrish Blessing” and “Care in the Community” were all songs that worked welltogether. 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 musicuniverse.

In 1996, he continued to record and toured England, Europe and theUnited States at various venues like the Sidmouth Festival. An album of livematerial taken from the second phase of his career, 1976 to 1995, was releasedas Songs for Six Strings Vol. 2. A concert effort at Croydon Town Hall wasfilmed and appeared on videocassette. He was also featured on television andin the print media. While many of his contemporaries had faded from thescene, McTell continued to record and perform. At the end of the decade, atwo–CD set Travelling Man was released from a concert appearance at Lon-don’s Purcell Hall.

In 2000, Red Sky, was released. That same year an autobiographyappeared entitled Angel Laughter. In order to promote the book, McTell toureda series of bookshops and libraries. In 2001, the folk singer toured the UnitedKingdom and the concerts were recorded and released on the Leola label enti-tled National Treasure. A year later, the second volume of his autobiography,Summer Lightning, was released. At the BBC Radio 2 Folk Awards, the cele-brated entertainer was presented with the Lifetime Achievement Award forSongwriting.

In 2004, after a break from touring the previous year, McTell resumedgoing on the road with Steeleye Span. They performed in Australia and NewZealand, as well as the United Kingdom, Ireland and continental Europe.Once again, he played the Cambridge Folk Festival and the Sidmouth Festi-val. These were friendly venues where he was very well received and it wasbroadcast on BBC TV. In 2004, to celebrate his sixtieth birthday, the popu-lar singer performed at the Royal Festival Hall. The show was recorded andappeared on DVD as The London Show.

In 2005, Time’s Poems—The Song Lyrics of Ralph McTell dedicated toWoody 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 ofothers. The ensuing album, Gates of Eden, was released, as was a box set fea-turing a retrospect of his work. Later, McTell would embark on the “Jour-ney” tours, which would include more taped live shows including one heperformed 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, heappeared on BBC1-TV to broadcast the magazine program The One Show.This would lead to two internet videos being released. In 2009, Streets of Lon-don and Other Story Songs was issued. He would support the new work withfestival appearances where he joined members of Fairport Convention onstage. In 2010, a four box set of love songs, Affairs of the Heart, was madeavailable to the public. He also recorded Somewhere Down the Road. McTell,the working artist, continues to write and perform in the folk vein to thedelight of his fans from around the world.

Ralph McTell is a British folk professional. He has stretched out a careerthat began during the country’s second revival and has outlasted the fluctu-ation of popularity the style has undergone. A noteworthy singer and semi- prolific writer, he has produced an elegant and impressive body of work overthe years that has garnered attention from every corner of the folk commu-nity. He has been a constant touring performer with many of the concertsavailable on DVD.

McTell is an engaging singer, delivering a mournful, yet melodic effortthat has enabled him to enjoy a long, successful career. There was an acces-sibility 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 ofsociety. There has always been a sincerity in the vocal delivery, and it was oneof the key elements in being accepted on such a wide level, both at home andinternationally.

Like most folk musicians, he was not a great instrumentalist, but hisacoustic 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 flashyguitar work. In the studio, much of the released material boasted a backupband who were often there to only supplement and not overshadow. In manyways, the soft unplugged six- string attack was perfect for the material that hesang and wrote.

Although he is known for the hit “Streets of London,” McTell has man-aged to create a solid catalog. Some of his better known songs include “Sum-mer Girls,” “The Girl from the Hiring Fair,” “Barges,” “Michael in theGarden,” “Tequila Sunset,” “Bridge of Sighs,” “Song for Martin,” “Throw Outa Line and Dream,” “The Setting,” “From Clare to Here,” “Mr. Connaugh -ton,” “Hands of Joseph,” “Stranger to the Seasons,” “Weather the Storm” and“The Ferryman.” He has also covered the songs of Woody Guthrie, Big BillBroonzy, Blind Willie McTell, Bob Dylan and a host of others.

McTell has had an influence on a number of artists including contem-poraries such as members of Steeleye Span, Fairport Convention, Jerry Don-ahue, Dave Pegg, Rod Clements, Mary Hopkin, Dave Mattacks, Mike Piggott,


Graham Preskett, Tony Visconti, Danny Thompson, Martin Simpson, DavidGray, Nanci Griffith and Anne Briggs among others. He passed on the les-sons from those that inspired him including many of the American bluessingers, 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 Britishrevival and managed to carve out a distinguished career. The entertainer washonored in a special award ceremony in the House of Commons celebratinghis lifetime contribution to folk music. He remains one of the leading lightsof the traditional movement in his native United Kingdom and has also gar-nered an international reputation as a solid performer. Throughout the Englishcountryside and in the great metropolises, the haunting words and music tothe 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 eccen-tric characters. Many took the traditional elements and combined them withother styles to create something refreshing that appealed to a folk crowd enam-ored with rock and roll. One of these figures burst upon the scene and earnedthe title of sunshine superman. His name was Donovan.

Donovan Philips Leitch was born on May 10, 1946, in Glasgow, Scot-land, but was raised outside of London. At ten years old, the future musiciansurvived a bout of polio. As a youth, the skiffle craze greatly affected his musi-cal 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 thesongs that had affected him the most.

He enrolled in art school but dropped out to find the answer to themeaning of the universe and other earthly questions. Already heavily into thebeatnik scene, Donovan traveled to the English seaside to pursue the bohemianlifestyle. 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 wouldgreatly 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 MacMacLeod and Mick Softley taught him. The poetic sketches and dreams oflife on the English seaside were slowly carved into performable songs.


Although he had made great strides, Leitch had a long way to go before beingable to fulfill the ambition to be a noted musical power.

In 1964, he continued his musical education, travelling to Manchesterwhere he busked on the streets. Donovan would also play at clubs on occa-sion absorbing the folk and blues tunes from those who performed the songsof a variety of influences including Woody Guthrie, Ramblin’ Jack Elliott,Jesse Fuller and Bob Dylan. Finally after some long paying dues, he was signedto Pye Records and cut a ten track demo tape that included some of the mate-rial 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 ofGuthrie, Fuller and Elliott were present. But, it was also very apparent thathe possessed a unique vision.

It was about this time that he met Linda Lawrence, a good friend to BrianJones of The Rolling Stones. For the next few years, Donovan pursued thelovely lady, who rebuffed all advances. The rejection fueled a desire to be withher even more and found their way in the lyrics of some of his greatest hitsincluding “Sunshine Superman.” Already a minor celebrity, Leitch was readyto embark on a solo career that would take him to the top of the Britishcharts. It was almost magic time.

From the beginning, England had been looking for someone to rivalAmerica’s Bob Dylan. Many believed that Donovan was that answer, but hewas a very different musical personality despite channeling through the sameinfluences of Guthrie, Fuller and Elliott. In 1965, they met while Dylan wason tour and Leitch appeared in the latter’s film Don’t Look Back. The con-nection between the two was a private one, but publicly broadcasted. Whenit was over, it was evident that the English singer was not the answer to theAmerican folk troubadour.

In 1965, Donovan collaborated with producer Mickie Most, who at thetime was one of the most successful personalities in English pop music. Hehad guided the records of The Animals, Lulu and Herman’s Hermits. Theresult would be an incredible partnership, producing major hit singles andalbums. In the studio, Big Jim Sullivan, Jack Bruce, Danny Thompson, JohnPaul Jones and Jimmy Page provided backup on the sessions. Later on, Dono-van preferred to use John Cameron on piano, Thompson on upright bass,Tony Carr on drums and congas and Harold McNair on saxophone and fluteto augment the sound.

By 1966, Donovan had shed his folk trappings to adopt flower power inall of its splendid glory. He was now a serious student of jazz, blues, Easternmusic and West Coast bands. It was about this time that “Sunshine Super-man” was recorded, the song that catapulted him to fame. The overt psyche-delic pop standard nearly didn’t get released because of record companysquabbles; 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 dis-tributed for all to enjoy. A tour of the United States included an appearanceon Pete Seeger’s TV series Rainbow Quest that also featured Shawn Phillipsand the Rev. Gary Davis, one of Leitch’s musical heroes.

In June 1966, “Sunshine Superman” was released in the United States asa single. It would reach number one on the charts and earn him a gold discin a relatively short period of time. The album of the same name also wentgold. It was a strange blend of folk with a tinge of jazz, and to create theunique sound, an acoustic bass, sitar, saxophone, tablas and congas, harpsi-chord, strings and oboe were utilized. The effort also contained “The FatAngel” (a tribute to Mama Cass Elliott), “Bert’s Blues” (an acknowledgmentto British guitar hero Bert Jansch), “Guinevere,” and “Legend of a Girl ChildLinda” (a reference to Linda Lawrence).

The single “Season of the Witch” was the next big hit and prompted var-ied artists, such as Brian Auger, Al Kooper and Stephen Stills, to cover thesong. 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 com-bined the chart success with a series of concerts in the United States and GreatBritain. Although there was a definite psychedelic feel to “Sunshine Super-man,” “Season of the Witch” and “Mellow Yellow,” each composition con-tained the trappings of folk.

In the middle of the year, he became the first high- profile pop star tobe arrested for possession of marijuana. It only served to heighten his accept-ance in the eyes of the counterculture. Despite the bust, it did not stop themomentum 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 Mon-terey International Pop Festival because he was refused entry into the UnitedStates. 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, committedto contemporaries, while the other was subtitled For Little Ones, dedicated tothe future generation. The album would eventually reach gold status in theUnited States, but didn’t contain the same power as some of the earlier record-ings.

From 1967 to 1969, he would enjoy international success. The single“There Is a Mountain” was solid, but lacked the imagination and fire of pre-vious singles. The fact that he was allowed to enter the United States onceagain enabled him to tour, backed by a small jazz group. In 1968, in accom-paniment of The Beatles, as well as Mike Love of The Beach Boys and MiaFarrow, the group traveled to India to meet the Maharishi Mahesh Yogi. Dono-van 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


1968, he released “Hurdy Gurdy Man.” The ensuing album of the same titlewould reach the Top 20 on the charts.

His next single was “Atlantis,” complete with an interesting spoken intro-duction. It would be his last major hit, and it seemed that the creative Leitchhad run out of fresh ideas. A tour of the United States followed where thefolk-flower child was still very popular. Other examples of his fame includedMary Hopkin, a Welsh singer whose album Post Card featured three Dono-van compositions; “Lord of the Reedy River,” “Happiness Runs,” and “Voy-age of the Moon.”

Donovan was a stern member of the hippie counterculture movementand was everywhere during the era. He also released the antiwar tune “ToSusan on the West Coast Waiting” on the B side of “Atlantis.” Other singleswere released on a greatest hits packages, including “Epistle to Dippy,” “ThereIs a Mountain,” and “Lalena.” Another song that defined the Donovan soundat the time was “Barabajagal (Love Is Hot).” Interestingly, members of theJeff Beck Group backed him including Ronnie Wood on bass, Beck on gui-tar, Nicky Hopkins on piano, and Mickey Waller on drums.

Later that year, he split from Mickey Most. Donovan went on to pro-duce his own record, the disappointing Open Road, which featured a trio for-mat and a sound called Celtic Rock. This began a decline in his fortunes andthe popularity, and the commercial success he once enjoyed began to evapo-rate, as well as the number of concert appearances. The hippie era was quicklyfading and the public’s musical tastes were changing, while Donovan wasn’t.

In the early 1970s, HMS Donovan, Cosmic Wheels and Essence to Essencewere released but only Cosmic Wheels, which featured a reunion with pro-ducer Mickie Most, placed on the charts. He would sing on the Alice Coopercreepy tune, “Billion Dollar Babies,” as well as produce songs for the film ThePied Pier and Brother Sun, Sister Moon. Although the heady days of the 1960swere over Donovan still commanded respect in certain musical circles.

Donovan continued to record albums including 7-Tease, Slow DownWorld, Neutronica, Love Is Only Feeling and Lady of the Stars, but none hadthe power of earlier efforts. The flower power era was finished, and in the punkera, hippie ideas were scorned at and Donovan suffered the results. He wouldprove his mettle, however, as a member of the Amnesty International benefitshow The Secret Policeman’s Other Ball that included Sting, Phil Collins, BobGeldof, Eric Clapton and Jeff Beck.

In 1982, the album Live in Concert was released and it featured re- recordings of his classic hits such as “Sunshine Superman,” “Jennifer Juniper,”“Season of the Witch,” “The Hurdy Gurdy Man,” “Universal Soldier,” “Cos-mic Wheels,” “Wear Your Love Like Heaven,” and “Young Girl Blues,” amongothers. The record buoyed his career for a brief period, but it was evident thatthe 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, Dono-van was dubbed as an artist of a previous era.

The only material that truly sparked any sales was the songs that he wasassociated with during the flower power period. An example was Four Dono-van Originals, a re- release of four of his best albums on CD. During Dono-van’s heyday, it seemed that the hurdy gurdy man was everywhere, a truecelebrity. But in the latter part of his career, appearances were rare. How-ever, despite this, the new generation of folk musicians in England and theUnited States acknowledged Donovan as one of their greatest inspirations.

Donovan continued to record. In 2004, Beat Cafe was released in anattempt 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 byTom Mansi on double bass, Rat Scabies on drums and Joe Atkinson on key-boards. Ever the hippie, he would play concerts at the Kennedy Center insupport of a presentation to film maker David Lynch to promote the DavidLynch Foundation for Consciousness- Based Education and World Peace.There were occasional concert appearances, including a festival in Texas. Rit-ual Groove, an album of new material, appeared recently. He continues torecord and perform.

Donovan Leitch was a British folk explosion. For a four year period hedominated the charts, despite stiff competition, with his traditional basedmaterials of flowers, love and peace. His brand of music provided a much dif-ferent dimension to the offerings from others on the scene at the time. Theburst of creativity and sensationalism would define the musical personalityand frame him for the rest of his career.

Donovan’s vocals were dream- like, spacey and very rhythmic. Even with-out the music, there was a definitive groove and march to each song, a pat-tern that was delivered with a concise expertise that was a purely individualstyle. With the wisdom of a prophet, he was keen to spread the message ofunity, humanity and harmony throughout his music. There was an accessi-bility in the words that inspired many to enjoy the nonsensical lyrics.

There were many instruments that were utilized to create the Donovansound. The acoustic guitar was always part of the overall structure, but theharpsichord, sitar, double bass, saxophone, and whistles—unusual elementsfound in folk music—were properly meshed together to create magic. As anarranger and musician, Donovan proved that he had listened carefully to allof the blues and folk influences.

The mystical and psychedelic overtones of songs, such as “SunshineSuperman,” “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 toneand mood. Many have been covered by others and also utilized for TV com-


mercials throughout the past forty years. The aforementioned tunes werewritten in a quick, compact period of time when his imagination seemed tobe in overdrive.

The influences on Donovan have been well documented. In turn, he hadan impact on the careers of Jeff Beck, Harold McNair, Candy John Carr, TonyCarr, Matt Costa, T. Rex, Vashti Bunyan, World Party, A Band of Bees, Son-dre Lerche, Doll, Virgineers, Mark Fry, Simple Kid, Belle & Sebastian, DanaGillespie, Chris de Burgh, Marc Bolan, Andy Burrows, Danielson Famile,Susan Raven, Fazzini and Lesser Gonzalez Alvarez. But he also was able toshadow 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 theAmerican folk revival. He was very unique, and there was no one quite likehim on either side of the Atlantic or anywhere else in the world. His specialtake on traditional sound and songs enabled the celebrated visionary to cre-ate a universe that could be copied, but never precisely duplicated.

Donovan was the right person at the right time with right type of folk- speckled material. There was a childlike wonder and innocence to his songswith the imaginative, crazy lyrics and a tempo that was somewhere betweentraditional 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. Undoubt-edly, the tunes he delivered were derived from his own mystical vision. Thereis 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.

Donovan Leitch 297

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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Bibliography 301

ABBA 183Abbot, O. J. 241Ace, Johnny 226Acuff, Roy 115Adams, Arthur 246Adams, Bryan 252, 281Adams, Derroll 59, 173A La Berry, Terry 172Albert, Stew 141Albin, Peter 164, 183The Albion Band 265, 267Ali, Muhammad 246Alice’s Restaurant 170The All- Star Band 165Allen, Woody 224, 237Allende, Salvadore 141, 164Allender, Robin 268Allison, Jerry 133The Almanac Singers 10, 37,

193, 209, 236Alvarez, Fazzini 297Alvarez, Lesser Gonzalez 297Alvin, Dave 61America 240American Folksay Group 20Amos, Tori 283Amram, David 113Ander, David “Juke” 196Ander, Jacob 196Andersen, Bill 127Andersen, Eric 11, 38, 88,

102–106, 113, 130, 142, 291Anderson, Marian 109Andrews, Julie 51Angelou, Maya 113The Animals 154, 176, 232Ann-Margret 223Apple, Fiona 283Arkin, Alan 40

Armstrong, Frankie 75Armstrong, Louis 76Armstrong, Paul 163Arnold, Kokomo 96Arthur, Bea 49The Arthur Godfrey Show

193Arturi, Mike 238Asch, Moses 21, 30Asher, Peter 142Ashley, Clarence 3, 29, 30,

37, 199, 201, 202; StringBand 44

Asleep at the Wheel 235The Association 240Atkins, Chet 46, 127Atkinson, Joe 296Atlas, Jim 196Atwood, George 133Au Go Go Singers 127, 176Auger, Brian 294Austin, Sherrie 229Autry, Gene 115Axton, Hoyt 130, 173, 230

Bach, Johann Sebastian 212Badfinger 240Baez, 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. 220Bailey, Mark 212, 213Bailey, Roy 266

Baker, Bob 198Baker, Earl 50The Balfa Brothers 29, 30Balin, Marty 92, 183The Band 64, 69, 100, 104,

146, 154, 155, 159, 175,252, 280

A Band of Bees 297Band of Hope 266Banhart, Devendra 275Bare, Bobby 205Baring- Gould, Sabine 241Barrett, Syd 159Barthol, Bruce 163, 165, 166Bastro 142Bates, Kenneth 50The Battlefield Band 191Baxter’s Len Balladeers 230The Beach Boys 42, 183,

226, 233, 294Beam, Julia 276The 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 193Beck, Jeff (group) 264, 295,

297The Bee Gees 266The Beefeaters 231Beethoven, Ludwig van 212Belafonte, Harry 4, 14, 16,

17, 19, 38, 40, 48–54, 94,100, 110, 113, 127, 130, 141,192, 193, 242, 244, 246,248, 251

303

IndexNumbers in bold indicate main entries

Belafonte Folk Singers 17, 50,245

Belle & Sebastian 297Benno, Mark 102Bergen, Candice 223Berkeley, Roy 201The Berkeley String Quartet

163Berkney, Laurie 220Berlin, Betty 201Berlin, Irving 13Berry, Chuck 67, 152, 262Bessinger, Harry 50Beyoncé 248Biafra, Jello 143Bibb, Leon 17The Bickelodore 15, 42The Big 3 183, 213Big Bam Boo 229Big Brother and the Holding

Company 164, 165, 183Big Star 235The Birds of Paradise 215Bishop, Elvin 223Bishop, Heather 241Bissex, Rachel 150, 220Black 47 142Black, Celia 142Black, Mary 268Blaine, Hal 135Blake, Blind 76, 285Blake, Nancy 200Blake, Norman 46, 200Block, Rory 83, 148Bloomfield, Mike 69Blue, David 77Blue Rodeo 235, 255The Blue Sky Boys 46The Blue Velvet Band 65Blume, David 134, 135Blur 157Bobbitt, John 130Bobbitt, Lorena 130Boggs, Dock 3, 27, 37, 199,

201, 202Bogguss, Suzy 105Bogue, Barbara 178Bogue, Laurence 50Boguslav, Ray 50Boise, David 195Bono 159Boone, Skip 237Boone, Steve 236, 239Boston Symphony 147, 171Bowie, David 159Boyle, Maggie 273

The BP’s 288Bragg, Billy 142, 143, 149,

266Bramlett, Bonnie 97Brand, Oscar 15, 63, 113Brando, Marlon 49Brandon, Tom 241The Brandywine Singes 19,

176Brass Monkey 265, 266, 267Brecht, Bertolt 72, 75, 76Brel, Jacques 14, 15, 85, 87Brickell, Edie 225Briggs, Anne 291, 297Brinsford, Martin 265Broadside 11, 21, 32, 125, 139Broadwood, Linda 241Bromberg, David 35, 98,

102, 131Brook, Holly 283Brooklyn Technical High

School Chamber Chorus114

Brooks, Garth 98Brooks, Lonnie 35Broonzy, Big Bill 33, 34, 111,

270, 289Brothers Four 8, 18, 19, 42,

176, 182, 213Brown, Flemming 34Brown, Herb 131Browne, Jackson 70, 96, 98,

102, 147Bruce, Jack 293Bruce, Lenny 68, 101Brunner, John 12Bryan, James 200Buchanan, Jim 29Buckingham, Lindsey 181,

183, 202Buckley, Jeff 283Buckley, Tim 68, 70, 183Bud & Travis 183Buffalo Springfield 85, 176,

183, 235, 240, 246Buffet, Jimmy 183, 235The Bulletin 32Bunyan, Vashti 297Burgan, Jerry 183The Burns Sisters 172Burrell, John “Mr. Bones” 81Burrows, Andy 297Bush, George W. 143Bush, Kate 283Buskin, David 220Butler, Bernard 274, 276

Butler, Joe 237, 239Butler, Yancy 239Butterfield, Paul 69Butterfly, Julia 148Butterworth, George 241The Byrds 5, 34, 36, 85, 127,

134, 154, 159, 175, 176,183, 194, 196, 206, 208,230–236, 242

Cage, Buddy 206Cajun Trio 202The Cambridge Harmonica

Orchestra 98Cameron, John 293Camp, Bob Hamilton 34,

36, 56, 57Campbell, Glen 127, 255,

257Campbell, Mike 158Canned Heat 240Cannon, Gus and His Jug

Stompers 41, 201Cannon’s Jug Stompers 37Carawan, Candie 4, 32, 33Carawan, Guy 4, 31, 32, 33,

36Carey, Bob 39, 40, 68Carlton, Carl 39, 40Carlton, Gaither 44Carlton, Larry 280Carmichael, Hoagy 63, 81,

266Carmichael, Stokely 245Carnovsky, Morris 23The Carolina Tar Heels 38Carolyn Hester Coalition

134Carpenter, Mary Chapin

102, 105, 136, 147, 148,150, 174

The Carpenters 208Carr, Candy John 297Carr, Tony 293, 297Carrack, Paul 281Carter, A. P. 29, 32Carter, Anita 19Carter, Rubin 156The Carter Family 3, 27, 32,

37, 46, 131, 202, 220Carthy, Eliza 266, 267Carthy, Martin 241, 242,

262–269, 270, 285, 287Cash, Johnny 14, 69, 70,

105, 131, 138, 155, 251, 261Cassidy, Jack 164

304 Index

Cat Power 157Cave, Nick 159Celtic Thunder 191Cermack, Kathryn 225Chad & Jeremy 251Chadbourne, Eugene 46, 142Chapin, Harry 57, 101, 102,

183, 229, 297Chapin, Tom 113, 114Chapman, Tracy 61, 113, 150,

248Chandler, Dillard 201Chandler, Len 68Charles, Ray 68The Charles River Valley

Boys 98Charters, Sam 72Chase, Chevy 224Cheetham, Richard 265Cher 142, 259Chicago 229The Chieftains 191Child, Francis J. 30, 241Childs, Peter 68Chopin, Frederick 212Christophersen, Bill 201The Church 235Church, Cindy 207Clancy, Aolfe 190Clancy, Bobby 185, 187, 188,

189, 190Clancy, Donal 189Clancy, Finbarr 189Clancy, Liam 112, 185, 186,

188, 189, 190Clancy, Paddy 185, 186, 188,

189Clancy, Tom 185, 186, 188,

189Clancy Brothers 15, 133, 176,

184–192, 213, 242Clapton, Eric 295Clark, Gene 142, 183, 230,

231, 232, 233, 234Clark, Guy 60Clark, Petula 51, 52Clarke, LaRena 241Clarke, Michael 231, 232,

233, 234The Clash 143Clayton, Paul 8Clements, Rod 272, 273,

287, 290Clifford, Linda 65Cline, Patsy 231Clinton, Bill 86, 92, 113

Cochran, Eddie 152, 262Cocker, Jarvis 276Cocker, Joe 258Cohen, David Bennett 163,

166Cohen, John 198, 199, 200,

202Cohen, Leonard 77, 85, 87,

101, 208, 282, 286Cohn, Mark 97Cohn, Rolf 64Cole, Holly 228Coleman, Charles 50, 245Coleman, Michael T. 45Collins, Clark 86Collins, Dennis 196Collins, 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 295Collins, Shirley 265Colvin, Shawn 97, 98, 283Comfort, Alex 12The Commodores 229Conn, Tim 50Connelly, Billy 173, 288Conner, Jim 181Conte, Bob 201Conundrum II 274Conway, Gerry 273Cooder, Ry 12Cooke, Sam 224Cooley, Spade 231Cooper, Alice 278, 295Cooper, Bob 163Cooper, Clarence 40Cornett, Bill 201Corwin, Andy 212Costa, Mark 102Costa, Matt 297Costello, Elvis 228, 266,

283Cotton, Libby 121, 122, 198,

200Counting Crows 283Country Joe and the Fish 5,

163Cousin Emmy 200The Cowboy Junkies 255Cox, Ida 110Cox, Terry 271, 273Crabtree, Lee 104Crary, Dan 46

Crawford, Joseph 50Crayton, Pee Wee 31Cream 70, 264Creedence Clearwater Re-

vival 246The Crickets 133The Critters 240Croce, Jim 102, 208, 229,

297Crosby, David 223, 230,

231, 232, 233, 234, 235Crosby, Stills & Nash 229Crosby, Stills, Nash & Young

85, 208, 233, 279eCross, Vincent 113Crowded House 235The Crows 226Crudup, Arthur “Big Boy”

258The Crusaders 246Cullum, Jamie 228The Cumberland Three 179Cunningham, Agnes “Sis” 1,

8, 9–12Curtis, Tony 49The Cyrkle 135

Dane, Barbara 22Danko, Rich 104Darin, Bobby 230Darling, Erik 38, 39–43,

175, 196Darling, George 39DaSilva, Howard 23Davashe, Mackay 244The Dave Clark Five 176David, John 211, 213Davidowitz, Steve 93Davis, Rev. Gary 24, 40, 46,

65, 72, 76, 79, 272, 285,294

Davis, Guy 113Davis, Miles 49Davis, Richard 131The dB’s 240de Burgh, Chris 297De Costra, Valucha 34The Delmore Brothers 46DeMent, Iris 136Denny, 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

Index 305

DeShannon, Jackie 248Destiny’s Child 248Devine, Kevin 142Diamond, Neil 127, 259Dickens, Hazel 198, 200Diddley, Bo 96DiFranco, Ani 118, 119, 120,

142Dillard, Doug 234Diller, Phyllis 178Dillon, Eddie 189, 190The Dinah Shore Show 178Dirks, Scott 80Dlamani, Ezekiel “King

Kong” 244Dr. Hook and the Medicine

Show 240Doherty, Denny 183, 236Dolby, Thomas 280Doll 297Domingo, Placido 19Domino, Fats 152Donahue, Jerry 287, 290Donicht, Will 80The Doors 80Dorsey, Leslie 50Dorsey Brothers 13Dougherty, John 211, 213Dougherty, Rick 182Doyle, Jill 270Doze, General 244Draheim, Sue 201Drake, Nick 276Drew, Ronnie 190Driftwood, Jimmy 34Duarte, John 149Dunford, Uncle Eck 27, 37The Dusty Road Boys 32Dylan, 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

Dylan, Jacob 160Dylan, Jesse 160

The Eagles 183, 229, 235Earle, Steve 113, 149Easy Rider 170Eby, James 50Eddleman, Jack 50Eitzel, Mark 142Ellington, Duke 15, 63Elliott, Cass 136, 236, 294Elliott, 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. 280Ellis, Dave 276Ellis, Pee Wee 274Ely, Joe 60Emerson, Keith 127Emerson, Lake and Palmer

127Emery, Ken 50Epstein, Jules 15Eskin, Sam 8Espwall, Helena 275Estes, Sleepy John 72Evans, David 7Evans, Howard 265Evans, Medgar 159The Even Dozen Jug Band

176, 236The Everly Brothers 221,

226, 229, 231, 288

Fahey, John 46Faier, Billy 236Fairport Convention 105,

130, 175, 208, 222, 242,263, 264, 273, 279, 287,288, 289

Faithful, Marianne 127, 142Fame, Georgie 288Famile, Danielle 297Fare, Schooner 143Farina, Mimi 98, 134, 136,

147, 148Farina, Richard 85, 87, 134Farrow, Mia 294Faryar, Cyrus 179Faulkner, William 9, 111Faye, Glenda 46Feifer, Jules 15Fela 248Feliciano, José 127, 130

Felix, Julia 142Ferry, Brian 159The Fifth Dimension 18Fig, Anton 93Finnan, Aengus 255The Fireballs 130, 134Firefall 234Fisher, Archie 270Fisher, Carrie 224Fisk, Schuyler 283Fitzgerald, Ella 111Fjeld, Jonas 104The Flamin’ Groovies 240Flanders, Helen 3, 7, 30,

201, 241Flatt, Lester 27, 46Flatt & Scruggs 127, 131Fleck, Bela 35, 42, 46Fleetwood Mac 164, 176, 181,

183The Flying Burrito Brothers

155, 159, 233, 235Fogelberg, Dan 283The Folksway Trio 39Fonda, Jane 164Foreman, George 246The Foremen 212Fox, Bill 229Frank, Jackson 134Franklin, Aretha 248Franklin, Cortez 50Frazier, Joe 125, 193, 194,

195The Freedom Singers 176The Friends of Old Time

Music 201Frierson, Andrew 50Friesen, Gordon 1, 8, 9–12Frigo, John 196Froberg, Tobias 229The Fruit Jar Drinkers 199Fry, Mark 297Fuller, Blind Boy 65, 66, 76,

91, 285Fuller, Jesse 37, 152, 293Fulson, Lowell 31Furay, Richard 127, 183, 234The Fureys 128, 188

Gabriel, Peter 93Gaines, Ward 80Galas, Diamanda 142Gale, Eric 104Gallagher, Donald 47Gallagher, Noel 276Gallagher, Rory 268

306 Index

Gambill, Roger 181, 182Gannon, Joe 178Garbo, Greta 155Garcia, Jerry 46, 59, 165,

201, 202, 266Garfunkel, Art 221–230Garr, Artie 222Garrett, Amos 206The Gateway Singers 176,

209, 211Gaughin, Dick 142Gauthier, Claude 259Geer, Will 15, 32Geldof, Bob 295Genesis 93Georgeson, Noah 275Geraci, Tommy 41Geremia, Paul 83Gerrard, Alice 200Gershwin, George 76Gershwin, Ira 76Getz, David 164Ghandi, Mahatma 13Gibson, Bob 34, 35, 38,

54–58, 128, 130, 138, 250Gibson, Scott 50Gilbert, Ronnie 1, 13, 20, 36,

133, 136, 144, 169, 173,175, 215, 218

Gilchrist, Anne 241Gillespie, Dana 297Gillette, Steve 183, 205The Gilmorea 142Giltrap, Gordon 276Ginsberg, Allen 138, 141,

156, 169Glover, Tony 79, 80, 81, 82,

83The Goldbriars 220The Golden Gate Boys 231Goldstein, Kenneth 8,

23–27, 116Goldwater, Barry 196Gonsalves, Joli 50Good Men in the Jungle 288Goodman, Benny 13, 41Goodman, George 50Goodman, Steve 34, 170,

173, 183Goodrich, Rachel 240Gordon, Dexter 15Gorson, Arthur 140The Gosdin Brothers 234Gossett, Lou, Jr. 94Gottlieb, Louis 209, 210,

211, 212, 213

Goulet, Robert 259Gow, Henry 142Gow, Niel 270Graham, Davy 241, 270,

271, 275Grainger, Percy 241, 268Grammer, Red 211, 213Grand Funk Railroad 278Grant, Amy 283The Grass Roots 176, 240The Grateful Dead 35, 59,

61, 105, 156, 165Gravy, Wavy 113Gray, David 291Gray, Dobie 97Gray, Martin 262Grayson, Milton 50Great Big Sea 191Great Speckled Bird 206,

208Green, Keith 283Green, Peter 164Green, Tom 181The Greenbriar Boys 8, 27,

28, 29, 30Greer, Evan 143Gregg, Bobby 104Grier, Lamar 200Griffin, Paul 104Griffith, Nanci 60, 83, 98,

102, 130, 135, 136, 173,174, 288, 291

Grisman, David 46, 131, 183,201, 239

Grodin, Charles 224Grootna 165The Groove Animal 92Grossman, Albert 55, 73,

140, 205, 215Grove, George 181, 182Guard, David 177, 178, 179,

180, 181Guard, David & The Calyp-

sonians 1789The Guardian 22Gubaidulina, Sofia 247The Guess Who 255Guest, Christopher 15Guevara, Che 86, 87, 141Gunning, John Francis 163Guthrie, Abe 171, 172Guthrie, Arlo 14, 16, 59, 61,

88, 108, 130, 141, 156,169–174

Guthrie, Jack 173Guthrie, Sarah Lee 150, 171

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 120Gwangwa, Jonas 244The Gypsy Kings 147

Hackett, Steve 93Haggard, Merle 141Haley, Bill and the Comets

262The Halifax Three 183Halpert, Herbert 26Hamilton, Diane 186Hamilton, Frank 9, 31–36,

175Hammond, John, Jr. 80, 83,

98Hammond, John, Sr. 133,

153, 186Hancock, HerbieHanford, Caitlin 207Hannigan, Stafan 266The Hard Travelers 212Hardin, Tim 38, 61, 68, 71,

76, 83, 99–102, 105, 134,274

Harding, John Wesley 142Harding, Mike 288Hardman, Blair 162Hardy, Françoise 102Hardy, Jack 76Harper, Ben 266Harpers Bizarre 229Harrell, Kelly 202Harris, Corey 83Harris, David 145, 146Harris, Emmylou 19, 70, 96,

97, 98, 119, 149Harris, Kim 220Harris, Paul 104, 131Harris, Reggie 220Harris, Sue 265Harrison, George 155, 156Harrison, John 264Hart, Al 264, 265Hart, Alvin Youngblood 83Harter, Bob 50Hartford, John 98, 201

Index 307

Harvey, Ryan 143Hassilev, Alex 210, 211, 212, 213Hausman, Sid 41Havel, Vaclav 149Havens, Richie 38, 68, 70,

71, 77, 89–84, 98, 157,218, 251

The Havenstock River Band212

Hawes, Baldwin 10Hawes, Bess Lomax 8Hawes, Peter 10Hawker, Ginnie 202The Hawks 154Hawkins, Coleman 75Hawkins, Ronnie 154Haworth, Bobby 182Haynes, Rick 254Hays, Lee 1, 10, 13, 20, 32,

133, 138, 169, 173, 175Head, Tom 50Heard, John 59Hedges, Michael 46, 268Hefferan, Bob 196Heller, Joseph 15Hellerman, Fred 1, 13, 20,

32, 36, 40, 133, 166, 169,175, 196, 218

Hemingway, Ernest 9Hendrix, Jimi 275, 279, 286Henley, Don 280Hennacy, Ammon 116Hennington, John 258Henske, Judy 179Henson, Jim 52Henson, Robert 50Herald, James 50Herald, John 27, 28Herbert, Alf 244Hernandez, Henry 35Hesse, Herman 286Hester, Amy 135Hester, Carolyn 38, 113, 130,

131, 132–137, 142, 144,149, 191

Hester, Karla 135Heyman, Richard X. 240Hiatt, John 148The Hickory Nuts 285The High Kings 191The Highwaymen 42, 176,

183, 213Hildago, David 158Hill, Joe 115, 166Hillman, Chris 231, 232,

233, 234, 235

The Hillmen 231Hills, Anne 128, 129, 131Hinojosa, Tish 148, 150Hirsh, Gary “Chicken” 166Hobstalk 102Hodge, Johnny “Guitar”

274Hoffman, Abbie 88, 141, 167Hoffman, Kristen 229Holcomb, Roscoe 201, 202Holder, Geoffrey 113Holder, Ram Jam 90Holdridge, Leo 18Holiday, 240Holiday, Billie 133, 185Holly, Buddy 133, 134, 135,

138, 141, 152, 262Holmes, Odetta 4, 33, 36,

50, 55, 57, 72, 94,108–114, 116, 133, 136, 141,144, 193, 218, 246, 259

Holstein, Fred 34Holt, David 46Holtzman, Jack 80, 139,

209Hooker, John Lee 80, 90,

101, 153Hooper, Stix 246Hopkin, Mary 290, 295Hopkins, Nicky 295Hopkins, Noah 50Hopkins, Sam “Lightnin’” 3,

15, 24, 82Horine, Pat 181Horne, Lena 51The Horseflies 2000Horton, Zilphia 33House, Son 76Houston, Cisco 10, 13, 15,

36, 37, 64, 107, 132, 153,166, 169, 173, 220, 250, 261

Houston, Reggie 81Houston, Whitney 113, 248The Hudson Dusters 73Hughes, Nyres 288Humphries, Pat 142Hurt, 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, 220Ian Campbell Folk Group

263, 270

Idol, Billy 280Iggy Pop 278Imahori, Tsuneo 276The Inca Peruvian Highland

Wind Ensemble 35The Incredible String Band

76, 297Indian Harp 35The Indigo Girls 147, 148,

150Industrial Workers of the

World 116The Instant Action Jug Band

163Irion, Johnny 171The Irish Rovers 19, 128, 191Irwin, Ken 8Isbin, Sharon 149Ives, Burl 1, 10, 21, 37, 63,

100, 192, 236Ives, Edward D. 7

J Band 238Jackson, Janet 283Jackson, Mahalia 34Jaffe, Joe 17James, Dian 289James, Harry 13James, Skip 3, 65, 72, 79, 82Jansch, Adam 274Jansch, Bert 100, 241, 243,

268, 270–277, 284, 287,294; Conundrum 272,273

Jansch, Loren 274Jara, Victor 141Jardine, Al 183Jason and the Scorchers 142Jefferson, Blind Lemon 3,

37, 65, 76, 79, 289Jefferson Airplane 70, 164,

183, 235Jefferson Starship 143Jenkins, Martin 272Jennings, Mason 157Jennings, Will 258The Jesse Dixon Singers 223Jet Set 230Jethro Tull 268Jim and Jean 142John, Elton 135, 276The Johnny Moon Singers

251Johnson, Lonnie 3, 76, 82Johnson, Lyndon 163Johnson, Mike 195

308 Index

Johnson, Robert 3, 37, 67,72, 76, 79, 285

Johnson, Tommy 76Johnston, Davey 286Jones, Bennie 201Jones, Brian 293Jones, John Paul 293Jones, Norah 282Jones, Wizz 285Joplin, Janis 113Joplin, Scott 74Joseph, Emory 114Josh Joplin Group 143Joshua, Ebenezer 66The Journeymen 183, 213

Kalansky, Lucy 150Kalb, Danny, and the Blues

Project 77Kalder, Connie 208Kantner, Paul 183Karen O 157Karpeles, Maud 241Kaukonen, Jorma 46Kazee, Buell 3, 27, 30, 37, 199Keany, John 240Keats, John 154Keenan, Maynard James 283Keenan, Norman 196Keith, Penelope 288Kelly, Kevin 233Kennedy, John F. 139, 187,

216Kennedy, Robert 52Kensington Market 240Kerouac, Jack 104, 138, 285Khan, Chaka 280Khosa, Rufus 243Kidson, Frank 241Killen, Louis 188King, Carole 222King, Martin Luther, Jr. 15,

33, 52, 110, 112The Kingsmen 237The Kingston Quartet 178The 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, 266Kirtley, Peter 273Klaaste, Sol 244Klein, Larry 280, 281

Knecktel, Larry 135Knight, Libby 17Knight, Marie 113Kobluk, Mike 192, 194, 195Koch, Ed 224Koerner, John “Spider” 38,

60, 78–83, 98, 117, 242Koerner, Ray & Glover 38Koloc, Bonnie 34Kooper, Al 104, 294Kornfeld, Barry 72, 130Kottke, Leo 46Krassner, Paul 141Krause, Bernie 175Krauss, Allison 46, 96, 98Kristofferson, Kris 92Kubeka, Abigail 244Kumalo, Bakithi 224Kurtz, Dayna 93Kweskin, Jim 202, 239

Ladysmith Black Mambazo224

La Forge, Peter 11, 12, 105,261

Laine, Cleo 259Lakeman, Seth 268L’Amour, Louis 9Lampell, Millard 10Lampro, Jody 172Landis, Jerry 221Langhorne, Bruce 104, 134,

196Langridge, Luce 272, 274Lanois, Daniel 208Larkin, Patty 220Latin Quarter 143Lauper, Cyndi 281, 283Lavin, Christine 74, 76, 113Lawrence, Jack 45, 46Lawrence, Linda 293, 294Leace, Donald 113Leach, MacEdward 7Leadon, Bernie 183Led Zeppelin 175, 255, 271,

276, 279, 283Ledbetter, Huddie “Lead-

belly” 2, 13, 23, 37, 46,63, 64, 65, 66, 72, 80,109, 111, 112, 173, 220, 236,285

Lee, Albert 272, 274Lee, Bill 110, 134, 154Lee, Byron 242Lee, Peggy 13Leighton- Levy, Marian 8

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 283Lenns, Kristen 150Lerche, Sondre 297Leventhal, Harold 8, 13–16Lewis, Furry 72Lewis, Jerry Lee 152, 262Lews, Hubert 131Lightfoot, Gordon 34, 56,

57, 102, 142, 159, 204,205, 217, 242, 249–256

Lighthouser, Toby 163The Limeliters 2, 18, 175,

176, 183, 194, 209–214,215, 230, 232, 235, 240,242

Lincoln, Abbey 248Lind, Bob 92Linehart, Buzzy 70Little Feat 239Little Richard 262Little Walter 79L.L. Cool J 157Lloyd, A.A. 241, 263, 265,

268Lobo 135Locklin, Hank 127Lomax, Alan 3, 20, 22, 37,

169, 201, 241Lomax, Bess 8, 10Lomax, John 3, 8, 169, 201,

241The Lomaxes 4, 7, 27, 30,

120Lombardi, Clyde 196Los Lobos 158Louvin Brothers 44, 46Love, Mike 294Lovelle, Herb 104The Lovin’ Spoonful 5, 70,

76, 134, 175, 176, 206,236–240, 242

The Low Anthem 240Lowe, Nick 235Lowndes, Sara 154Lucas, Lynn 41Lunsford, Bascom Lamar 3,

7, 202, 241Lynch, David 296Lynch, Kenny 288

Index 309

Lynn, Jeff 156Lynn, Vera 259

MacArthur, Donald 178MacCleod, Mac 292MacColl, Calum 123MacColl, Ewan 12, 15, 108,

121, 122, 123, 124, 139, 241,270

MacColl, Neill 123Macon, Uncle Dave 3, 27,

28, 37, 46, 202Madonna 283The Magic Numbers 240Magotsi, Joe 243Maharashi Yogi 294Makeba, Miriam 14, 15, 19,

50, 94, 150, 193, 225, 242,243–249

Makem, Sarah 184, 185, 186Makem, Tommy 176,

184–192, 242Malkmus, Stephen 157The Mamas & Papas 175,

176, 183, 208, 220, 224Manassas 234Mandela, Nelson 246Maness, JayDee 104The Manhattan Brothers

243, 244The Manhattan Transfer

183Mansi, Tom 296Mapes, Jo 68Marley, Bob 50, 242, 248Marr, Johnny 274, 276Marsh, Phil 165Marshall, Chan 283Martin, Vince 68, 70Martyn, John 270Masekela, Hugh 225, 242,

244, 245, 246Massengill, David 76Mathuna, Ciaran Mac 186Mattacks, Dave 268, 288,

290Mattacks, Norma 268Mattea, Kathy 105Matthau, Walter 49Matthews, Iain 208Matthews Southern Comfort

283Mayfield, Percy 69Maynard, Pete 262McArthur, Margaret 3, 201McCarthy, Eugene 217

McCarthy, Joseph 10, 15, 37,40, 167, 241

McCartney, Paul 159, 226McCrea, Carmen 259The McCrea Gospel Singers

90McCurdy, Ed 40, 41, 42, 135McDonald, Country Joe 108,

117, 162–168, 242McDowell, Mississippi Fred

65, 72, 76, 79, 82, 90McGarrigle, Kate & Anna

148McGee, Kirk 202McGee, Sam 202McGhee, Brownie 23, 24,

90, 169, 173, 270McGhee, Laurie 113McGinn, Matt 12McGovern, Eugene 217McGuinn, Roger ( Jim) 34,

36, 71, 85, 113, 156, 194,196, 201, 230

McIsaac, Ashley 191McLachlan, Sarah 255, 283McLean, Don 77McNair, Harold 293, 297McNeil, W.K. 8McShee, Jacqui 271, 272,

273, 285McTell, Blind Willie 37, 65,

72, 285, 289McTell, Ralph 243, 268,

270, 274, 284–292Mdledle, Nathan 243Melanie 150Melton, Barry 163, 164Memphis Minnie 80Meredith, James 159Messer, Vic 196Meyer, Taro 18Meyers, Joe and the Sharks

231Michael, George 283Miller, Amasa 81Miller, Roger 19Mingus, Charlie 280Misty Roses 102Mitchell, 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, 278Mitchell, 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 83The Modern Folk Quartet

238The Modern Jazz Quartet 14Moeketsi, Kippie 244Mohr, Larry 109Mondlock, Buddy 218, 227The Monkees 179Monroe, Bill 3, 27, 29, 169,

201, 202The Monroe Brothers 44Mooney, John 83The Moonglows 226Moore, Christy 191Moore, Mandy 283The Moore Brothers 71, 229Morisette, Alanis 283Morris, Garrett 50Morrisey 283Morrison, Jim 102, 158, 159Morrison, Van 91, 281Morton, Jelly Roll 72, 74Most, Mickie 293, 295Mountain 70Mouskouri, Nana 14, 15, 50,

51The Move 127Mozart, Wolfgang Amadeus

84The Mugwumps 236Muldaur, Geoff 239Muldaur, Maria 61, 65, 96,

239The Muppets (show) 51, 52Murphy, Willie 81Murray, Anne 127, 255My Kingdom for a Cat 142Myers, Joe and the Sharks

231The Mysterious Redbirds

201

Nash, Graham 71, 223Naylor, Ray 142Near, Holly 173The Neighborhood 283Neil, Fred 38, 67–71, 95,

101, 102, 105, 236, 291Nelson, Rick 102, 105Nelson, Willie 100, 127, 131,

157, 280The New Christy Minstrels

310 Index

42, 176, 181, 183, 212, 213,231, 238

The New Deal String band201

The New Kingston Trio 180,212

The New Lost City Ramblers3, 12, 176, 197–204

The New Riders of the Pur-ple Sage 235

Newman, Randy 85, 87, 102Newton, Abby 201Newton, Juice 283Newton John, Olivia 255Nichols, Mike 223Nicholson, Jack 223Nicks, Stevie 283Nico 101, 102, 255Nicol, Simon 265, 268, 287,

288Nielsen, John 50Nightingale, Florence 165,

166Nightsmoke 181Niles, John Jacob 3, 7, 241Nilsson, Harry 69, 70, 142Nine Below Zero 80Nitzsche Jack 258Nixon, Mojo 143Nixon, Richard M. 165Nketle, Mummy Girl 244Noble, John and His Hawai-

ians 63Nolan, Faith 241Nowlin, Bill 8NRBQ 240Nugent, Ted 278Nyro, Laura 18, 19, 98, 150,

217

Oberst, Conor 283O’Carolan, Turlough 265,

268, 270Ochs, Meagan Lee 142Ochs, Michael 142Ochs, 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 142O’Ciosig, Colm 274O’Connell, Maura 268O’Connell, Robbie 188, 189O’Connor, Mark 96

O’Hampsey, Denis 270Okun, Milton 8, 16–19, 24,

50, 73, 193, 196The Old Reliable String

Band 201Oldfield, Mike 276Oldham, Will 142Ono, Yoko 141Orbison, Roy 156, 233Orton, Beth 275Ory, Kid 166

Page, Jimmy 255, 271, 276,279, 293

Paley, Ben 202Paley, Tom 72, 198, 201Paley, Tom, Jr. 202Palmer, Earl 135Palmer, Robert 239Pappalardi, Felix 68, 70, 130Parker, Charlie 49, 185Parrott, Thom 12Parsons, Gram 130, 233Parton, Dolly 100, 127, 131,

173Passantino, Frank 181Pastorius, Jaco 280The Pat Boone Show 193Patton, Charlie 76The Paul Butterfield Blues

Band 154Paxton, 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, 290The Penguins 226Penn State University Choir

111Pentangle 15, 268, 271, 272,

275, 276, 285People Songs Inc. 20, 21Percy, Norman 133Perkins, Carl 152, 225Perry, Bill 93Peter & Gordon 19Peter, 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 285Petty, Tom see Tom Petty

and the HeartbreakersPetway, Robert 76

Peyroux, Madeleine 112, 113Phelps, Kelly Joe 83Phillips, Bruce 60Phillips, Michelle 136Phillips, Shawn 294Phillips, Utah 108, 115–120Phiri, Ray 224Piggott, Mike 272, 273,

287, 288, 290Pindle, Richard 50The Pines 220Pinochet, Augusto 74Pitchford, Lonnie 83Pittsburgh Symphony 111Plant, Robert 279Planxty 191Poco 208Poe, Edgar Allan 139Poitier, Sidney 49Poole, Charlie 28, 46, 202Poole, Norman 38Pope, Roger 286Porter, Cole 68Prelude 287Preskett, Graham 291Presley, Elvis 138, 141, 152,

221, 226, 229, 231, 251,255, 259, 262, 266, 274,280

Prestopino, Paul 196Pride, Charley 127Prince 157, 283Prince Albert Hunt’s Texas

Ramblers 37Prine, John 34, 60, 61Prior, Maddy 264, 265, 268,

287Pryor, Richard 91Puckett, Riley 28Pugh, Mike 125, 192, 193The Putnam String Band201

Quartette 207Quaye, Caleb 286Quicksilver Messenger Serv-

ice 34

Rabotapi, Mary 244Ragtime Jug Stompers 73Raim, Walter 50Rainey, Chuck 104Rainey, Ma 110Raitt, Bonnie 80, 81, 83, 96,

97, 98, 148, 239Ramsay, Stu 34The Rascals 240

Index 311

Rat Scabies 296Rattlesnake Annie 114Raven, Susan 297Ray, Dave 79, 80, 81, 82Ray, Max 79Ray, Tom 79Raynard, James 268Reagan, Nancy 128Reagan, Ronald 217Reams, James 201The Red Clay Ramblers 202Red Dust Players 10The Red Onions 73Redd Sullivan’s Thameside

Four 262Reddy, Helen 248Redgrave, Vanessa 12Regina Symphony Orchestra

260Reilly, Dean 179Reilly, Paddy 190The Reivers 235R.E.M. 235Renbourn, John 64, 241,

270, 271Reno, Don 27Reno, Ginette 259Reynolds, Malvina 11, 12,

136, 144Reynolds, Nick 177, 178,

180, 181, 182The Rheostatics 255Rice, Tony 46The Rice Paddy Ramblers

116Rich, Buddy 41Riddle, Almeda 201Rimbaud, Arthur 154Rinzler, Ralph 8, 27–31,

44–45, 59, 201Riots, Rebecca 150Ritchie, Brian 142Ritchie, Jean 24, 29, 42,

185, 186, 220Ritter, Tex 230Roach, Max 49Roback, David 274Robbins, Marty 251Robertson, Eck 27, 37, 202Robinson, Earl 110Robinson, Jackie 23Robson, Paul 15, 23, 52,

109, 193Roche, Suzzy 77Roche, Terre 77Rodgers, Jimmie 37, 46, 115

Rodney, Lester 23Rodriquez, Jesus “Chucko”35Rogers, Earl 50Rogers, Kenny & the First

Edition 220The Rolling Stones 61, 199,

232, 233, 264, 293Ronson, Mick 156Ronstadt, Linda 71, 105,

229, 235, 248The Rooftop Singers 41, 175,

196, 213Rooney, Jim 65The Roots 283Rose, Artie 201Rose, Tim 102Rosenberg, Neil 7Ross, Diana 113, 248Ross, Mark 117Rosselson, Leon 12Rovics, David 142Rowen, Glenn 50Roxette 283Rubin, Jerry 88, 141, 167Rudolph, Vance 8Rush, Otis 105Rush, Tom 38, 61, 66, 77,

95–99, 102, 113, 129,279Rushing, Jimmy 75Rushton, Willie 288Russell, Tom 61, 208Rutledge, Dean 71

Safka, Melanie 142St. Peters, Crispian 142Sainte- Marie, Buffy 11, 12,

15, 102, 105, 136, 150, 202,204, 242, 256–261

Sample, Joe 246Sanborn, Joe 135Sanchez, Frank 181Sandoval, Hope 274Schmit, Timothy B. 183Scott, Charles H., Jr. 50Scott, Irene 123Scott, Tom 279The Scottsville Squirrel Bark-

ers 231Schwartz, Tracy 199, 202Scruggs, Earl 27, 46Seal 283Sebastian, John 68, 70, 76,

98, 202, 218, 236, 237Seeger, Charles 3, 107, 120,

122, 169, 198, 241Seeger, 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, 30The Seekers 42, 127Seger, Bob 100, 2789Segovia, Andres 63, 79Sehume, Ronnie Majola 243Seldom Scene 239The Serendipity Singers 42,

176, 183, 213Sewell, Heather 271Sexsmith, Ron 255Sha Na Na 213The Shacklefords 213Shane, Bob 177, 178, 180,

181, 182Shankar, Ravi 14, 15, 134Sharp, Cecil 241Sharp, Maia 227Shawanda, Crystal 208Shea, Red 254Sheldon, Ernie (Lieberman)

211, 213Shelton, Robert 153Shepherd, Jean 41, 42Shepherd, Sam 201Shepherd, T.G. 86Shepherd, Walker 201Shields, Lonnie 83The Shilos 183Shorter, Wayne 280Shrager, Carl 163The Shrubs 142Side By Side 113Siebel, Paul 76, 105, 208Silber, Irwin 1, 8, 20–23Silverstein, Shel 56Silvi, Gino Singers 250Simon, Carly 229, 240Simon, Paul 147, 221, 222,

223, 224, 225, 226, 227,228, 229, 230, 238, 246,262, 271

312 Index

Simon and Garfunkel 17, 34,56, 76, 127, 176, 221–230,240, 263, 268

Simone, Nina 12, 246, 248Simple Kid 297Simpson, Martin 291Sims, Robert 113Sinatra, Frank 13, 41Sing Out! 8, 21, 32, 125Skaggs, Ricky 42, 46, 239The Skifflers 17The Skillet Lickers 199, 202The Skylarks 244Smart, N.D. 206Smiley, Tavis 114Smith, Bessie 40, 110Smith, Bob 83Smith, Harry 1, 29, 30, 201Smith, Hobart 199, 201Smith, Mamie 110Smith, Michael 183Smith, Nigel Portman 272,

273, 274, 288Smith, Patti 159Smith, Phil 238The Smiths 274Smothers Brothers 138The Smothers Brothers Comedy

Hour 52Sneed, Sherman 50Snow, Hank 115, 127Softley, Mike 292Sol Estes, Billie 196Soloway, Pete 196Sondheim, Stephen 88The Song Swappers 215Songs of Green Pheasant 229Sonic Youth 283Sorrels, Rosalie 116, 117, 118, 119Sosa, Mercedes 15Sousa, John Philip 72Souther, John David 234Souther- Hillman- Furay 234Spank Rock 283Sparks, Tim 46Spence, Joseph 201Spirit of the West 191Spivey, Victoria 111Spokane Ranger’s Radio

Show 192The Springfields 176Springsteen, Bruce 158, 159Sprung, Roger 39Stampfel, Peter 201The Stanley Brothers 3, 46,

201

Starland Vocal Band 19Stecher, Jody 201Stecker, Ellen 17Steeleye Span 175, 242, 263,

264, 265, 266, 267, 287,289, 290

Steinbeck, John 9, 285Steinbloom, Irving 16Stephanian, Arman 50Stern, Arthur 10Stevens, Cat 134, 159, 297Stewart, Al 71, 222, 268,

297Stewart, Billy 50Stewart, John 179, 180, 181Stewart, Rod 102Stills, Stephen 70, 85, 127,

234, 294Stimela 224Sting 92Stockfish, John 254Stone, Cliff 231The Stoneman Family 37Stookey, Noel Paul 73, 131,

134, 215, 216, 217, 218,219, 220

Stracke, Win 33, 34, 36The Strange Creek Singers

200, 202The Strawbs 235Street, Patricia 41The Streets 157Streisand, Barbra 18, 255, 259Stuart, Alice 46Stuart, Mindy 41Stuphin, Kirk 200Suede 274Sullivan, Big Jim 293The Sunday 283Superfine Dandelions 240The Supremes 248Sutherland, Donald 164Svanoe, Bill 41, 42Swallow, Roger 265, 266Swarbrick, Dave 263, 265,

266, 267, 268, 288Sweet, Bobby 172Sweet Honey in the Rock

113, 114Swick, Gwen 207The Swinging Eight 250

T. Rex 297Tagore, Rabindranath 15Tanner, Gid and His Skillet

Lickers 202

The Tarriers 28, 40, 196Taupin, Bernie 276Taylor, Gaylan 212Taylor, James 91, 96, 98, 141,

224, 225, 227, 229Taylor, Lynne 41, 42The Teen Timers 250Teenage Fanclub 143Tempest 143Terkel, Studs 33Terry, Sonny 23, 24, 79, 80,

90, 109, 169, 173Thais, Geoff 77Theessink, Hans 173Them 229They Might Be Giants 143This Is Ivy League 229Thomas, Dylan 99, 152, 154Thomas, Henry 27Thomas, Irma 227, 248Thomas, Millard 50Thompson, Danny 266, 271,

273, 287, 291, 293Thompson, Jim 9Thompson, Linda 268Thompson, Richard 143,

235, 265, 266, 268, 287,288

Thompson, Roy 50Tico & the Triumphs 221The Tokens 213, 245Tom & Jerry 221, 227, 230Tom Petty and the Heart-

breakers 156, 158, 233,235, 240, 280

Tomasco, George 134Tomlin, Lily 224Tomobe, Masato 77Tosh, Peter 242The Tossers 191Toussaint, Allen 227, 228The Tragically Hip 255The Traveling Wilburys 156Travers, Mary 73, 98, 134,

136, 181, 215, 216, 217, 218,219, 220

Travis, Merle 46, 95Trischka, Tony 183Tubb, Ernest 138Tucker, Sophie 41The Tunetellers 39Tunstall, KT 283Turner, Don 220Turner, Frank 283Turner, Ike 208Turner, Big Joe 76

Index 313

Turner, Tina 208, 282The Turtles 154, 176, 240Tweedy, Jeff 35, 157Twice as Much 229Two Tones 250Tyler, T. Texas 115Tyson, Cicely 248Tyson, 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 159Ungar, Jay 201Ungar, Lyn 201Usher, George 102

Van Dyke, Leroy 251Van 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, 157The Velocity Ramblers 201The Velvet Underground 101Verlaine, Tom 157Vidacovich, Johnny 81Vincent, Gene 152The Virgineers 297Visconti, Tony 291Von Schmidt, Eric 38,

63–67, 95, 98, 103

Wagoner, Porter 127, 131Waits, Tom 60, 119, 159Wakefield, Frank 29Wakeman, Rick 286Wald, Elijah 77Waldman, Wendy 150Walesa, Lech 147Walker, David T. 246Walker, Jeffrey Jeff 60, 234Walker, Lenny 101Walker, Scott 101Walker, T- Bone 31Wallace, Henry 13, 20Waller, Mickey 295The Wallflowers 160

Waring, Fred and His Penn-sylvanians 63

Warnes, Jennifer 258Warwick, Dionne 113, 248Washington, Jackie 65Waters, Muddy 80Waters, Roger 281Waterson, Elaine 264, 265,

267, 270Waterson, Norma 264, 265,

266, 267, 268, 270Waterson, Mike 264, 265,

267, 270Watson, Arthel Lane “Doc”

5, 29, 30, 38, 43–48, 84,88, 98, 130, 169, 201, 242

Watson, Linny 44Watson, Merle 44, 45, 46,

47The Wayfarers Trio 176Wayne, John 141The Weakerthans 143Weather Report 101The 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 173The Weepies 220Weill, Kurt 72, 75, 76, 85,

87Wein, George 8Weir, Bob 60Weissberg, Eric 27, 28Wells, John 288Wells, Junior 80Wendy & Lisa 280Werner, Susan 218Westbrook, Paul 50The Westerleys 220Wham 229Wheat, “Buck” David 179Wheeler, John 50Wheland, Terry 250The Whiskeyhill Singers 179White, Bukka 72, 79White, Clarence 46White, Josh 1, 4, 10, 21, 23,

33, 34, 55, 57, 72, 76, 114,133, 193, 220

White, Josh, Jr. 113, 114The Who 91Wil.i.am 158Williams, Arthur 50Williams, Dar 148, 150Williams, Hank, Sr. 67, 138,

152, 231Williams, Lucinda 208Williams, Ralph Vaughan

241Williams, Roger 265Williamson, Robin 270Willie and the Bees 80Wilson, Brian 226Winchester, Jesse 102, 113,

255The Win’Jammers 212Withers, Pick 272, 274Wolf, Kate 61, 119, 120, 136,

150The Wolfe Tones 191Wonder, Stevie 141Wood, Al 39Wood, Holly 17Wood, Ronnie 295World Party 297Wright, Ned 50

Xavier 171

Yanovsky, Zal 236, 237, 239Yarborough, Glenn 55, 57,

209, 210, 211, 212, 213The Yardbirds 232Yarrow, Peter 73, 113, 114,

131, 134, 215, 216, 217, 218,219, 220

Yavneh, Ray 39Yellin, Bob 28Yes 286Yester, Jerry 183, 237, 238Yester, Jim 238The Yester Brothers 238Young, Faron 138Young, Israel 201Young, Neil 35, 159, 204,

205, 208, 229, 233, 252,253, 276

Zimmerman, Robert 79, 152The Zombies 176Zorn, Bill 181, 182, 212

314 Index

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david dicaire - the folk music revival, 1958-1970

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